View allAll Photos Tagged execution
E. H. Wilson: Criminals awaiting execution, 1899-1910. Tied to a cross-shaped frame, two criminals wait to be moved to the scene of their death. The queue was passed through a hole in the top of the vertical post to keep the body in position, and a rope around the neck was twisted until strangulation occurred.
Source: The Face of China As Seen by Photographers & Travelers 1860-1912, p. 38
The execution notices for two prominent traitors:
en.wikipedia.org/wiki/John_Amery
en.wikipedia.org/wiki/William_Joyce
On display in the small museum at Wandsworth Prison in London. I was particularly pleased to locate the one for 'Lord Haw Haw' (Willian Joyce).I couldn't believe my eyes when I first saw it a few years ago hanging in the corridor leading to the gents toilet in the pub nearest to the prison. But when I returned to photograph it, it had gone - and the pub had been turned into another soulless gastropub.
According to the warder who runs the museum it had been offered to someone who then passed it to the museum. It was clearly stolen, but doubtless the manager of the gastropub would have had no idea who Lord Haw Haw was and would have cared even less!
taken with Nokia N73 during international festival of programmes for children and youth - Prix Danube 2007 - that took place in the art museum Danubiana
Alfred "Jake" Lingle was a reporter for the Chicago Tribune who liked to mingle with cops and gangsters alike. In June of 1930, Lingle had just walked down these subway steps when he was shot in the head from behind and killed. Despite the conviction of Leo Vincent Brothers for the murder it's probable that he was taking the rap for the real killer. Lingle had made enemies of Al Capone and had threatened Bugs Moran 2 weeks prior over his share of the Sheridan Wave nightclub. The hit could have been ordered by either side of the Beer War.
Located at the southwest corner of Michigan Ave. and Randolph St.
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.
Manet - the execution of emperor Maximilian [1868-69] (third version, Copenhagen)
Copenhagen Ny Carlsberg Glyptotek
Who wants to know more about the historical background, why archduke Maximilian of Hapsburg entered in the Mexican adventure may read the following article:
www.holocaustianity.com/hysteria/maximilian.html
More about the history of Manet's paintings:
1) en.wikipedia.org/wiki/The_Execution_of_Emperor_Maximilian
2) www.moma.org/interactives/exhibitions/2006/Manet/
or
www.moma.org/interactives/exhibitions/2006/Manet/detail_f...
A "razakar", referring to the local militiamen accused of looting and committing murder and rape under Pakistani command during the past nine bloody months, pleads for mercy as Mukthi Bahini soldiers pummel him prior to bayoneting him to death at an execution of four men, Dec. 18, 1971, at a Dhaka, East Pakistan, race course (AP Photo/Michel Laurent/Horst Faas)
Foggy, panoramic view of the Long Island Sound and Execution Rocks Lighthouse (1850) from Sands Point, Long Island, NY.
It is rumored that the lighthouse's site got its name before the American Revolutionary War when British colonial authorities executed people by chaining them to the rocks at low tide, allowing the rising water to drown them. This folklore has never been verified by any historical record. The name for this island was actually chosen to reflect the historically dangerous shipping area created by the rocks' exposure during low tides. On March 3, 1847, the United States Congress appropriated $25,000 for creation of Execution Rocks Lighthouse. Designed by Alexander Parris, construction was completed in 1849, although it was not lit until 1850. Over the years, it has survived both a fire and a shipwreck. [Wikipedia]
NOTE: This is my first attempt at colorizing a B&W image. Bob noted that "I was wearing blue jeans. Otherwise you made some good guesses."
This is my friend Bob Lowry. Bob's a journalist whom is retired from UPI (United Press International). In this image, he's seated in Alabama's electric chair which is monikered "Yellow Mama" for obvious reasons. I corrected and colorized this image of him from 1981 at Holman Prison, where the state's only electric chair, and Death Row, is located.
Following are his remarks which appear with the original B&W image, which also appears in the first comment below.
By the way, I too, have sat upon "Yellow Mama."
"A UPI photographer snapped this shot of me sitting in Alabama's electric chair -- called "Yellow Mama" -- at Holman Prison in March 1981 while I was waiting to interview death row inmate John Louis Evans.
