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The National Monument on Dam Square (Dutch: Nationaal Monument op de Dam) is a 1956 cenotaph in Amsterdam, Netherlands. A national Remembrance of the Dead ceremony is held at the monument every year on 4 May to commemorate the casualties of World War II and subsequent armed conflicts.
History
Dam Square is the historic centre of the Dutch national capital of Amsterdam. Until 1914 another national monument stood on the Dam, De Eendracht or popularly Naatje van de Dam, commemorating the Ten Days' Campaign.
Shortly after the end of World War II in 1945, a liberty pole was erected on Dam Square. The Dutch government proposed that a permanent national World War II monument be placed there. While planning was ongoing, a temporary monument was erected on the Dam in 1947, designed by A. J. van de Steur and Auke Komter. It consisted of 11 urns with soil from World War II execution grounds and war cemeteries in each of the Dutch provinces. Three years later, a twelfth urn was added with soil from the Dutch East Indies, now Indonesia.
Meanwhile, a private initiative to erect a World War II monument had started. John Rädecker was commissioned to design the monument, and his designs were exhibited in 1946 at the Stedelijk Museum. Mayor Arnold Jan d'Ailly decided to consolidate the plans and build the privately funded monument on Dam Square, using Rädecker's designs. The architect Jacobus Oud was contracted to work together with Rädecker on the monument. The final design was approved by the Dutch government in 1952. Rädecker suffered from increasingly worsening health (he died four months before the monument was revealed), and his sons Han and Jan Willem Rädecker stepped in to complete the project.
The National Monument was finally revealed on 4 May 1956 by Queen Juliana of the Netherlands.
In the late 1960s and early 1970s, the National Monument, which dominates the eastern half of Dam Square, became a gathering place for hippies, who saw the monument as a symbol of liberty. Every night, a sizeable crowd of people slept around the monument in sleeping bags. On 24 August 1970, the municipal government banned Damslapen ("Dam sleeping"). This incited rioting on Dam Square which continued until the next day, when the square was cleared by off-duty marines. The hippies then relocated to the Vondelpark.
The monument has undergone two restorations, in 1965 and in 1997–1998. During the restoration in the 1990s, the entire monument was disassembled, and the brick interior of the central pillar was replaced with concrete. In 2007 a wheelchair ramp was added to the monument. On 14 August 2009, the monument gained rijksmonument status.
On 3 April 2025, a 50-year-old man set himself on fire inside of his car in a failed car bombing near the National Monument, causing a small explosion and injuring himself. No bystanders were injured.
Design
The monument was designed by Dutch architect Jacobus Oud; the monument's sculptures are by John Rädecker and his sons Han and Jan Willem Rädecker. The reliefs are by the sculptor Paul Grégoire.
The central element of the monument is a concrete conical pillar 22 metres (72 ft) in height, covered entirely by white travertine stone. On the front of the pillar is a relief entitled De Vrede ("Peace"), consisting of four chained male figures, representing the suffering endured during the war. To either side of these central figures are two male sculptures representing members of the Dutch resistance, the left figure symbolizing the resistance by the intelligentsia and the right figure symbolizing the resistance by the working classes. Weeping dogs are at their feet, representing suffering and loyalty. Above the central relief is a sculpture of a woman with a child in her arms and doves flying around her, representing victory, peace, and new life. A relief of the back side of the pillar shows doves ascending into the sky, symbolizing the liberation.
The monument is placed on a series of concentric rings, forming steps up to the monument. In front of the monument, on either side, are two sculptures of lions on circular pedestals, symbolizing the Netherlands. A semicircular wall surrounds the back side of the monument. The wall contains eleven urns with soil from World War II execution grounds and war cemeteries in each of the Dutch provinces. and a twelfth urn with soil from the Dutch East Indies, present-day Indonesia.
Inscription
The pillar carries an inscription in Latin:
Hic ubi cor patriae monumentum cordibus intus
quod gestant cives spectet ad astra dei.
(freely translated: "Here, where the heart of the fatherland is, may this monument, which citizens carry in their heart, gaze at God's stars")
The wall behind the pillar also carries a Dutch-language inscription, a text by the poet Adriaan Roland Holst. On the back side of the wall is an inscription of a verse of Dutch poetry by Anthonie Donker, a pseudonym of Nico Donkersloot.
(Wikipedia)
Das Nationalmonument (eigentlich das „Nationalmonument auf dem Dam-Platz“ als niederländisch Nationaal Monument op de Dam) ist ein niederländisches nationales Denkmal in der Amsterdamer Innenstadt auf dem zentralen Dam-Platz, gegenüber dem Königlichen Palast. Es handelt sich um ein aus Beton und Travertin gefertigtes Monument mit einem 22 Meter hohen Obelisken und einer teilweise um diesen geschwungenen Gedenkmauer, das 1956 von dem Architekten J.J.P. Oud entworfen und von dem Bildhauer John Rädecker ausgeführt wurde. Die Reliefs sind von Paul Grégoire. Das Denkmal wurde zum Rijksmonument erklärt (siehe unten).
Denkmal und Mahnmal
Das Denkmal ist Mahnmal für die zahlreichen Opfer der deutschen Besatzung im Zweiten Weltkrieg (siehe auch Jodenbuurt und Wappen von Amsterdam) und Monument der Befreiung und des Friedens. Die Skulpturen symbolisieren Krieg (durch vier männliche Figuren), Frieden (Frau und Kind) und Widerstand (zwei Männer mit jaulenden Hunden) und tragen die Botschaft:
„Nie wieder!“
Im Sockel des Pylons sind zwölf Urnen mit Erde aus den (damaligen) elf niederländischen Provinzen und aus Indonesien eingelassen (die Provinz Flevoland gab es noch nicht, als das Monument errichtet wurde). Die Inschrift lautet:
„Aarde, door het offer gewijd, samengebracht uit gans het land, teken tot in verren tijd van heugenis en vasten band.“
(Erde, durch Opfer geweiht, zusammengetragen aus dem ganzen Land, ein Zeichen bis in ferne Zeit von Erinnerung und unerschütterlichem Band.)
Auf der Innenseite der Mauer ist ein Gedicht des niederländischen Dichters A. Roland Holst, einem Freund Rädeckers, angebracht.
Vor dem Denkmal stehen noch zwei Löwenfiguren – Symbol der Niederlande – von Jan Willem Rädecker, dem Sohn von John Rädecker.
Das Nationalmonument steht jährlich im Mittelpunkt des niederländischen Volkstrauertages (Nationale Dodenherdenking) am 4. Mai, wenn der niederländische König einen Kranz niederlegt und abends um 20 Uhr zwei Schweigeminuten im ganzen Land eingehalten werden. Eingeweiht wurde es von Königin Juliana am 4. Mai 1956. In der restlichen Zeit des Jahres ist das Denkmal, das im niederländischen Volksmund auch pijpie krijt (Kreidestift) genannt wird, ein beliebter Treffpunkt von Jugendlichen und Touristen.
1995 kam es in den Medien landesweit zu Aufregung, als das Denkmal dringend restauriert werden musste und ausgerechnet eine deutsche Firma die internationale Ausschreibung gewann und die Arbeiten ausführte. Über die Restaurierung entstand 1999 der 54-minütige Film „Het Monument“.
Im Mai 2007 wurden weitere Arbeiten fertiggestellt, die einen einfacheren Zugang für Behinderte ermöglichen.
Bis 1914 stand auf dem Platz ein anderes Denkmal, De Eendracht („die Eintracht“), von Louis Royer.
Nationalmonument und Denkmalschutz
In den Niederlanden ist der Rijksdienst voor het Cultureel Erfgoed abgekürzt (RCE) für den Denkmalschutz verantwortlich; (deutsch „Reichsdienst bzw. Agentur für Kulturerbe“).
Ein Rijksmonument als nationales niederländisches Denkmal ist eine Gedenkstätte zur Bewahrung der Erinnerung an tiefgreifende Ereignisse oder Perioden der Vergangenheit. Dagegen wird die Bezeichnung „Nationalmonument“ (niederländisch Nationaal monument) nicht von der niederländischen Regierung zugewiesen. Es gibt auch keine offizielle Liste der „Nationalmonumente“ der Niederlande. Einige niederländische „Nationalmonumente“ sind allerdings zugleich auch nationale niederländische Denkmale, wie das obige „Nationalmonument auf dem Dam-Platz“ (niederländisch Nationaal Monument op de Dam).
