execution photos on Flickr

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EM.. yet again ! (On Explore- 89 !) by Safz

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execution of my brilliant brother's even more brilliant idea !

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An old Nickelodean type machine that boasted you would see a realistic excecution. The gates opened, the little wooden figures stood perfectly still while music played. At the end, the floor dropped and one wooden figure fell through the floor and was hanged. It was totally lame and awesome at the same time.

Execution is everything. -Jeff Bridges #fridgequotes by brett st clair

Wien, 1. Bezirk (the art of very historic buildings of Vienna), Museum für Angewandte Kunst (Musée d'art appliqué, Museo de arte aplicado, Museo di arte applicata, Museum of applied art) - Stubenring/Weißkirchnerstraße (MAK DESIGN LAB) by Alfred Lex

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Alfred Roller (1864-1935)

Carpet Design

Vienna, 1899

Execution: Johann Backhausen & Söhne

Paper, cardboard: gouache

Alfred Roller (1864-1935)

Teppichentwurf

Wien, 1899

Ausführung: Johann Backhausen & Söhne

Papier, Karton, Gouache

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1927 / August Schestag succeeds Hermann Trenkwald as director.

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

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

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

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

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

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

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

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

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

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

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

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

1951 / Ignaz Schlosser is appointed manager.

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

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

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

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

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

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

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

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

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

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

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

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

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

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

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

1979 / Gerhart Egger is appointed director.

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

1981 / Herbert Fux follows Gerhart Egger as director.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

www.mak.at/das_mak/geschichte

Executioneer by Courier~

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Metro 2033 Redux

DX11 1080p (tessellation ON SSAA OFF) 817p letterboxing.

ReShade 0.14

FXAA

GP65CJ042 DoF

Technicolor + DPX

Tonemap

Vibrance

Chroma

Grain

Vignette

Letterboxing

DL Link: mega.co.nz/#!dpxTRYIa!pAmbLSKaYYg5IKQG9qOfojHqKC1Ss1_Kt4k...

You'd think this isn't too playable. I did, was I wrong! I can't stop playing, it just make sit such a gritty and dark game! The original had top notch atmosphere, but this is a whole new level. My little brother came over and saw me playing this, he asked me "What movie is that?!" And I can see where it's coming from, even if the graphics per se aren't the best, the shaders just make it look so life-like. The color grading and the soft dof especially on the lights makes it look like actual pictures sometimes. I don't even know where this'll get in the end, but I can't stop playing! One hour of gameplay, 70 images, trimmed to this, still too many, but I can't hold myself!

Auschwitz execution wall between blocks 10 & 11 by Deirdre Snook

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The execution wall between blocks 10 & 11 at Auschwitz - the area is entered in silence in respect of the lives lost in this & the blocks next to it - the sadness, darkness was so evident (for me) in this space ....

Execution by cenz

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Firing Squad executing the Rebel Leader.

17th Century re-enactment performed by The Sealed Knot at Stockwood Park

execution by greg johnson

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graffiti : execution records by Bistoukeight

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#A Russian spy is laughing through his execution in Finland during the Winter War, 1942 [1200x898] #history #retro #vintage #dh #HistoryPorn http://ift.tt/2hgEQyn by Liam Carter

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ift.tt/2hgJKeM #A Russian spy is laughing through his execution in Finland during the Winter War, 1942 [1200x898] #history #retro #vintage #dh #HistoryPorn ift.tt/2hgEQyn via Histolines

Execution Range by Erin Cline

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Where they would line up people in the concentration camps and shoot them. Blood ditch for people bleeding out.

Jorge Pineda: The Execution of José Rizal by Leo Cloma

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Jorge Pineda (1879 – 1946)

The Execution of José Rizal

Ca. 1910

oil on canvas

11 1/2" x 20" (29 cm x 51 cm)

Opening bid: PHP 1,000,000

Lot 144 of the Leon Gallery auction in November 2019. For more details, please see leon-gallery.com

Jorge Pineda, hailed as the King of Filipino Illustrators, was also a worthy painter who specialized in two subjects: the simple pleasures of Filipino country life and the significant historical event. He was an ardent patriot and a devoted Rizalist who styled himself after our national hero.