Evans would later become the first person executed by the state of Alabama after the death penalty was reinstated by the Supreme Court in 1976.
"I was a reporter for UPI in Montgomery at the time, but transferred to the Austin, Texas, bureau before Evans was executed on April 22, 1983.
"I had interviewed him several times prior to the day of this photo. The interviews always took place in a small room directly across from the electric chair, with a window where prisoners could see the chair.
"The "READY" sign I'm holding was used by the warden. It was placed in a circular hole cut in the wall between the execution chamber and the room where executioner was situated. When it was time to pull the switch, the warden stuck the "READY" sign in the hole.
"Evans never appealed his death sentence.
"Mark Harris witnessed the execution for UPI. He reported that it took three separate jolts of 1,900 volts of electricity to finally kill Evans, who had been convicted in the murder-robbery of a Mobile jewelry store owner. The execution took 14 minutes, and was described as especially imprecise and brutal.
"Incidentally, Alabama's electric chair was called "Yellow Mama" because of its traffic-yellow coat of paint.
Too bad my pic wasn't in color!"
First person account of Evans' execution by UPI News Agency - United Press International's Mark Harris:
en.wikisource.org/wiki/Execution_of_John_Louis_Evans_May_...
Fordwich claims to be the smallest town in England, and depending on what criteria you use, it might be. Or not.
Fordwich lies alongside a narrow lane that winds down the Stour valley side and jumps over the river via a pack bridge. THe road is very narrow in places, wide enough for just one car and turns in 90 degrees in two places too, meaning that it is totally unsuitable for the 20th century, let alone the 21st.
Fordwich was the main prt for Canterbury and is the limit of navigation now on the Stour. It was also once presided over by Sandwich and so is one of the Cinque Ports despite being a few miles from the sea now. This is because of the silting of the Wantsum Channel I talked about at Stourmouth.
Fordwich has two fine pubs, as well as a well known town hall, on stilts, shots of which I have posted before.
St Mary is now under the care of the CCT, and is home to what may be the lid of St Thomas of Canterbury's tomb and a very fine William of Orange coat of arms on the Chancel Arch.
St Mary is also available for Champing; camping in historical buildings, and several of the box pews have camp beds set up.
On this day the writer found the church to be as cold a fridge, and more than a sleeping bag needed to be kept warm at night.
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Familiar as one of the locations in the cult film `A Canterbury Tale` it stands in the heart of the smallest town in England. A Norman church with later additions it contains much of interest. Most notable is the carved stone which reputedly formed part of St Augustine's tomb in nearby Canterbury. Probably of tenth century date it was brought here by the Victorians. There is a fine assemblage of glass - much of it medieval, although the east window is a fine example of the work of Martin Travers. At the west end is a series of shelves for doling out bread to the poor. The box pews are eighteenth century and the floor pleasantly uneven. Keyholder nearby.
www.kentchurches.info/church.asp?p=Fordwich
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THE TOWN AND PARISH OF FORDWICH lIES at no great distance from St. Stephen's, a small part of the parish of Sturry only intervening, and about two miles north-eastward from Canterbury. It takes its name from the ford or pass, at the crooked winding of the river Stour, close to which it is situated. The liberty of the cinque ports claims over the whole of this parish, the town of which is a subordinate member to the principal cinque port of Sandwich, and in the survey of Domesday is said to lie within a hundred of its own name, (fn. 1) being called in the records of that time, Burgum de Fordwyc.
King Edward the Confessor, in the year 1055, gave all his lands in Fordwych to the abbot and convent of St. Augustine, who were possessed of some property here before; but soon after the conquest, Egelsin, then abbot, to gain the favour of the powerful Normans, granted away several of the estates of his monastery to them, and among others this of Fordwych to Hamo de Crevequer, surnamed Vicecomes. But the king afterwards, at the instance of abbot Scotland, put him again in possession of this borough, which Hamo the sheriff then held, as well as the other estates which had been given away. And at the same time Odo, bishop of Baieux, the king's half-brother, gave to the abbot all the houses he had here. Soon after this, anno 1080, the survey of Domesday was taken, in which, under the general title of the lands of that abbey, it is thus entered:
In Forewic hundred, the abbot himself holds one small borough, which is called Forewic. Two parts of this borough king Edward the Confessor gave to St. Augustine, but the third part, which was earl Goduin's the bishop of Baieux granted to the same saint, with the consent of king William. It was taxed at one yoke. There were one hundred plats of land, all but four, paying thirteen shillings, now there are seventy-three plats, paying as much. In the time of king Edward the Confessor, and afterwards, it was worth one hundred shillings, now eleven pounds and two shillings. There are twenty four acres of land, which St. Augustine had separate where there were, and there are six burgesses, paying twentytwo shillings.