(Wikipedia)
The Postcard
A postkarte that was published by Krille & Martin of Dresden. The Typochrom printing was by F. K. D. The card was posted in Bad Schandau in Saxony on Monday the 19th. September 1910 to:
Master John Robertson,
Park Lane,
Broomhall Park,
Sheffield,
England.
The message on the divided back of the card was as follows:
"19-9-10.
Dear John,
This is a museum and art
gallery. We have been
through some very fine
buildings in Dresden.
We spent several days in
Berlin.
We are enjoying our
holiday very much.
Kind regards,
J. M."
Dresden in the Second World War
During the Nazi era from 1933 to 1945, the Jewish community of Dresden was reduced from over 6,000 (7,100 people were persecuted as Jews) to 41, mostly as a result of emigration, but later also deportation and murder.
Non-Jews were also targeted, and over 1,300 people were executed by the Nazis at the Münchner Platz, a courthouse in Dresden, including labour leaders, undesirables, resistance fighters and anyone caught listening to foreign radio broadcasts.
Dresden in the 20th. century was a major communications hub and manufacturing centre, with 127 factories and major workshops. It was designated by the German military as a defensive strongpoint from which to hinder the Soviet advance.
Being the capital of the German state of Saxony, Dresden not only had garrisons, but a whole military borough, the Albertstadt. This military complex, named after Saxon King Albert, was not specifically targeted in the bombing of Dresden, although it was extensively damaged.
During the final months of the Second World War, Dresden harboured some 600,000 refugees, with a total population of 1.2 million. Dresden was attacked seven times between 1944 and 1945, and was occupied by the Red Army after the German capitulation.
The bombing of Dresden by the Royal Air Force (RAF) and the United States Army Air Forces (USAAF) between the 13th. and 15th. February 1945 was controversial.
On the night of the 13th.–14th. February 1945, 773 RAF Lancaster bombers dropped 1,182 tons of incendiary bombs and 1,478 tons of high explosive bombs on Dresden, targeting the rail yards at the centre of the city.
The inner city of Dresden was largely destroyed. The high explosive bombs damaged buildings and exposed their wooden structures, while the incendiaries ignited them, denying their use by retreating German troops and refugees.
Widely quoted Nazi propaganda reports claimed 200,000 deaths, but the German Dresden Historians' Commission, made up of 13 prominent German historians, in an official 2010 report published after five years of research concluded that casualties numbered between 22,500 and 25,000.
The Allies described the operation as the legitimate bombing of a military and industrial target. Several researchers have argued that the February attacks were disproportionate.
As a result of inadequate Nazi air raid measures for refugees, mostly women and children died.
The bombing stopped prisoners who were busy digging a large hole into which 4,000 prisoners were to be disposed of.
When interviewed after the war in 1977, Sir Arthur ('Bomber') Harris stood by his decision to carry out the raids, and reaffirmed that it reduced the German military's ability to wage war.
American author Kurt Vonnegut's novel Slaughterhouse Five is loosely based on his first-hand experience of the raid as a POW.
In remembrance of the victims, the anniversaries of the bombing of Dresden are marked with peace demonstrations, devotions and marches.
The destruction of Dresden allowed Hildebrand Gurlitt, a major Nazi museum director and art dealer, to hide a large collection of artwork worth tens of millions of dollars that had been stolen during the Nazi era, as he claimed it had been destroyed along with his house which was located in Dresden.
Dresden After World War II
Following his military service, the German press photographer and photojournalist Richard Peter returned to Dresden and began to document the ruined city. Among his best known works is Blick auf Dresden vom Rathausturm ("View of Dresden from the Rathaus Tower").
It has become one of the best-known photographs of a ruined post-war Germany following its appearance in 1949 in his book Dresden, Eine Kamera Klagt an ("Dresden, a Photographic Accusation").
When a skeleton that had previously been used as a model for drawing art classes was found in the ruins of the Dresden Art Academy, the photographer Edmund Kesting, with the assistance of Peter, posed it in a number of different locations to produce a series of haunting photographic images to give the impression that Death was wandering through the city in search of the dead.
Kesting subsequently published the photographs in the book Dresdner Totentanz ("Dresden’s Death Dance").
The damage from the Allied air raids was so extensive that following the end of the Second World War, a narrow-gauge light railway system was constructed to remove the debris, although being makeshift, there were frequent derailments.
The railway system, which had seven lines, employed 5,000 staff and 40 locomotives, all of which bore women’s names. The last train remained in service until 1958, although the final official debris clearance team was only disbanded in 1977.
Rather than repair them, the German Democratic Republic authorities razed the ruins of many churches, royal buildings and palaces in the 1950's and 1960's, such as the Gothic Sophienkirche, the Alberttheater and the Wackerbarth-Palais, as well as many historic residential buildings.
The surroundings of the once-lively Prager Straße resembled a wasteland before it was rebuilt in the socialist style at the beginning of the 1960's.
However, the majority of historic buildings were either saved or reconstructed. Among them were the Ständehaus (1946), the Augustusbrücke (1949), the Kreuzkirche (until 1955), the Zwinger (until 1963), the Catholic Court Church (until 1965), the Semperoper (until 1985), the Japanese Palace (until 1987) and the two largest train stations.
Some of this work dragged on for decades, often interrupted by the overall economic situation in the GDR. The ruins of the Frauenkirche were allowed to remain on Neumarkt as a memorial to the war.
From 1955 to 1958, a large part of the art treasures looted by the Soviet Union was returned, which meant that from 1960 onwards many state art collections could be opened in reconstructed facilities.
Important orchestras such as the Staatskapelle performed in alternative venues (for example in the Kulturpalast from 1969). Some cultural institutions were moved out of the city center (for example the state library in Albertstadt).
The Outer Neustadt, which was almost undamaged during the war, was threatened with demolition in the 1980's following years of neglect, but was preserved following public protests.
To house the homeless, large prefabricated housing estates were built on previously undeveloped land In Prohlis and Gorbitz. Damaged housing in the Johannstadt and other areas in the city center were demolished and replaced with large apartment blocks.
The villa districts in Blasewitz, Striesen, Kleinzschachwitz, Loschwitz and on the Weißen Hirsch were largely preserved.
An American Execution
So what else happened on the day that the card was posted?
Well, on the 19th. September 1910, in Chicago, recently paroled burglar Thomas Jennings broke into a house.
He killed the owner Clarence Hiller, then fled the scene—but not before leaving his fingerprints in the home. Jennings became the first American to be executed based primarily on fingerprint evidence.
Fingerprint evidence had first been used in a murder conviction in 1905 in the United Kingdom, with Alfred and Albert Stratton being hanged for a double murder.