The critic Eric Torres described him as “a free-thinker and an anti-cleric.” He would frequently rail against the friars for engineering the execution of Rizal and bluster about the banning of the reading of the Noli Me Tangere and El Filibusterismo in Catholic schools.

One of his favorite pastimes—apart from long walks—was fencing. It was a sport that entranced the ilustrado gentlemen of the time, from Rizal to the Luna brothers, and the pioneer art collector, the late Don Alfonso Ongpin. (Don Alfonso would become Pineda’s fencing partner.) It is no surprise therefore that Pineda would capture this most quintessential and defining moment in our national history.

This painting, based on the single most famous photograph of Rizal’s demise, is made even more startling since it brings to life the taut colors and brooding atmosphere of that somber morning. Pineda himself was seventeen years old in 1896 and, by one account, was among the crowd on that fateful day. His prodigious memory for detail coupled with his reputation for meticulous research and his fine hand as an illustrator make this a priceless work of historical import.

Pineda’s The Execution of José Rizal captures the poignant details of that remarkable occasion. Rizal stands, arms bound at the elbow, a chistera (or derby) on his head. There was a gruesome choreography to his death. First, the Filipino troops were massed on three sides, the better to give the impression that Rizal was to die at the hands of his own countrymen. Immediately in front of Rizal was a drum corps. These men were instructed to play as loud as possible to deliberately drown out Rizal’s voice should he try to address the crowd. (The corps had jauntily played the Spanish national anthem on the way to the killing field.)

The account of one eyewitness, Hilarion Martinez, adds further details: When Rizal was near the center of the quadrangle, the mayor de la plaza, a colonel, announced, “En el nombre del Rey, el que se levante la voz a favor del reo sera ejecutado.” (In the name of the King, he who raises his voice in favor of the criminal will be executed.)

The drum corps then withdrew and were replaced by a troop of Filipino soldiers. Massed behind the Filipinos on every side was a phalanx of Spanish soldiers, ready to take up arms should the Filipinos fail to do their duty and execute Rizal. There were civilian spectators, too, and we see their white shirts in the distance.

Rizal was accompanied by two Jesuit priests, Fr. Estanislao March and Fr. Jose Villaclara, as well as his defense counsel, Lt. Luis Taviel de Andrade. The other men in white were also Spanish officers.

“With visible effort,” Martinez says, “Rizal raised his right hand which was tied and took off his hat.”The moment captured in this painting was just before that split second, corresponding in almost balletic detail to Christ’s last breath on the Holy Cross. “Amidst the silence, Rizal moved his head very slowly up and down, his lips moving as if in prayer.”

He continues, Then the commanding officer by means of his saber signaled the firing squad to aim. Then the saber dropped and there was a simultaneous crack of rifle fire that shattered the stillness of the morning. José Rizal wheeled in one last effort and toppled forward with a thud, his face towards the sky and his derby hat thrown ahead. He had fallen in the direction of the bay.

At the center of the painting is a stark, leafless tree that conveys the isolation of Rizal and the utter sadness of his death. As did Rizal at the moment of his death, it reaches plaintively to the sky in an eloquent plea for freedom and justice.

Martinez continues, Suddenly, as if from nowhere, a small dog appeared and ran in circles around Rizal’s fallen body, barking and whimpering. This incident would much later be the subject of our talk in our quarters. Some of my comrades were quick to conclude that it was a premonition of a coming misfortune.

That pale dog is captured standing near the Spanish soldiers in the painting. Indeed, it would bode the end of the Spanish empire in the Philippines.

Martinez proceeds, Then the capitan militar de la sanidad (medical officer) stepped forward, knelt before the fallen man, and felt his pulse. Looking up, he beckoned to a member of the firing squad to come forward and give the final tiro de gracia (coup de grace), another shot done at close range. I thought I saw a faint haze rise from Rizal’s coat, but it might have been a wisp of the morning mist. Seeing the body before me, I felt weak.

The officers began to show animation again. They fell in formation and marched to the tune of the Spanish national air, the Paso Doble Marcha de Cadiz.