In this borough archbishop Lanfranc has seven plats of land, which in the time of king Edward the Confessor performed their service to St. Augustine, now the archbishop takes away the service to himself.
Night to the city of Canterbury, St. Augustine has half a suling, which was separately acquitted; and there is one carucate in demesne, with fifteen borderers, and seven acres of meadow; and there are four acres of arable land, which four nuns hold in alms of the abbot, and pay two shillings, and one seam of meal flour. The whole of this, in the time of king Edward the Confessor, and afterwards, and now, was and is worth four pounds.
This manor was confirmed to the abbot and convent by inspeximus, by king Edward III. in his 36th year, at which time it appears that the abbot had a prison here, and held land then called a park in his demesne in this parish. After which it remained part of the possessions of the monastery till its dissolution, anno 30 Henry VIII. when it was surrendered into the king's hands, where the manor of Fordwich remained till king Edward VI. in his 7th year, granted it, with the advowson of the church, to Sir Thomas Cheney, to hold in capite, who in the Ist year of queen Mary alienated both manor and advowson to Mr. John Johnson, gent. of St. Laurence, whose grandson Timothy Johnson, gent. of Fordwich, about the latter end of that reign alienated them to Thomas Paramour, gent. descended from those of Paramourstreet, in Ash, who resided here, (fn. 2) and in James I.'s reign sold them to the lady Elizabeth Finch, widow of Sir Moile Finch, of Eastwell, afterwards created viscountess Maidstone and countess of Winchelsea, whose surviving son and heir Sir Thomas Finch, earl of Winchelsea, in the beginning of king Charles I.'s reign, passed them away to his relation Sir J. Finch, afterwards a justice of the common pleas, keeper of the great seal, and in 1630 created lord Finch, baron of Fordwich, who at his death in 1660 devised this manor and advowson by his will to his kinsman Heneage, earl of Winchelsea, whose grandson Charles, earl of Winchelsea, alienated them to William, lord Cowper, afterwards created earl Cowper and viscount Fordwich, whose great-grandson the right hon. Peter-Lewis-Francis, earl Cowper, is the present owner of the manor and advowson of the church of Fordwich. (fn. 3) A court baron is held for this manor.
THERE is an estate in this parish, called TANCREY ISLAND, which, in king Edward I.'s reign, was the property of the family of Marins, called in old deeds de Marinis, one of whom, John de Maryns, had a grant of free-warren for his lands here in the 1st year of king Edward III. but in the next reign of king Richard II. it was the property of a family who took their name from it, when Bertram de Tancrey stiled himself lord of it, in whose descendants it continued down to king Henry IV.'s reign, when it passed to the Beverleys, of Beverley, in Harbledowne, who afterwards quitted that seat and resided here, in whom it continued till William Beverley leaving an only daughter and heir Beatrix, she carried it in marriage, about king Henry VIII.'s reign, to William Norton, of Faversham, second son of Reginald Norton, esq. of Sheldwich; and it appears by the arms on a gravestone in this church, that this branch of the family of Norton bore for their arms, Three swords, jointed at the pomels in triangle, on a chief, three maunches; and that the Beverleys bore, Barry, on a chief, two pales, over all, an escutcheon, a crescent for difference; by which correct the arms of Beverley, in Harbledowne. He afterwards removed hither, and in his descendants it continued till at length it became the property of Mr. George Upton, gent. of Canterbury. After which it passed by his will to his relations, the Jennings's, with whom it continued down to Anthony Jennings, who resided here, and died possessed of it in 1771, leaving his widow Mrs. Martha Jennings surviving, who is now possessed of it, and resides here.