國立台灣文學館 - 推理文學在臺灣特展 / 小雜貨店的糖果罐 - 裝滿童年的回憶
National Museum of Taiwanese Literature - Reasoning literature in Taiwan special exhibition / Small grocery store candy cans - Filled with childhood memories
Museo Nacional de la literatura taiwanesa - Razonamiento de la literatura en Taiwan exposición especial / Pequeñas latas de caramelos de tienda de comestibles llenos de recuerdos de infancia
国立の台湾の文学館 - 推理の文学は台湾特に展にあります / 小さい雜の貨の店のキャンディの缶 - 裝の滿は少年時代の憶に帰ります
Nationalmuseum der taiwanesischen Literatur - Begründung Literatur in Taiwan Sonderausstellung / Kleine Lebensmittelgeschäft Süßigkeiten Dosen - Gefüllt mit Kindheitserinnerungen
Musée national de la littérature taiwanaise - Raisonnement de la littérature à Taiwan exposition spéciale / Petit magasin d'épicerie - rempli de souvenirs d'enfance
Tainan Taiwan / Tainan Taiwán / 台灣台南
管樂小集 2017/03/25 台南孔子廟 Confucian temple Tainan performances 1080P
{ 北囯の春 / 榕樹下 The spring of the north }
{View large size on fluidr / 觀看大圖}
{My Blog / 管樂小集精彩演出-觸動你的心}
{My Blog / Great Music The splendid performance touches your heart}
{My Blog / 管楽小集すばらしい公演-はあなたの心を心を打ちます}
{Mi blog / La gran música el funcionamiento espléndido toca su corazón}
{Mein Blog / Große Musik die herrliche Leistung berührt Ihr Herz}
{Mon blog / La grande musique l'exécution splendide touche votre coeur}
Melody 曲:JAPAN / Words 詞:Sheesen / Singing : Sheesen
{ 夢旅人 1990 Dream Traveler 1990 }
家住安南鹽溪邊
The family lives in nearby the Annan salt river
隔壁就是聽雨軒
The next door listens to the rain porch
一旦落日照大員
The sunset Shineing to the Taiwan at once
左岸青龍飛九天
The left bank white dragon flying in the sky
台南孔子廟 - 新年活動 / 電音三太子動感獻藝 - 人神同樂歡慶2013新年快樂
Tainan Confucian temple - New Year activities / Third Prince of the electronic music movement Performances - The people of God with music to celebrate the 2013 Happy New Year
Templo del confuciano de Tainan - Actividades del Año Nuevo / Prince Tercera de las actuaciones del movimiento de música electrónica - El pueblo de Dios con música para celebrar el Año Nuevo 2013
台南の孔子廟 - 新年のイベント / ニュース音の3太子の動感は芸を捧げます - 人の神は一緒に楽しんで2013新年の楽しみを楽しく祝います
Tainan-Konfuzianertempel - Silvester Aktivitäten / Third Prince der elektronischen Musik-Bewegung Performances - Das Volk Gottes mit Musik zur Feier des 2013 Frohes Neues Jahr
Temple de confucien de Tainan - Activités du Nouvel An / Prince troisième des performances électroniques mouvement musique - Le peuple de Dieu avec de la musique pour célébrer la 2013 Happy New Year
Tainan Taiwan / Tainan Taiwán / 台灣台南
管樂小集 2012/10/14 台南孔廟演出 Tainan Confucius Temple performances
{ Dos gardenias para ti / あなたのためにくちなし }
{View large size on fluidr / 觀看大圖}
{My Blog / 管樂小集精彩演出-觸動你的心}
{My Blog / Great Music The splendid performance touches your heart}
{My Blog / 管楽小集すばらしい公演-はあなたの心を心を打ちます}
{Mi blog / La gran música el funcionamiento espléndido toca su corazón}
{Mein Blog / Große Musik die herrliche Leistung berührt Ihr Herz}
{Mon blog / La grande musique l'exécution splendide touche votre coeur}
書中風起雲動 劍下虎嘯龍吟
The book stroke has the clouds to move under the sword the tiger's roar and dragon to recite
誰知成敗早已天定
Who knows the success or failure already to decide for GOD
回首江山依舊 入眼夕陽正紅
Who looks back on the landscape as before pleasant setting sun is red now
但願人長久情長在
Hopes the persons long-time sentiment exist
熱蘭劍士無悔無憾
The Zeelandia's swordsman regretless not regrets
Jackson Square, a rectangular plot of land, roughly the size of a city-block, marks the site of the original settlement of New Orleans by the French Mississippi Company. Known at the time as Place d'Armes, it was designed in 1721 by landscape architect, Louis H. Pilié. It originally served as military parade grounds, and later as a market place and site for executions. Today it is a well manicured park and the spiritual center of the French Quarter.
From 1762-1803, after New Orleans was ceded to Spain in the Treaty of Paris and served as the Capital of the French Province of Louisiana, it bore the spanish translation of its original name, Plaza de Armas. After being returned to French control in 1801, the city was part of the land sold to the United States in the Louisiana purchase in 1803. It was in the Place d'Armes that the American flag was first raised over the newly purchased territory.
After the Battle of New Orleans, the final major battle of the War of 1812, the plaza was renamed in honor of General Andrew Jackson, an American military commander in the battle who would go on to serve as the seventh President of the United States, from 1829-1837. In 1856 the Baroness Celestin Pontalba paid for the square's beautification. Under her auspices, the Pelanne brothers designed the wrought-iron fence surrounding the park and on February 8, 1856, sculptor Clark Mills' equestrian statue of Jackson was dedicated in the center of the park. The statue, one of three identical casts (the others are in Washington D.C. and Nashville, TN), depicts General Jackson reviewing his troops at the Battle and was the first to ever depict a hero astride a rearing horse. After occupying the city after the Civil War's Battle of New Orleans in 1862, Union General Benjamin "Beast" Butler engraved "The Union Must and Shall Be Preserved" on the plinth.
Surrounding the park is a pedestrian plaza. Diverse artists rent space and hang their works on the fence, and jazz musicians, tarot card readers, and clowns entertain throngs of tourists. When originally laid out, the plaza overlooked the Mississippi River, but the view was blocked in the 19th century by larger levees. Under the administration of Mayor Moon Landrieu, a scenic boardwalk, known as Moon Walk, was built along the river. Flanking the uptown and downtown sides of the Square, are the Pontalba Buildings, matching red-brick block long 4-story buildings erected in the 1840's. The ground floors house shops and restaurants; the upper floors are apartments that are the oldest continuously rented in America.
On the Place John Paul II, the promenaded section of Chartres Street stretching the last length of the park, sit three historic buildings financed by Don Andrès Alomonester y Rojas, the Baroness Pontalba's father. The center of the three is St. Louis Cathedral. To its left is the Cabildo, built in 1795. It served as the capitol for the Spanish colonial government, then later as City Hall, and home of the State Supreme Court, and today houses the Louisiana State Museum. It was here that the finalization of the Louisiana Purchase was signed. To the cathedral's right is the Presbytère, built between 1794 and 1813. It originally housed the city's Roman Catholic priests and authorities, and then served as a courthouse until 1911. Today it is part of the Louisiana State Museum, housing a Mardi Gras Exhibit.
The Saint Louis Cathedral is the oldest, continuously operating cathedral in the United States and the seat of the Roman Catholic Archdiocese of New Orleans. Three Roman Catholic churches have sat on this site since 1718. The cornerstone of the present structure, designed by Gilberto Guillemard, was laid in 1789, elevated to cathedral status in 1794 and completed in 1795. In 1819, Henry S. Boneval Latrobe added the clock and bell tower. Between 1845 and 1851, J.N.B. DePouilly remodeled and enlarged the church. In 1964, the cathedral was designated as a minor basilica by Pope Paul VI. Pope John Paul II visited the basilica, on the occassion of his second pastoral visit in the United States on September 12, 1987.
Jackson Square National Register #66000375 (1966)
Vieux Carré Historic District National Register #66000377 (1966)
In order to be able to move our water tank to its final resting place we had to lay down one stretch of concrete floor.
September 2016
Tudor Catholic martyrs depicted in Ushaw College (info) for all visitors to admire.
The pair in the centre, being upper-class, were beheaded (hence the axe). The rest were more ordinary and so hanged. Except for the woman.
And has she brought along doughnuts for everyone? Alas no, in fact she's showing some of the stones piled on her to crush her.
Painted in 1937 by Geoffrey Webb as a tribute to Mgr Brown, Ushaw's 13th president.
Hermann Herdtle (1848-1926)
Chest for the Imperial Royal Austrian Museum of Art and Industry
Vienna, 1894
Execution: Kölbl and Threm, oil painting by Prof. Rudolf Rössler
Limewood, softwood
Executed for the Imperial Royal Austrian Museum of Art and Industry, at the expense of the Hoftiteltaxfonds endowwnment
Hermann Herdtle (1848-1926)
Truhe für das k. k. Österreichische Museum für Kunst und Industrie
Wien, 1894
Ausführung: Kölbl und Threm, Ölgemälde von Prof. Rudolf Rössler
Lindenholz, Weichholz
H 854/1895, ausgeführt für das k. k. Österreichische Museum für Kunst und Industrie, zu Kosten des Hoftiteltaxfonds
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
Possibly by Dutch artist / eye witness Weesop. National Gallery of Scotland, Edinburgh. This event has always fascinated me since a young boy, came across this;
“King Charles I was his own worst enemy. Self-righteous, arrogant, and unscrupulous; he had a penchant for making bad decisions. His troubles began the moment he ascended the throne in 1625 upon the death of his father James I. Charles simultaneously alienated both his subjects and his Parliament, prompting a series of events that ultimately lead to civil war, his own death and the abolition of the English monarchy.