As was customary in past executions, we filed past the body to view it for the last time. When we were commanded “eyes left,” I did not shut my eyes as I had at the sight of the several reos (convicts) whose heads were blown off by rifle fire. I wanted to see the face of the man for one last time. Rizal lay dead on the dewy grass. The day had started and I realized that I was gazing on the face of the great Malayan; that I was witnessing history in the making.

(Lisa Guerrero Nakpil)

Torture by Icy Sedgwick

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A model displaying a rather nasty method of execution in the torture chamber at Chillingham Castle in Northumberland.

Execution Ceremonies 04 May 2016 by Óglaigh na hÉireann

Uptown and to the Right #6 by Keith Michael

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Execution Rocks Lighthouse

Pelham Bay Park

The Bronx, NY

December 20, 2021

Streaky Bay St Canute's Catholic church by aquilareen

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Birth of Christ. Window erected 1929 by Daniel Thomas Kenny & his wife Mary Teresa nee Cash in memory of their parents Michael & Bridget Kenny and Patrick & Mary Cash, created by Brooks, Robinson & Co, Melbourne. Church foundation stone 18 Feb 1912 by William Edward Roberts of “Oakvale”, architect Conrad & Conrad, opened 1 Sep 1912 on land given by T & C Nugent, hall built 1984.

“a beautiful set of stained glass windows, presented to St. Canute's Church by Mr. and Mrs Daniel T. Kenny, of Lisdoonvarna, Streaky Bay, and erected during last week by Mr. O. M. Willcock. The windows, given in memory of the parents of the donors, are richly colored and toned. . . The scenes depicted on the windows . . . the Birth of Christ, the crucifixion, and Christ amongst the doctors in the temple. . . The design and execution of the windows is the work of Australian artists of the Australian firm of Messrs. Brooks, Robinson & Co., Melbourne.” [West Coast Sentinel 26 Jul 1929]

“KENNY.—On May 11, 1892, at Balla McKenny, Colton, Michael Kenny, eldest son of the late John Daniel Kenny, in the 83rd year of his age; a colonist of fifty years. R.I.P.” [Southern Cross 20 May 1892]

“Mr. Kenny had reached the ripe old age of eighty-three, having been born at Six-Mile Bridge, County Clare, Ireland, on December 24, 1809. Mr. Kenny was the son of a tenant farmer, whose descendants had resided there as far back as there is any traditional account. Mr. Kenny was well known in connection with every movement in favor of the right of the tenant farmers in Ireland. . . [He] sailed out of Cork Harbor on November 5, 1841, in the ship Branken Moor, of London, commanded by Captain David Smith, Dr. Hughy, surgeon, and a full complement of immigrants, and landed in Launceston on April 6, 1842. After a short stay in Tasmania Mr. Kenny came to South Australia, and settled at Morphett Vale, when he married the widow of Daniel Herreen, who survives him. There are also four sons and one daughter living. One son is one of the leading hotel keepers in Broken Hill, the other three are farmers and graziers in this district, and the daughter is married to Mr. Thos. P. Cash. . . Mr. Kenny resided in Morphet Vale for several years, when he and the late Mr. Ignatius O'Sullivan were the chief movers in building the Catholic Church there. . . Mr Kenny removed to Sheaoak Log in 1855, where he was closely connected with Church matters at Gawler and Greenock. When he moved to Yorke's Peninsula he strongly advocated building a church at Yorketown and Warooka, and he saw both successfully built. It was chiefly through his exertion that the church was built and opened free of debt in Colton. . . On May 17, 1865, he and other well-known farmers formed the Light Farmers' Club at Freeling. . . When the Areas came out he was one of the first to leave for Southern Yorke's Peninsula, where he selected land in May, 1870. He was a member of the first District Council in Southern Yorke's Peninsula, and after the lapse of a few years his farm became too small for his grown-up family, so, when the Hundred of Colton was first offered, he and his sons, selected land there in September, 1876.” [Southern Cross 20 May 1892]

“Mrs. Michael Kenny died at 5 o clock this morning at her residence Bally McKenny, Colton, in her eighty-sixth year, and a colonist of sixty years, having arrived in the 'Mary Dugdale,' 1st October, 1840.” [Southern Cross 22 Jun 1900]

Patrick Cash of St John’s died 11 Aug 1867 following a horse & cart accident near Kapunda. Inquest reported in newspapers.