THE TOWN of Fordwich was in antient time of much greater account than it has been for a long time past, for Leland, who lived in Henry the VIIIth.'s reign, mentions it as then having in it a poor mayor. During the time that Reculver continued one of the mouths of the Portus Rhutupinus, and the sea flowed up from thence as far as Fordwich, it continued the great resort for the shipping, which then frequented in abundance the river Stour, the navigation of which extended as high as the key of this town, where the ships were moored, and where all goods were laded and unladed; and in the time of the Saxons there was here a public collector of the customs and droits arising from thence, appointed by the king; which duties, after the gift of the manor of Fordwich by king Edward the Confessor, belonged to the abbot of St. Augustine, and continued so till the dissolution of that monastery in king Henry VIII.'s reign. But the prior and convent of the Holy Trinity, afterwards Christ-church, in Canterbury, claimed the privilege of a key here likewise, for the use of which they built a house in a meadow close to the town, which the abbot of St. Augustine's repeatedly threw down; but this produced continual controversies between them, which at last, in 1285, was settled by a composition made between them, by the justices itinerant, appointed by the king for that purpose. (fn. 4)
The town of Fordwich lies very low and unhealthy, close to the marshes, on the southern bank of the river Stour, a lonely place, of little or no thoroughfare. It is but small and mean, consisting of about thirty houses and cottages. The only remains of antiquity, of its having belonged to the abbey of St. Augustine for a great length of time past, was a losty arched gateway, built of brick, at the entrance to their wharf here, lately pulled down, and a small length of flint wall close to the river. Near which is a large handsome house, belonging to the Blaxlands, and now made use of as a soap manufactory. This house is known by the name of Hemphall, and was formerly part of the possessions of St. Augustine's monastery, parcel of their manor here, probably their manorhouse, and the same in which the Johnsons and Paramours, who afterwards had the grant of the manor, resided. Not long after which it seems to have been separated from the manor, and come into the possession of the Crispes, in which it continued, till at length Mrs. Eleanor-Anne, daughter of Henry Crispe, esq. of Quekes, carried it in marriage to Robert Darell, esq. who resided here, whose first wife she was; and afterwards, in like manner, to the Shorts, several of whom, as well as the Darells, lie buried in the chancel of this church, the last of whom, Samuel Short, esq. of this town, died in 1716. After which it was alienated to the Turners, and thence to the Blaxlands. Close to the above-mentioned house is the court-hall, or sessions-house, and the prison underneath it. In the southern part of it is an antient brick house, formerly of some note, and much larger, seemingly of the time of queen Elizabeth, and no doubt once a gentleman's habitation, now belonging to the Graydons; a little above which is a seat, called Hermesland, once belonging to the family of Harlestone, descended out of Suffolk, and bore for their arms, Paly, or, and sable, (fn. 5) one of whom, Simon Harlestone, resided here in queen Elizabeth's reign. After which it was purchased by the Osbornes, and was afterwards alienated by William Osbornes, A. M. rector of Fordwich, to John Graydon, esq. afterwards vice-admiral of the royal navy, who rebuilt it, and resided here at his death in 1727. He married Mary, grand daughter of Sir Edward Gregory, commissioner of Chatham dock, and dying in his eighth mayoralty of this town, was buried in Westbere church. John, his eldest son, succeeded him in this seat, and died s.p. Benjamin, his second son, was of Rochester, and left a son Benjamin, now of Fordwich, and owner of this seat; and Gregory, his third son, was of Canterbury, gent. and married a daughter of William Hougham, esq. of that city. They bore for their arms, Azure, three otters, each holding in its mouth a fish, argent. Mr. Ben jamin Graydon, of Fordwich, a descendant of him before-mentioned, is owner of this seat, which is at present untenanted. The church stands close to the east end of the town, and the parsonage-house at some distance southward of it, in the road leading to Stodmarsh, The river Stour, and the small spot of Tancrey island, over which the high road leads from Sturry to Fordwich, bound the north part of this parish, which extends about a mile southward up the hill, as far as the road next to the wall of the Moat park.