Charles I and family Charles' problems revolved around religion and a lack of money. His marriage to the Roman-Catholic French princess Henrietta Maria in 1625 did not please his Protestant subjects and led to suspicions of his motives. In 1637 he totally misgauged the sentiments of his Scottish subjects when he attempted to impose an Anglican form of worship on the predominantly Presbyterian population. Riots escalated to general unrest; forcing Charles to recall Parliament in 1640 in order to acquire the funds necessary to quell the Scottish uprising. This so-called "Short Parliament" refused Charles' financial demands and disbanded after only one month.
The continuing civil unrest in the north forced Charles to again convene Parliament in December 1640. The following year the Irish revolted against English rule while the determination of King and Parliament to assert their authority over the other led to open conflict between the two in 1642.
The tide of the Civil War ebbed and flowed for the next six years, culminating in the defeat at the Battle of Preston of Charles' army in August 1648 by Parliamentary forces under the command of Oliver Cromwell. The King was charged with high treason against the realm of England. At his trial, Charles refuted the legitimacy of the court and refused to enter a plea. Not withstanding the absence of a plea, the court rendered a verdict of guilty and a sentence of death declaring:
"That the king, for the crimes contained in the charge, should be carried back to the place from whence he came, and thence to the place of execution, where his head should be severed from his body."
Three days later, the king was led to the scaffold erected at Whitehall, London.
" I go to where no disturbance can be"
January 30, 1649 was a bitterly cold day. Charles went to his execution wearing two heavy shirts so that he might not shiver in the cold and appear to be afraid. The following account of the event comes from an anonymous observer and begins as the doomed King addresses the crowd from the scaffold:
"[As for the people,] truly I desire their liberty and freedom as much as anybody whomsoever; but I must tell you that their liberty and freedom consist in having of government, those laws by which their life and their goods may be most their own. It is not for having share in government, sirs; that is nothing pertaining to them; a subject and a sovereign are clear different things. And therefore until they do that, I mean that you do put the people in that liberty, as I say, certainly they will never enjoy themselves. Sirs, it was for this that now I am come here. If I would have given way to an arbitrary way, for to have all laws changed according to the power of the sword, I needed not to have come here; and therefore I tell you (and I pray God it be not laid to your charge) that I am the martyr of the people. . .
And to the executioner he said, 'I shall say but very short prayers, and when I thrust out my hands - '
Then he called to the bishop for his cap, and having put it on, asked the executioner, 'Does my hair trouble you?' who desired him to put it all under his cap; which, as he was doing by the help of the bishop and the executioner, he turned to the bishop, and said, 'I have a good cause, and a gracious God on my side.'
The bishop said, 'There is but one stage more, which, though turbulent and troublesome, yet is a very short one. You may consider it will soon carry you a very great way; it will carry you from earth to heaven; and there you shall find to your great joy the prize you hasten to, a crown of glory.'
The king adjoins, 'I go from a corruptible to an incorruptible crown; where no disturbance can be, no disturbance in the world.'
The bishop: 'You are exchanged from a temporal to an eternal crown, - a good exchange.'
The execution of Charles I Then the king asked the executioner, 'Is my hair well?' And taking off his cloak and George [the jeweled pendant of the Order of the Garter, bearing the figure of St. George], he delivered his George to the bishop. . .
Then putting off his doublet and being in his waistcoat, he put on his cloak again, and looking upon the block, said to the executioner, 'You must set it fast.'
The executioner: 'It is fast, sir.'
King: 'It might have been a little higher.'
Executioner: 'It can be no higher, sir.'
King: 'When I put out my hands this way, then - '
Then having said a few words to himself, as he stood, with hands and eyes lift up, immediately stooping down he laid his neck upon the block; and the executioner, again putting his hair under his cap, his Majesty, thinking he had been going to strike, bade him, 'Stay for the sign.'
Executioner: 'Yes, I will, and it please your Majesty.'
After a very short pause, his Majesty stretching forth his hands, the, executioner at one blow severed his head from his body; which, being held up and showed to the people, was with his body put into a coffin covered with black velvet and carried into his lodging.
His blood was taken up by divers persons for different ends: by some as trophies of their villainy; by others as relics of a martyr; and in some hath had the same effect, by the blessing of God, which was often found in his sacred touch when living."
Turkish snapshot which shows German sailors and Austrian soldiers among the observers of the executions.
RMYO Air experience Baltops 2016
BALTOPS 16
BALTOPS is the premier maritime exercise in the Baltic Sea region and one of the largest exercises in northern Europe. In 2016, the aim will be to demonstrate the interoperability of NATO allies and partners and to assure nations of NATO’s commitment to the security and stability of the Baltic Sea region. The latest in a series of annual exercises that have run for over 40 years, BALTOPS 16 also has the core aim of delivering high-end training across the entire spectrum of naval warfare, including AAW, ASuW, ASW and MCM, as well as Amphibious and Maritime Interdiction Operations and exercising against the Asymmetric Threat. NATO (SFN), headquartered in Lisbon, Portugal, has led the planning, coordination and execution of the exercise.
Force contributing NATO Nations: Belgium, Denmark, Estonia, France, Germany, Italy, Latvia, Lithuania, Netherlands, Norway, Poland, Portugal, Spain, UK, US. Force contributing NATO Partners: Finland, Sweden. Observer Nation: Singapore.
33202 runs round its train at Rawtenstall during the East Lancs Railway & EWS joint Stay of Execution Gala which featured visiting withdrawn EWS locomotives.
These photos of the aftermath of Mussolini's execution at the end of WWII were in the final pages of my Uncle Louis' WWII photo album. I know he was in North Africa and Italy, not sure where he was at the end of the war. These are actual photographs he had, not just something he ripped out of a magazine. I read somewhere that large numbers of these photos were sold to American GI's.
Canon 10-22 / Lee 0.6 ND filter
Please , FULLVIEW ! ^_^
( Al-Qassim - 2011 )
Khaled Al-Tamimi | 2 0 1 1
( F )
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Print depicting the execution of Anne Boleyn, consort to Henry VIII and mother of Elizabeth I. Print made by Jan Luyken, c.1664-1712.
Inscription: ‘ANNA BULLEYN Gemalinne van HENDRIK DE VIII/Koning van Engeland, binnen London onthalst’.
The print is part of a series of plates depicting the deaths of various notable persons. They are held at the British Museum.
Height: 190mm (trimmed)
Width: 146mm
Francisco José de Goya, Fuendetodos/Aragón 1746 - Bordeaux 1828
Die Erschießung der Aufständischen - The 3rd of May 1808 in Madrid aka The Executions (1814)
Museo del Prado, Madrid
A depiction of the execution of patriots from Madrid by a firing squad from Napoleon´s army in reprisal for their uprising against the French occupation on the second of May, 1808. The French soldiers are at the right of the composition, with their backs to the viewer. They aim their rifles at the Madrilenes who are to die. The scene´s drama and tension are emphasized by the use of light, which strongly illuminates the heroes, making it possible to distinguish their characters and attitudes in a detailed psychological character study. Along with its companion, The 2nd of May 1808 in Madrid: the charge of the Mamelukes, this work was made at the initiative of the Reagent, Luis de Bourbon in 1814.
Both works may have been used to decorate a triumphal arch during the return of Fernando VII to Madrid, or to commemorate the celebrations of the second of May. The lower left side still shows the marks of damage suffered when this canvas was transferred to Valencia in 1937 during the Spanish Civil War.
Source: Museo del Prado
This plaque commemorates 34 Polish victims of a street execution that was carried out at this location by the German occupiers of Warsaw on 2nd December 1943....
Tchorek plaques: stillunusual.tumblr.com/post/160904663281/tchorek-plaque
October 17, 2018
Two people were arrested this morning after the Niagara County Sheriffs Department executed a search warrant at a home in the 500 block of 23rd Street
by Scott Bowering.
[Toronto], privately published, [late 198os?]. probably not more than about 2o copies orso.
12 x 18, silkscreen broadsheet in 3 colours printed from photostencils.
what can possibly only be called visual prose, the reproduction of holograph text phasing deliberately in & out of readability, the title printed under the text & wrapping around onto the rear. an unpleasant story but appropriately deployed.
some creasing & small tears along slightly sunned bottom edge, minor top corner creases & a scar resembling that made by removing a piece of tape from the construction paper. it's beautiful anyway...
125.oo
They held him down. Then, as pictured, one came up behind him and sheared his head off. They carried the head around the brick wall they had claimed as their own. They seemed quite pleased.