“CASH.— On February 9, at her son's residence, Calca Station, Mary, relict of Patrick Cash, late of Kapunda, aged 76 years; a colonist of 69 years. Rest in peace.” [Southern Cross 19 Feb 1909]

“Mrs. Mary Cash, a native of Co. Kerry, Ireland. . . arrived in the colony with her parents, Mr. and Mrs. Ignatius O'Sullivan and family by the ship Mary Dugdale, on November 1, 1840. . . In the year 1852 she married Mr. Patrick Cash, who had purchased land at St. Johns, near Kapunda, and they went to reside there. Her husband died in 1867, but she continued to carry on the farm until 1876, when her son-in-law (Mr. D. T. Kenny) advised her to take up land in the Hundred of Colton, West Coast. This she did, and with her two sons started farming. Here she remained until 1886, when she came with her son (J. G. Cash) to Calca. . . she endeared herself to everybody, especially children. She has left two sons, Mr. T. R. Cash (of Calca Station), and Mr. J. G. Cash (of Tyringa); four daughters, Mrs. D. T. Kenny (Coolgrana, Streaky Bay), Mrs. H. Sheehan (Oaklands, Yorke's Peninsula), Mrs. L Boylan (of Spring Shore, Colton), and Mrs. P. Boylan, Cordalie Park, Talia); fifty-seven grandchildren, and ten great-grandchildren.” [Southern Cross 26 Feb 1909]

“KENNY— CASH.— On the 18th inst., at his father's residence, Cratloe, Yorke's Peninsula, by the Rev. Father McCabe, Daniel Thomas, third son of Mr. Michael Kenny, and grandson to the late Mr. John Daniel Kenny, Six Mile Bridge, County Clare, to Mary Tereza, eldest daughter of widow Cash, St. John's, and grand-daughter of the late Mr. Ignatius O' Sullivan, of Morphet Vale, and formerly of Killarney, County Kerry, Ireland.” [Harp & Southern Cross 26 Nov 1875]

“KENNY.—On June 28, at his residence, ‘Lisdoonvarna’, Streaky , Bay, Daniel Thomas Kenny, aged 84 years 11 months, leaving a sorrowing wife, three sons, six daughters, and 46 grandchildren. His eldest daughter and two sons predeceased him. Requiescat in pace.” [Southern Cross 10 Aug 1934]

Daniel Kenny’s detailed reminiscences are in West Coast Sentinel 6 Jul 1934 page 1.

“The eldest son of the late Mr. Michael Kenny, one of the first settlers in the Colton district, Mr. Daniel Kenny was born at Morphett Vale in 1849. Five years later he went with his parents to Sheoak Log, and lived there for 21 years. From that district Mr. Kenny moved to Yorke Peninsula. . . He came with his parents and brothers and sisters to Colton in 1879. . . When the pastoral country around Streaky Bay and Calca was opened up for farming, Mr. Kenny selected the well-known property, Coolgrana. . . Mr. Kenny married Miss Cash, of Kapunda, who, with three sons and six daughters, survives him. The eldest daughter was buried in Piednippie Cemetery over 30 years ago. The children are: — Messrs. Michael D. Kenny, Glenkenny, near Talia; Ignatius T. Kenny, J.P., Maryvale station, Streaky Bay; Austin Kenny, Coolgrana, Streaky Bay; Mrs. Steve Fitzgerald, Quorn . . ; Nurse Mary Kenny . . .; Mrs. A. V. Roberts, Warrachie; Mrs. James Mcinherney, Laura Bay; Mrs. Albert Cotton, Coolie, Streaky Bay; Mrs. George Maher, Bookabie.” [Port Lincoln Times 6 Jul 1934]

“KENNY.— On November 29, at her residence, Lisdoonvarna, Streaky Bay, Mary Teresa, beloved wife of the late Daniel T. Kenny, aged 38 years and 4 months, leaving .3 sons, 6 daughters, 46 grandchildren, and 6 great-grandchildren. R.I.P.” [Southern Cross 12 Dec 1941]