THE CORPORATION of the town of Fordwich and its liberties, extend over the town and the whole of this parish, and over part of the parishes of Westbere, Sturry, Northgate, and St. Martin's, in Canterbury, and likewise down the river Stour to Grove ferry, and thence as far as Plucks gutter, just below the Wingham water, opposite to the Isle of Thanet. It is a corporation by prescription, the members of which were at first stiled barons; but it is now governed by a mayor, jurats, and commonalty, of freemen, to which is added a high steward, treasurer, and town-clerk. The mayor, who is coroner by virtue of his office, is chosen yearly on the first Monday after the feast of St. Andrew, and with the jurats, who are justices within these liberties exclusive of all others, hold a general sessions of the peace and gaol delivery, (fn. 6) together with a court of record, the same as at Sandwich, and it has other privileges, mostly the same as the other corporations within the liberties of the cinque ports; and there was a gallows erected just below the key, for the execution of criminals, which has been down but a few years. It has a mace belonging to it, which is very handsome, of silver gilt, and given to the corporation by admiral Graydon; and the mayor, the same as at Sandwich, bears in his hand, when exercising his office, a black wand. The river Stour is still navigable for lighters and barges as far as the bridge just above the town, for the passage of carriages, over which the corporation exact a toll. The droits and duties arising from the coals and other ladings brought up the river and landed at the town-key, belong to the corporation, who likewise receive twenty shillings yearly from the dean and chapter of Canterbury, for the use of the crane and wharf here. There is a particular species of trout, which frequents the river Stour, and being for the most part caught within these liberties, is from thence known by the name of Fordwich trout; being esteemed of a superior flavour to most others, and there being but few of them taken in a year, they bear a high price, and are much sought after as a delicacy throughout the neighbourhood. They are of a silver colour, speckled with black spots, and the flesh of them is of a yellowish colour; they weigh from four to ten or twelve pounds. They are a very shy fish, insomuch that they are not often taken with a drag net, and seldom or never with a hook. It is supposed they never breed in the river, no small ones being ever found in it, nor large ones with any spawn in them, but that they come from the sea, many of them being taken without the mouth of the river, particularly in the set-nets in Pegwell bay, at the entrance of Sandwich harbour. There are not more than thirty caught here yearly on an average, though they were more caught formerly than for several years past.
SIR JOHN FINCH, (son and heir of Sir Henry Finch, younger brother of Sir Moile Finch, of Eastwell, ancestor of the earls of Winchelsea and Nottingham) who was speaker of the house of commons, and afterwards made chief justice of the common pleas, was in 1639, anno 15 Charles I. made lord keeper of the great seal, and created lord Finch, baron of Ford wich. He died in 1661, without male issue, and the title became extinct. (fn. 7)
WILLIAM COWPER, ESQ. son of Sir Wm. Cowper, bart. of Ratling-court, in Nonington, having been made lord keeper of the great seal in 1705, was on December 14, 1706, anno 5 queen Anne, created lord Cowper, baron Cowper, of Wingham, in Kent, and in 1707 made lord chancellor; and on March 18, 1718, anno 4 George I. he was further advanced to the dignity of earl Cowper, and viscount Fordwich. He died in 1723, and was buried at Hertingfordbury, being succeeded by his eldest son William, second earl Cowper, and viscount Fordwich, who died in 1764, having some time before prefixed the surname and arms of Clavering to his own, according to the will of his mother's brother. He was succeeded by his only son George Clavering, the third earl Cowper, and viscount Fordwich, who residing at Florence, was created a count of the sacred Roman empire, which title was confirmed by king George III. He died in 1789, having married Anne, daughter of Francis Gore, esq. of Southampton, and was succeeded by his eldest son George-Augustus, earl Cowper, and viscount Fordwich, who dying unmarried in February, 1799, was succeeded by the right hon. Peter-LewisFrancis, the fifth and present earl Cowper, and viscount Fordwich, who is at present unmarried. He bears for his arms, quarterly, Clavering, or, and gules, surmounted with a bend, sable; and Cowper, argent, three martlets, a chief engrailed, gules, on the latter as many annulets, or; supporters, Two bay horses, with tails docked, proper. Crest, On a wreath, a lion's gamb, erected and erased, or, holding a branch vert, sructed, gules.