Origins of a 14 Trillion Dollar Defecit
Project for the New American CenturyFrom Wikipedia, the free encyclopedia
Project for the New American Century
Formation 1997
Extinction 2006
Public policy think tank
Location Washington, D.C.
Website newamericancentury.org
The Project for the New American Century (PNAC) was an American think tank based in Washington, D.C. that lasted from 1997 to 2006. It was co-founded as a non-profit educational organization by William Kristol and Robert Kagan. The PNAC's stated goal was "to promote American global leadership."[1] Fundamental to the PNAC were the view that "American leadership is both good for America and good for the world" and support for "a Reaganite policy of military strength and moral clarity."[2] The PNAC exerted influence on high-level U.S. government officials in the administration of U.S. President George W. Bush and affected the Bush Administration's development of military and foreign policies, especially involving national security and the Iraq War.[3][4]
Contents [hide]
1 History
1.1 Statement of Principles
1.2 Calls for regime change in Iraq during Clinton years
1.3 Rebuilding America's Defenses
1.4 Post-9/11 call for regime change in Iraq
1.5 Human Rights and the EU Arms Embargo
1.6 End of the organization
2 Controversy
2.1 US world dominance
2.2 Excessive focus on military strategies, neglect of diplomatic strategies
2.3 "New Pearl Harbor"
2.4 Inexperienced in realities of war
2.5 PNAC role in promoting invasion of Iraq
2.6 PNAC role in promoting genetically operating racist bioweapons
3 Persons associated with the PNAC
3.1 Project directors
3.2 Project staff
3.3 Former directors and staff
3.4 Signatories to Statement of Principles
3.5 Signatories or contributors to other significant letters or reports[15]
3.6 Associations with Bush administration
4 See also
5 Notes
6 References
6.1 External links
6.2 Further reading and media programs: Analysis and criticism
History Statement of PrinciplesPNAC's first public act was releasing a "Statement of Principles" on June 3, 1997, which was signed by both its members and a variety of other notable conservative politicians and journalists (see Signatories to Statement of Principles). The statement began by framing a series of questions, which the rest of the document proposes to answer:
As the 20th century draws to a close, the United States stands as the world's pre-eminent power. Having led the West to victory in the Cold War, America faces an opportunity and a challenge: Does the United States have the vision to build upon the achievements of past decades? Does the United States have the resolve to shape a new century favorable to American principles and interests?[5]
In response to these questions, the PNAC states its aim to "remind America" of "lessons" learned from American history, drawing the following "four consequences" for America in 1997:
we need to increase defense spending significantly if we are to carry out our global responsibilities today and modernize our armed forces for the future;
we need to strengthen our ties to democratic allies and to challenge regimes hostile to our interests and values;
we need to promote the cause of political and economic freedom abroad; [and]
we need to accept responsibility for America's unique role in preserving and extending an international order friendly to our security, our prosperity, and our principles.
While "Such a Reaganite policy of military strength and moral clarity may not be fashionable today," the "Statement of Principles" concludes, "it is necessary if the United States is to build on the successes of this past century and to ensure our security and our greatness in the next."[5]
[edit] Calls for regime change in Iraq during Clinton yearsThe goal of regime change in Iraq remained the consistent position of PNAC throughout the 1997-2000 Iraq disarmament crisis.[6][7]
Richard Perle, who later became a core member of PNAC, was involved in similar activities to those pursued by PNAC after its formal organization. For instance, in 1996 Perle composed a report that proposed regime changes in order to restructure power in the Middle East. The report was titled A Clean Break: A New Strategy for Securing the Realm and called for removing Saddam Hussein from power, as well as other ideas to bring change to the region. The report was delivered to Prime Minister Benjamin Netanyahu.[8] Two years later, in 1998, Perle and other core members of the PNAC - Paul Wolfowitz, R. James Woolsey, Elliot Abrams, and John Bolton - "were among the signatories of a letter to President Clinton calling for the removal of Hussein."[8] Clinton did seek regime change in Iraq, and this position was sanctioned by the United Nations. These UN sanctions were considered ineffective by the neoconservative forces driving the PNAC.
The PNAC core members followed up these early efforts with a letter to Republican members of the U.S. Congress Newt Gingrich and Trent Lott,[9] urging Congress to act. The PNAC also supported the Iraq Liberation Act of 1998 (H.R.4655), which President Clinton had signed into law.[10]
On January 16, 1998, following perceived Iraqi unwillingness to co-operate with UN weapons inspections, members of the PNAC, including Donald Rumsfeld, Paul Wolfowitz, and Robert Zoellick drafted an open letter to President Bill Clinton, posted on its website, urging President Clinton to remove Saddam Hussein from power using U.S. diplomatic, political, and military power. The signers argue that Saddam would pose a threat to the United States, its Middle East allies, and oil resources in the region, if he succeeded in maintaining what they asserted was a stockpile of Weapons of Mass Destruction. They also state: "we can no longer depend on our partners in the Gulf War to continue to uphold the sanctions or to punish Saddam when he blocks or evades UN inspections" and "American policy cannot continue to be crippled by a misguided insistence on unanimity in the UN Security Council." They argue that an Iraq war would be justified by Hussein's defiance of UN "containment" policy and his persistent threat to U.S. interests.[11]
On November 16, 1998, citing Iraq's demand for the expulsion of UN weapons inspectors and the removal of Richard Butler as head of the inspections regime, Kristol called again for regime change in an editorial in his online magazine, The Weekly Standard: "...any sustained bombing and missile campaign against Iraq should be part of any overall political-military strategy aimed at removing Saddam from power."[12] Kristol states that Paul Wolfowitz and others believed that the goal was to create "a 'liberated zone' in southern Iraq that would provide a safe haven where opponents of Saddam could rally and organize a credible alternative to the present regime ... The liberated zone would have to be protected by U.S. military might, both from the air and, if necessary, on the ground."
In January 1999, the PNAC circulated a memo that criticized the December 1998 bombing of Iraq in Operation Desert Fox as ineffective, questioned the viability of Iraqi democratic opposition which the U.S. was supporting through the Iraq Liberation Act, and referred to any "containment" policy as an illusion.[13]
[edit] Rebuilding America's DefensesIn September 2000, the PNAC published a controversial 90-page report entitled Rebuilding America's Defenses: Strategies, Forces, and Resources For a New Century. The report, which lists as Project Chairmen Donald Kagan and Gary Schmitt and as Principal Authors. Thomas Donnelly, quotes from the PNAC's June 1997 "Statement of Principles" and proceeds "from the belief that America should seek to preserve and extend its position of global leadership by maintaining the preeminence of U.S. military forces."[14][15]
The report argues:
The American peace has proven itself peaceful, stable, and durable. It has, over the past decade, provided the geopolitical framework for widespread economic growth and the spread of American principles of liberty and democracy. Yet no moment in international politics can be frozen in time; even a global Pax Americana will not preserve itself.[14]
After its title page, the report features a page entitled "About the Project for the New American Century", quoting key passages from its 1997 "Statement of Principles":
“ [What we require is] a military that is strong and ready to meet both present and future challenges; a foreign policy that boldly and purposefully promotes American principles abroad; and national leadership that accepts the United States’ global responsibilities. Of course, the United States must be prudent in how it exercises its power. But we cannot safely avoid the responsibilities of global leadership of the costs that are associated with its exercise. America has a vital role in maintaining peace and security in Europe, Asia, and the Middle East. If we shirk our responsibilities, we invite challenges to our fundamental interests. The history of the 20th century should have taught us that it is important to shape circumstances before crises emerge, and to meet threats before they become dire. The history of the past century should have taught us to embrace the cause of American leadership.[14]
”
In its "Preface", in highlighted boxes, Rebuilding America's Defenses states that it aims to:
ESTABLISH FOUR CORE MISSIONS for the U.S. military:
defend the American homeland;
fight and decisively win multiple, simultaneous major theater wars;
perform the “constabulary” duties associated with shaping the security environment in critical regions;
transform U.S. forces to exploit the “revolution in military affairs”;
and that
To carry out these core missions, we need to provide sufficient force and budgetary allocations. In particular, the United States must:
MAINTAIN NUCLEAR STRATEGIC SUPERIORITY, basing the U.S. deterrent upon a global, nuclear net assessment that weighs the full range of current and emerging threats, not merely the U.S.-Russia balance.