“The late Mrs. Kenny was born at St. John's, Kapunda, in 1853, and was in her 89th year. She was the eldest daughter of Patrick and Mary Cash, of that town. In 1875 she married the late Daniel T. Kenny at ‘Cratlow’, Yorke Peninsula, and a year later came with her husband and infant daughter to Port Lincoln, then by long trek from Port Lincoln to Colton in bullock dray during the month of October. . . She and her husband were among the first farmers in the Colton district, and went through all the hardships of pioneering. Sixteen years later, when the district was cut up for farming, she went with her husband and family to ‘Coolgranna’, Streaky Bay, where she lived until 1923, when she and her husband and daughter Mary retired and made their home at ‘Lisdoonvarna’, Streaky Bay.” [Southern Cross 19 Dec 1941]

Paneling on Execution by Ross Mayfield

Business Books That Matter is a new Book Club program co-organized by White & Lee and the Software Development Forum (SDForum) and sponsored by Microsoft.

The conversation centered on Execution: The Discipline of Getting Things Done by Larry Bossidy and Ram Charan.

Moderator:

Mark Cameron White

Partner, White & Lee LLP

Panelists:

J. Peter Herz

Former CEO of 3ware, Inc. and Board Chairman, IPextreme, Inc.

Bruce Lichorowic

CEO, Intalio, Inc.

General consensus was that the book was good for large company process execution with a Midwest mentality. But in the Silicon Valley, emphasis is on innovation and practice.

Paul Delaroche - The Execution of Lady Jane Grey, 1833 at National Gallery London England by mbell1975

Paul Delaroche - The Execution of Lady Jane Grey, 1833 at National Gallery London England

Execution Ceremonies Thomas J Clarke Stonebreakers Yard (5) by Óglaigh na hÉireann

Execution Ceremonies Thomas MacDonagh Stonebreakers Yard, Kilmainham Gaol (3) by Óglaigh na hÉireann

Execution by The Elder Dan

The last execution performed at the Tower of London was Josef Jakobs, a German spy who parachuted into Cambridgeshire in 1941 but was spotted and captured at his landing point. He'd broken his ankle on impact, so was seated for his death by firing squad in August 1941. The damage to the chair was caused by the seven Lee Enfield .303 bullets that struck him in the chest.

Tower of London armory display in April 2012.

The shirt allegedly worn by Mary Queen of Scots at her beheading by tedesco57

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History

The Coughton estate has been owned by the Throckmorton family since 1409. The estate was acquired through marriage to the De Spinney family.[2] Coughton was rebuilt by Sir George Throckmorton, the first son of Sir Robert Throckmorton of Coughton Court by Catherine Marrow, daughter of William Marrow of London.[2] The great gatehouse at Coughton was dedicated to King Henry VIII by Throckmorton, a favorite of the King.[2] Throckmorton would become notorious due to his almost fatal involvement in the divorce between King Henry and his first wife Catherine of Aragon.[2] Throckmorton favoured the queen and was against the Reformation. Throckmorton spent most of his life rebuilding Coughton.[3] In 1549, when he was planning the windows in the great hall, he asked his son Nicholas to obtain from the heralds the correct tricking (colour abbreviations) of the arms of his ancestors' wives and his own cousin and niece by marriage Queen Catherine Parr[3] (see gallery drawing). The costly recusancy (refusal to attend Anglican Church services) of Robert Throckmorton and his heirs restricted later rebuilding, so that much of the house still stands largely as he left it.[3]

After Throckmorton's death in 1552, Coughton passed to his eldest son, Robert. Robert Throckmorton and his family were practicing Catholics therefore the house at one time contained a priest hole, a hiding place for priests during the period when Catholics were persecuted by law in England, from the beginning of the reign of Elizabeth I of England. The Hall also holds a place in English history for its roles in both the Throckmorton Plot of 1583 to murder Queen Elizabeth, and the Gunpowder Plot of 1605, although the Throckmorton family were themselves only indirectly implicated in the latter, when some of the Gunpowder conspirators rode directly there after its discovery.

The house has been in the ownership of the National Trust since 1946. The family, however, hold a 300-year lease and previously managed the property on behalf of the Trust. In 2007, however, the house reverted to management by the National Trust. The management of the property is renewed every 10 years. The family tenant until recently was Clare McLaren-Throckmorton, known professionally as Clare Tritton QC, until she died on 31 October 2017.[4]

The house, which is open to the public all year round, is set in extensive grounds including a walled formal garden, a river and a lake.