Charities.
WALTER BIGG, jurat, by his will in 1631, gave three pieces of land, containing nine acres, for the relief of poor aged people, to be distributed by the mayor and jurats yearly on Good-Friday, and on the Friday before Christmas-day.
STEPHEN BIGG, of Fordwich, by will in 1646, gave the rent of 20 acres of land in Romney Marsh, to be distributed yearly to six poor housekeepers, and the like number of Sturry, 20s. to each; the remainder to put out poor boys and girls of each parish apprentices, and to remain in stock in for that use for ever.
THOMAS BIGG, by will in 1669, gave 50s. per annum, to be paid weekly to the overseers, to be distributed to the poor at their discretion. Which money is given away weekly in bread.
THERE ARE nine acres of meadow in this parish, late in the possession of Anthony Jennings, into which the resident freemen of this corporation have the liberty of turning any kind of cattle, except hogs, between the months of September and May.
FORDWICH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of the same.
¶The church, which is dedicated to St. Mary, consists of two isles and a chancel, having a tall spire steeple at the west end, in which are four bells. It is situated so close to the river, and so much on a level with it, that it is sometimes overflowed, and always exceedingly wet and damp. There seems to have been some good painted glass in the windows, of which there are but few remains. In the south isle is a stone, with the figure of a woman, and inscription in brass, for Afra, wife of Henry Hawkins, gent. daughter of Thomas Norton, esq. obt. 1655; arms, Hawkins, of Nash, impaling Norton; with the quarterings of Martyn, Beverley, and Hide. Several memorials for the Jennings's, of Tancrey island, and the Nortons. In the chancel are several memorials and hatchments of the Darells and Shortes, of this parish; the latter bore, Azure, a griffin passant, between three stars of six points, or. In the church-yard is a memorial for John Graydon, esq. obt. 1774. In the west part of the body of this church, was placed a very antient stone shrine against the wall, which having been removed some years since, was cast out in the church-yard, where being soon likely to perish, by being exposed to the weather, it was purchased by the editor of this history, and brought to the precincts of the cathedral of Canterbury, where it now lies. It is one solid stone, Sculptured only on one side; the back part having two hollows, as if made to fasten it to the wall. There is no conjecture to be formed on whose account it was made and placed there. (fn. 8)
The church of Fordwich is a rectory, and was always an appendage to the manor, and as such is now of the patronage of the right hon. earl Cowper, the present lord of the manor of Fordwich. It is valued in the king's books at 5l. 15s. 2d. and is now of the clear yearly certified value of forty-two pounds. In 1588. it was valued at thirty pounds, communicants one hundred and forty. In 1640 it was valued at forty pounds, communicants one hundred. It is now of about the yearly value of one hundred and twenty pounds. There are three acres of glebe land.
The rector for some length of time received of the corporation, in lieu of tithes of the merchandize of the key here, by composition, five pounds, by the name of crane duties, which has not been paid since the year 1733.
Ticket To The Execution of Victor Forunier & Edward LaBelle YUKON TERRITORY, CANADA 1903.
IF YOU HAVE ANY SIMILAR MATERIAL FOR SALE, PLEASE CONTACT ME! I BUY!
Sure Roschler! Be the funny guy Roschler! But now you will see the wrath of Roschler in the first ever live televised Execution On Flickr!
Not nearly as festive as Jibbitz, the gibbet was an execution device of sorts.
I couldn't make the sign any more readable, but it says: ""In the Middle Ages, criminals were locked into body cages called gibbets, hung from the sides of castles and left to die. Exposed to the elements and picked at by birds, the prisoner wouldn't last too long -- but the skeletal remains were often left on display for weeks in order to warn others of the fate of criminals."
Brutal justice indeed.
execution, torture.
cage, gibbet.
Ripley's Believe It Or Not!, museum, Ocean City, Maryland.
August 5, 2009.
Pic by Ryan Somma.