RESTORE THE PERSONNEL STRENGTH of today’s force to roughly the levels anticipated in the “Base Force” outlined by the Bush Administration, an increase in active-duty strength from 1.4 million to 1.6 million.
REPOSITION U.S. FORCES to respond to 21st century strategic realities by shifting permanently-based forces to Southeast Europe and Southeast Asia, and by changing naval deployment patterns to reflect growing U.S. strategic concerns in East Asia. (iv)
It specifies the following goals:
MODERNIZE CURRENT U.S. FORCES SELECTIVELY, proceeding with the F-22 program while increasing purchases of lift, electronic support and other aircraft; expanding submarine and surface combatant fleets; purchasing Comanche helicopters and medium-weight ground vehicles for the Army, and the V-22 Osprey “tilt-rotor” aircraft for the Marine Corps.
CANCEL “ROADBLOCK” PROGRAMS such as the Joint Strike Fighter, CVX aircraft carrier,[16] and Crusader howitzer system that would absorb exorbitant amounts of Pentagon funding while providing limited improvements to current capabilities. Savings from these canceled programs should be used to spur the process of military transformation.
DEVELOP AND DEPLOY GLOBAL MISSILE DEFENSES to defend the American homeland and American allies, and to provide a secure basis for U.S. power projection around the world.[17]
CONTROL THE NEW “INTERNATIONAL COMMONS” OF SPACE AND “CYBERSPACE,” and pave the way for the creation of a new military service – U.S. Space Forces – with the mission of space control.
EXPLOIT THE “REVOLUTION IN MILITARY AFFAIRS” to insure the long-term superiority of U.S. conventional forces. Establish a two-stage transformation process which
• maximizes the value of current weapons systems through the application of advanced technologies, and,
• produces more profound improvements in military capabilities, encourages competition between single services and joint-service experimentation efforts.
INCREASE DEFENSE SPENDING gradually to a minimum level of 3.5 to 3.8 percent of gross domestic product, adding $15 billion to $20 billion to total defense spending annually. (v)
The report emphasizes:
Fulfilling these requirements is essential if America is to retain its militarily dominant status for the coming decades. Conversely, the failure to meet any of these needs must result in some form of strategic retreat. At current levels of defense spending, the only option is to try ineffectually to “manage” increasingly large risks: paying for today’s needs by shortchanging tomorrow’s; withdrawing from constabulary missions to retain strength for large-scale wars; “choosing” between presence in Europe or presence in Asia; and so on. These are bad choices. They are also false economies. The “savings” from withdrawing from the Balkans, for example, will not free up anywhere near the magnitude of funds needed for military modernization or transformation. But these are false economies in other, more profound ways as well. The true cost of not meeting our defense requirements will be a lessened capacity for American global leadership and, ultimately, the loss of a global security order that is uniquely friendly to American principles and prosperity. (v-vi)
In relation to the Persian Gulf, citing particularly Iraq and Iran, Rebuilding America's Defenses states that "while the unresolved conflict in Iraq provides the immediate justification [for U.S. military presence], the need for a substantial American force presence in the [Persian] Gulf transcends the issue of the regime of Saddam Hussein" and "Over the long term, Iran may well prove as large a threat to U.S. interests in the [Persian] Gulf as Iraq has. And even should U.S.-Iranian relations improve, retaining forward-based forces in the region would still be an essential element in U.S. security strategy given the longstanding American interests in the region."[14]
One of the core missions outlined in the 2000 report Rebuilding America's Defenses is "fight and decisively win multiple, simultaneous major theater wars."[4][18]
[edit] Post-9/11 call for regime change in IraqOn September 20, 2001 (nine days after the September 11, 2001 attacks), the PNAC sent a letter to President George W. Bush, advocating "a determined effort to remove Saddam Hussein from power in Iraq," or regime change:
...even if evidence does not link Iraq directly to the attack, any strategy aiming at the eradication of terrorism and its sponsors must include a determined effort to remove Saddam Hussein from power in Iraq. Failure to undertake such an effort will constitute an early and perhaps decisive surrender in the war on international terrorism.[4][19]
From 2001 through 2002, the co-founders and other members of the PNAC published articles supporting the United States' invasion of Iraq.[20] On its website, the PNAC promoted its point of view that leaving Saddam Hussein in power would be "surrender to terrorism."[21][22][23][24]
In 2003, during the period leading up to the 2003 invasion of Iraq, the PNAC had seven full-time staff members in addition to its board of directors.[1]
[edit] Human Rights and the EU Arms EmbargoIn 2005, the European Union considered lifting the arms embargo placed on Beijing. The embargo was put in place after the events at Tiananmen Square in 1989. The PNAC, along with other concerned countries, composed a letter to Javier Solana, asking that the EU not lift the embargo until three conditions were met:
A general amnesty of all prisoners of conscience, including those imprisoned in connection to peaceful protest in 1989, and public trials by independent court for those charged with ‘criminal’ acts.
A reversal of the official verdict on the 1989 movement as a ‘counter-revolution riot,’ allowing an independent ‘truth commission’ to investigate and provide a comprehensive account of the killings, torture, and arbitrary detention, and bringing to justice those responsible for the violations of human rights involved.
Adoption and implementation of the International Covenant on Civil Political Rights, taking concrete actions to enforce other international human rights conventions and treaties that China has joined.
The justification for these conditions was explained as follows:
“Doing away with this sanction without corresponding improvements in human rights... would send the wrong signal to the Chinese people, including especially those of us who lost loved ones, who are persecuted, and for all Chinese who continue to struggle for the ideal that inspired the 1989 movement.”[25]
[edit] End of the organizationBy the end of 2006, PNAC was "reduced to a voice-mail box and a ghostly website", with "a single employee" "left to wrap things up", according to the BBC News.[26] According to Tom Barry, "The glory days of the Project for the New American Century (PNAC) quickly passed."[27] In 2006, Gary Schmitt, former executive director of the PNAC, a resident scholar at the American Enterprise Institute and director of its program in Advanced Strategic Studies, stated that PNAC had come to a natural end:
When the project started, it was not intended to go forever. That is why we are shutting it down. We would have had to spend too much time raising money for it and it has already done its job. We felt at the time that there were flaws in American foreign policy, that it was neo-isolationist. We tried to resurrect a Reaganite policy. Our view has been adopted. Even during the Clinton administration we had an effect, with Madeleine Albright [then secretary of state] saying that the United States was 'the indispensable nation'. But our ideas have not necessarily dominated. We did not have anyone sitting on Bush's shoulder. So the work now is to see how they are implemented.[26]
PNAC's successor organization is the Foreign Policy Initiative.[28][29]
[edit] Controversy[edit] US world dominanceAccording to critics, including Paul Reynolds, PNAC promoted American "hegemony" and "full-spectrum" dominance in its publications.[30][31][32][33]
Ebrahim Afsah, in "Creed, Cabal, or Conspiracy – The Origins of the Current Neo-Conservative Revolution in US Strategic Thinking", published in the German Law Journal, cited Jochen Bölsche's view that the goal of the PNAC was world dominance or global hegemony by the United States.[34][35] According to Bölsche, Rebuilding America's Defenses "was developed by Rumsfeld, Cheney, Wolfowitz and Libby, and is devoted to matters of 'maintaining US pre-eminence, thwarting rival powers and shaping the global security system according to US interests.'"[34][35]
George Monbiot, a political activist from the United Kingdom, stated: "...to pretend that this battle begins and ends in Iraq requires a willful denial of the context in which it occurs. That context is a blunt attempt by the superpower to reshape the world to suit itself."[36]
PNAC co-founder Robert Kagan countered such criticism in his statement during a debate on whether or not "The United States Is, and Should Be, an Empire":
"There is a vital distinction between being powerful--even most powerful in the world--and being an empire. Economic expansion does not equal imperialism, and there is no such thing as "cultural imperialism". If America is an empire, then why was it unable to mobilize its subjects to support the war against Saddam Hussein? America is not an empire, and its power stems from voluntary associations and alliances. American hegemony is relatively well accepted because people all over the world know that U.S. forces will eventually withdraw from the occupied territories. The effect of declaring that the United States is an empire would not only be factually wrong, but strategically catastrophic. Contrary to the exploitative purposes of the British, the American intentions of spreading democracy and individual rights are incompatible with the notion of an empire. The genius of American power is expressed in the movie The Godfather II, where, like Hyman Roth, the United States has always made money for its partners. America has not turned countries in which it intervened into deserts; it enriched them. Even the Russians knew they could surrender after the Cold War without being subjected to occupation."[37]
[edit] Excessive focus on military strategies, neglect of diplomatic strategiesJeffrey Record, of the Strategic Studies Institute, in his monograph Bounding the Global War on Terrorism, Gabriel Kolko, research professor emeritus at York University in Toronto, and author of Another Century of War? (The New Press, 2002), in his article published in CounterPunch, and William Rivers Pitt, in Truthout, respectively, argued that the PNAC's goals of military hegemony exaggerated what the military can accomplish, that they failed to recognize "the limits of US power", and that favoring pre-emptive exercise of military might over diplomatic strategies could have "adverse side effects."[38][39][40] (Paul Reynolds and Max Boot have made similar observations.[30][31])
The Sydney Morning Herald published an English translation of an article published in German in Der Spiegel summarizing former President Jimmy Carter's position and stating that President Carter:
judges the PNAC agenda in the same way. At first, argues Carter, Bush responded to the challenge of September 11 in an effective and intelligent way, "but in the meantime a group of conservatives worked to get approval for their long held ambitions under the mantle of 'the war on terror'." The restrictions on civil rights in the US and at Guantanamo, cancellation of international accords, "contempt for the rest of the world", and finally an attack on Iraq "although there is no threat to the US from Baghdad" - all these things will have devastating consequences, according to Carter. "This entire unilateralism", warns the ex-President, "will increasingly isolate the US from those nations that we need in order to do battle with terrorism".[34]
[edit] "New Pearl Harbor"Section V of Rebuilding America's Defenses, entitled "Creating Tomorrow's Dominant Force", includes the sentence: "Further, the process of transformation, even if it brings revolutionary change, is likely to be a long one, absent some catastrophic and catalyzing event––like a new Pearl Harbor" (51).[14]
Though not arguing that Bush administration PNAC members were complicit in those attacks, other social critics such as commentator Manuel Valenzuela and journalist Mark Danner,[41][42][43] investigative journalist John Pilger, in New Statesman,[44] and former editor of The San Francisco Chronicle Bernard Weiner, in CounterPunch,[45] all argue that PNAC members used the events of 9/11 as the "Pearl Harbor" that they needed––that is, as an "opportunity" to "capitalize on" (in Pilger's words), in order to enact long-desired plans.