Execution by Clark

IMG_0211 by SingWay

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管樂小集 - 台南市歸仁文化中心 / 在音樂的領域裡你們是巨人 - 藝術不是個人的是每一個人的

Great Music - Tainan Guiren Cultural Center / In music domain you are the giants - Art is not individual is belong every person

Gran música - Centro cultural de Tainan Guiren / En dominio de la música usted es los gigantes - El arte no es individual es pertenece cada persona

管楽小集 - 台南市帰仁文化センター / 音楽の領域の中であなた達は巨人です - 芸術が個人のではありませんてすべての人のです

Große Musik - Kulturelle Mitte Tainan-Guiren / Im Musikgebiet sind Sie die Riesen - Kunst ist nicht ist gehören jede Person einzeln

Grande musique - Centre culturel de Tainan Guiren / Dans le domaine de musique vous êtes les géants - L'art n'est pas individuel est appartiennent chaque personne

Guiren Tainan Taiwan / Guiren Tainan Taiwán / 台灣台南歸仁

偵探先生 / City Hunter / 薩克斯風伴奏 / Saxophone accompaniment

{Mr. Private Eye / 探偵先生}

{View large size on fluidr / 觀看大圖}

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其實我是黑管妹(愛睏仙=無敵鳳眼妹)的粉絲

I am a fans of The sister with a clarinet

Soy los ventiladores de la hermana con un clarinet

私はクラリネットを持つ姉妹のファンである

Ich bin Ventilatoren der Schwester mit einem Clarinet

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{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 have 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

Execution Ceremonies Thomas MacDonagh Stonebreakers Yard, Kilmainham Gaol (6) by Óglaigh na hÉireann

Execution penny dreadful by Joseph Lovece

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Hanging British penny dreadful, Famous Crimes Police Budget Edition vol. IV No. 45, 1902, The Execution of James Bloomfield Rush by anonymous (may be publisher Harold Furniss). The first issue featured Jack the Ripper.

Execution Lighthouse by allfshn99

service execution by icietailleurs

.

exécution capitale by Rahada

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Thomas K on EKTACHROME 160T expired 12/2001

with Heidosmat-Rolleinar

not sure if the processing went wrong somewhere or if it is due to the expired film

lovin it though

Execution by apologeticdon

Execution

EXECUTION Gun Crime by Andreas-photography

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28 gun crimes are committed every day in the UK

Children as young as 11 carry guns

Being in the wrong gang, not selling enough drugs, just being in the wrong place

can lead to an execution

this photo was stage by two giggling 15 year olds with a toy gun in my back yard

although very tempting to whack them both for not being serious no teenager was harmed

Again this is for a photo course i am doing think i may need to retake this one

Execution - Civil War Weymouth by Chris Belsten

Public Execution by B & H

Execution is about unwavering focus. by Dan Hutcheson

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"Keukenhof Gardens" Holland Netherlands Execution Flowers 213-1363 04

Fine Art Prints are available at www.wildphotons.com

10% of your purchases go to an environmental or educational cause.

Wien, 1. Bezirk (the art of very historic buildings of Vienna), Museum für Angewandte Kunst (Musée d'art appliqué, Museo de arte aplicado, Museo di arte applicata, Museum of applied art) - Stubenring/Weißkirchnerstraße (MAK DESIGN LAB) by Alfred Lex

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Koloman Moser (1868-1918)

Secretaire for Berta Waerndorfer

Vienna, 1903

Execution: Wiener Werkstätte

Macassar ebony, veneered; marquetry of Madagascar ebony, box wood, and mahogany; ivory and tortoiseshell inlay; brass

Koloman Moser (1868-1918)

Schreibschrank für Berta Waerndorfer

Wien, 1903

Ausführung: Wiener Werkstätte

Makassar-Ebenholz, furniert; Marketerie aus Madagaskar-Ebenholz, Buchsbaum- und Mahagoniholz; Einlagen aus Elfenbein und Schildplatt; Messing

H 2305/1975, Ankauf von purchased from Nora Hodges-Waerndorfer; New York