[edit] Inexperienced in realities of warFormer US Congressman Lionel Van Deerlin and UK Labour MP and Father of the House of Commons, Tam Dalyell, criticized PNAC members for promoting policies which support an idealized version of war, even though only a handful of PNAC members have served in the military or, if they served, never seen combat.[46]
As quoted in Paul Reynolds' BBC News report, David Rothkopf stated:
Their [The Project for the New American Century's] signal enterprise was the invasion of Iraq and their failure to produce results is clear. Precisely the opposite has happened. The US use of force has been seen as doing wrong and as inflaming a region that has been less than susceptible to democracy. Their plan has fallen on hard times. There were flaws in the conception and horrendously bad execution. The neo-cons have been undone by their own ideas and the incompetence of the Bush administration.[26]
In discussing the PNAC report Rebuilding America's Defenses (2000), Neil MacKay, investigations editor for the Scottish Sunday Herald, quoted Tam Dalyell: "'This is garbage from right-wing think-tanks stuffed with chicken-hawks -- men who have never seen the horror of war but are in love with the idea of war. Men like Cheney, who were draft-dodgers in the Vietnam war. These are the thought processes of fanaticist Americans who want to control the world.'"[47]
Eliot A. Cohen, a signatory to the PNAC "Statement of Principles", responded in The Washington Post: "There is no evidence that generals as a class make wiser national security policymakers than civilians. George C. Marshall, our greatest soldier statesman after George Washington, opposed shipping arms to Britain in 1940. His boss, Franklin D. Roosevelt, with nary a day in uniform, thought otherwise. Whose judgment looks better?"[48]
[edit] PNAC role in promoting invasion of IraqCommentators from divergent parts of the political spectrum––such as Democracy Now! and American Free Press, including Nobel Peace Prize Laureate Jody Williams and former Republican Congressmen Pete McCloskey and Paul Findley––voiced their concerns about the influence of the PNAC on the decision by President George W. Bush to invade Iraq.[49][50] Some have regarded the PNAC's January 16, 1998 letter to President Clinton, which urged him to embrace a plan for "the removal of Saddam Hussein’s regime from power,"[11] and the large number of members of PNAC appointed to the Bush administration as evidence that the 2003 invasion of Iraq was a foregone conclusion.[42][51]
The television program Frontline, broadcast on PBS, presented the PNAC's letter to President Clinton as a notable event in the leadup to the Iraq war.[52]
Media commentators have found it significant that signatories to the PNAC's January 16, 1998 letter to President Clinton (and some of its other position papers, letters, and reports) included such later Bush administration officials as Donald Rumsfeld, Paul Wolfowitz, Richard Perle, John Bolton, Richard Armitage, and Elliott Abrams.[30][38][41][52]
[edit] PNAC role in promoting genetically operating racist bioweapons"And advanced forms of biological warfare that can “target” specific genotypes may transform biological warfare from the realm of terror to a politically useful tool"(60). [14] This quote shows PNAC thoughts about genetically operating racist bioweapons and mentions them as "a politically useful tool".
[edit] Persons associated with the PNAC[edit] Project directors[as listed on the PNAC website:]
William Kristol, Co-founder and Chairman[1]
Robert Kagan, Co-founder[1]
Bruce P. Jackson[1]
Mark Gerson[1]
Randy Scheunemann[1]
[edit] Project staffEllen Bork, Deputy Director[1]
Gary Schmitt, Senior Fellow[1][53]
Thomas Donnelly, Senior Fellow[1]
Reuel Marc Gerecht, Senior Fellow[1]
Mitch Jackson, Senior Fellow
Timothy Lehmann, Assistant Director[1]
Michael Goldfarb, Research Associate[1]
[edit] Former directors and staffDaniel McKivergan, Deputy Director[54]
[edit] Signatories to Statement of PrinciplesElliott Abrams[5]
Gary Bauer[5]
William J. Bennett[5]
John Ellis "Jeb" Bush[5]
Richard B. Cheney[5]
Eliot A. Cohen[5]
Midge Decter[5]
Paula Dobriansky[5]
Steve Forbes[5]
Aaron Friedberg[5]
Francis Fukuyama[5]
Frank Gaffney[5]
Fred C. Ikle[5]
Donald Kagan[5]
Zalmay Khalilzad[5]
I. Lewis "Scooter" Libby[5]
Norman Podhoretz[5]
J. Danforth Quayle[5]
Peter W. Rodman[5]
Stephen P. Rosen[5]
Henry S. Rowen[5]
Donald Rumsfeld[5]
Vin Weber[5]
George Weigel[5]
Paul Wolfowitz[5]
[edit] Signatories or contributors to other significant letters or reports[15]Elliott Abrams[9][11]
Kenneth Adelman[55]
Richard V. Allen[19]
Richard L. Armitage[11]
Gary Bauer[19][55]
Jeffrey Bell[19][55]
William J. Bennett[9][11][19][55]
Jeffrey Bergner[9][11][19]
John Bolton[9][11]
Ellen Bork[55]
Rudy Boschwitz[19]
Linda Chavez[55]
Eliot Cohen[14][19][55]
Seth Cropsey[19]
Midge Decter[19][55]
Paula Dobriansky[9][11]
Thomas Donnelly[14][19][55]
Nicholas Eberstadt,[19][55][56]
Hillel Fradkin[19][55][57]
Aaron Friedberg[19]
Francis Fukuyama[9][11][19]
Frank Gaffney[19][55]
Jeffrey Gedmin[19][55]
Reuel Marc Gerecht[19][55]
Charles Hill[19][55]
Bruce P. Jackson[19][55]
Eli S. Jacobs[19]
Michael Joyce[19]
Donald Kagan[14][19][55]
Robert Kagan[9][11][14][19][55]
Stephen Kantany
Zalmay Khalilzad[9][11]
Jeane Kirkpatrick[19]
Charles Krauthammer[19]
William Kristol[9][11][14][19]
John Lehman[19][55]
I. Lewis Libby[14]
Tod Lindberg[55][58]
Rich Lowry[55]
Clifford May[19][55]
John McCain[59]
Joshua Muravchik[55]
Michael O'Hanlon [60][61]
Martin Peretz[19][55]
Richard Perle[9][11][19][55]
Daniel Pipes[55]
Norman Podhoretz[19][55]
Peter W. Rodman[9][11][19]
Stephen P. Rosen[14][19][55]
Donald Rumsfeld[9][11]
Randy Scheunemann[19][55]
Gary Schmitt[14][19][53][55]
William Schneider, Jr.[9][11][19][55]
Richard H. Shultz[19][62]
Henry Sokolski[19]
Stephen J. Solarz[19]
Vin Weber[9][11][19]
Leon Wieseltier[19]
Marshall Wittmann[19][55]
Paul Wolfowitz[9][11][14]
R. James Woolsey[9][11][55]
Dov Zakheim[14][63]
Robert B. Zoellick[9][11]
[edit] Associations with Bush administrationAfter the election of George W. Bush in 2000, a number of PNAC's members or signatories were appointed to key positions within the President's administration:
Name Position(s) held
Elliott Abrams Special Assistant to the President and Senior Director for Democracy, Human Rights, and International Operations (2001–2002), Special Assistant to the President and Senior Director for Near East and North African Affairs (2002–2005), Deputy Assistant to the President and Deputy National Security Advisor for Global Democracy Strategy (2005–2009) (all within the National Security Council)
Richard Armitage Deputy Secretary of State (2001–2005)
John R. Bolton Under-Secretary of State for Arms Control and International Security Affairs (2001–2005), U.S. Ambassador to the United Nations (2005–2006)
Dick Cheney Vice President (2001–2009)
Eliot A. Cohen Member of the Defense Policy Advisory Board (2007–2009)[64]
Seth Cropsey Director of the International Broadcasting Bureau (12/2002-12/2004)
Paula Dobriansky Under-Secretary of State for Global Affairs (2001–2007)
Aaron Friedberg Deputy Assistant for National Security Affairs and Director of Policy Planning, Office of the Vice President (2003–2005)
Francis Fukuyama Member of The President's Council on Bioethics (2001–2005)
Zalmay Khalilzad U.S. Ambassador to Afghanistan (11/2003 - 6/2005), U.S. Ambassador to Iraq (6/2005 - 3/2007) U.S. Ambassador to the United Nations (2007–2009)
I. Lewis "Scooter" Libby Chief of Staff to the Vice President of the United States (2001–2005)
Richard Perle Chairman of the Board, Defense Policy Board Advisory Committee (2001–2003)
Peter W. Rodman Assistant Secretary of Defense for International Security (2001–2007)
Donald Rumsfeld Secretary of Defense (2001–2006)
Randy Scheunemann Member of the U.S. Committee on NATO, Project on Transitional Democracies, International Republican Institute
Paul Wolfowitz Deputy Secretary of Defense (2001–2005) 10th President of the World Bank (2005-2007)
Dov S. Zakheim Department of Defense Comptroller (2001–2004)
Robert B. Zoellick Office of the United States Trade Representative (2001–2005), Deputy Secretary of State (2005–2006), 11th President of the World Bank (2007–Present)
[edit] See alsoCenter for a New American Security
American Century
A Clean Break: A New Strategy for Securing the Realm
Committee for the Liberation of Iraq
Jewish Institute for National Security Affairs
Office of Special Plans
The New American
[edit] Notes^ a b c d e f g h i j k l m "About PNAC", newamericancentury.org, n.d., accessed May 30, 2007: "Established in the spring of 1997, the Project for the New American Century is a non-profit, educational organization whose goal is to promote American global leadership. The Project is an initiative of the New Citizenship Project (501c3); the New Citizenship Project's chairman is William Kristol and its president is Gary Schmitt."
^ Home page of the Project for the New American Century, accessed May 30, 2007.
^ "Empire builders - Neoconservatives and their blueprint for US power", The Christian Science Monitor (Copyright © 2004), accessed May 22, 2007.
^ a b c The PNAC was often identified as a "neo-con" or "right-wing think tank" in profiles featured on the websites of "left-wing" and "progressive" "policy institute" and "media watchdog" organizations, which were critical of it; see, e.g., "Profile: Project for the New American Century", Right Web (International Relations Center), November 22, 2003, accessed June 1, 2007.
^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa Elliott Abrams, et al., "Statement of Principles", June 3, 1997, newamericancentury.org, accessed May 28, 2007.
^ Kristol, William; Kagan, Robert (January 30, 1998). "Bombing Iraq Isn't Enough". The New York Times. www.nytimes.com/1998/01/30/opinion/bombing-iraq-isn-t-eno...
^ Kristol, William; Kagan, Robert (February 26, 1998). "A 'Great Victory' for Iraq". The Washington Post. www.newamericancentury.org/iraq-022698.htm
^ a b Wedel, Janine (2009). Shadow Elite. New York: Basic Books. p. 170.
^ a b c d e f g h i j k l m n o p q r Elliott Abrams, et al.,Letter to Newt Gingrich and Trent Lott, May 28, 1998, newamericancentury.org, accessed May 30, 2007.
^ "ENR H.R. 4655: Iraq Liberation Act of 1998 (Enrolled as Agreed to or Passed by Both House and Senate)", 105th Congress of the United States, thomas.loc.gov (THOMAS online database at the Library of Congress), January 27, 1998, accessed June 1, 2007.
^ a b c d e f g h i j k l m n o p q r s t "Open Letter to President Bill Clinton", January 16, 1998, accessed May 28, 2007.
^ William Kristol, "How to Attack Iraq", The Weekly Standard, November 16, 1998, editorial, online posting, newamericancentury.org, web.archive.org, accessed May 30,
My second work dedicated to Saint Sebastian. If in the first picture the martyr is depicted before being shot by the Roman arrows, in this work we see the future saint in the death agony – Sebastian is pale, his body is turning into a wound. Trees are now glowing with browns and yellows as if having absorbed all the blood of the martyr. With the colors of the first and second works, I tried to convey a transition from fear and piety dulling all senses (in "SAINT SEBASTIAN BEFORE FIRST EXECUTION") to suffering and liberation (in "FIRST EXECUTION OF SAINT SEBASTIAN"), a transition from life to death.
In "FIRST EXECUTION OF SAINT SEBASTIAN" the victim's body is stretching out into cones to meet five deadly arrows and its destiny as soon as possible: Sebastian is not running from death and is not abandoning his convictions, he is not trying to escape from the arrows, but is moving his flesh to welcome them. The Saint stops arrows in the air and does not allow them to touch his ‘center’, i.e. his faith and beliefs. Darkness is already devouring him, but his spirit will leave the body through the wounds left by the enemies before they hear his repentance, before this darkness gets to his thoughts.
Note to all enemies: wounds you inflict only pave the way for fresh forces that have been hiding in your victim (of course, if the victim is strong), even though at first it might appear to you that you are only causing damage.
This is a book design and execution that I created for Susan Kozel's book Closer published by the MIT press.
It was a class assignment for CO
This is a book design and execution that I created for Susan Kozel's book Closer published by the MIT press.
It was an assignment in a UCLA Design | Media Arts Class. The front portion of the book is comprised of all the text and images, clearly setup into a four row system, which aligns to the four flipbooks at the very back of the book.
This is a book design and execution that I created for Susan Kozel's book Closer published by the MIT press.
It was an assignment in a UCLA Design | Media Arts Class. The front portion of the book is comprised of all the text and images, clearly setup into a four row system, which aligns to the four flipbooks at the very back of the book.
Collection: Willard Dickerman Straight and Early U.S.-Korea Diplomatic Relations, Cornell University Library
Title: Execution of 3 Korean spies
Date: 1905
Type: Photographs
Description: Three resistance fighters facing a Japanese firing squad. They are accused of spying and executed. According to the source cited below, they were charged with destroying the Seoul-Pusan railroad two days after its completion, on January 1, 1905. This is a rather well-known image which was also reproduced in Western newspapers. Source: Sajin uiro ponun tongnip undong, 1996. V. 1, p. 81.
Inscription/Marks: Inscription in ink, presumably in WDS hand: 'Execution of 3 Korean spies'
Identifier: 1260.60.09.31.04
Persistent URI: http://hdl.handle.net/1813.001/5xm7
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
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