Originally posted at flickr.com/photo.gne?id=3795498726
... Read my blog at ClintJCL.wordpress.com
... Read Ryan's blog at www.ideonexus.com/
... View Ryan's photos at www.flickr.com/photos/ideonexus/
BACKSTORY: Ripley's Believe It Or Not! museums kick ass! Definitely worth the ~$13 admission. We spent several hours looking at things and photographing. And no two museums are alike -- I've been to at least 2, possibly 3. Sure, they may have some of the same wall prints and statues, but the actual items are often one-of-a-kind. Find the museum nearest to you with their official museum locator app.
Also, note that I did not repost every one of Vicky & Ryan's pictures. You might want to click through and check out some of their other pictures from the museum as well!
According to Kaleme website, Hamid Ghassemi-Shall and his family have been informed of his imminent execution during this week’s visit at Evin Prison.
Hamid Ghassemi-Shall, 42, was arrested in 2008 while visiting his family, and was later charged with espionage.
He was sentenced to death in 2009. An Iranian court has rejected an appeal.
“Canada is gravely concerned by indications that the execution of Mr. Ghassemi-Shall may be carried out imminently,” Baird said in a joint statement Sunday with Diane Ablonczy, the junior minister for foreign affairs.
Baird called on the Iranian government to grant clemency to Ghassemi-Shall on compassionate and humanitarian grounds and to respect its international human rights obligations.
The Iranian-born Ghassemi-Shall emigrated to Canada after Iran’s 1979 revolution, and most recently lived in Toronto.
He is awaiting execution in Tehran’s notorious Evin prison, where another Canadian — photojournalist Zahra Kazemi of Montreal — was beaten, raped and killed in 2003.
Another Canadian resident, web programmer Saeed Malekpour of Richmond Hill, Ont., is also on death row in Evin prison. Malekpour, who was born in Iran, is charged with setting up a website that was used to post pornography. He maintains his innocence and says he was tortured into confessing to crimes against Islam.
Prime Minister Stephen Harper is also calling on Iran to spare the life of an Iranian-Canadian convicted of espionage and awaiting execution.
Harper warned there will be consequences if Hamid Ghassemi-Shall is executed.
Harper’s warning followed a similar statement by Foreign Affairs Minister John Baird who said Sunday that Ottawa is “gravely concerned” by indications that Ghassemi-Shall’s execution may be imminent.
“We urge Iran to reverse its current course and to adhere to its international human rights obligations,” Baird said.
■■■■■ www.persianicons.org/human-right/iranian-canadian-facing-... ■■■■■
legos will be spilt this night!
I used a single flash(580EXII) inside of a westcott apollo softbox at camera left and triggered with pocket wizards TT1. shot at 1/400th to take down the ambient light.
1st panel, top: The execution of Maximilian in 1867.
Maximilian of the House of Hapsburg was an Austrian archduke who was proclaimed Emperor of Mexico with the backing of France and Mexican monarchists. Republican forces led by Benito Juárez, refused to recognize his administration. When France withdrew its military support after pressure from America, Maximilian and his generals were captured and executed in 1867. His last words were, "I forgive everyone, and I ask everyone to forgive me. May my blood which is about to be shed, be for the good of the country. Viva Mexico, viva la independencia!".
In the mural, the imperial eagle of the Hapsburgs flies away from Mexico, towards Europe after Maximilian's death.
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1st panel, bottom: Indians constructing new buildings and the branding of Indian slaves by the Spanish conquistadors.
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Between 1st & 2nd panel, middle: Hernán Cortés and his Mexican mistress La Malinche, with their son Martin. Below this is the suppression of the Mayan culture with the burning of the Mayan codices & manuscripts by the Bishops Juan de Zumárraga and Diego de Landa.
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2nd panel, top: The Mexican Revolution (1910-20).
On the left side is the dictator Porfirio Diaz. His policies gave most of Mexico's resources away to foreign companies, as shown by the various industries in the background.
On the right are the leading Revolutionaries. Notable figures are Otilio Montaño who is the figure wearing his headband. He stands next to Emiliano Zapata, a leading figure in the Mexican Revolution. Pancho Villa is the figure sporting a macho mustache and wearing the sombrero.
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2nd panel, middle: An auto-da-fé during the Inquisition in Mexico. The figure in glasses to the left side of the heretics is the archbishop Juan de Mendoza and the religious figure to the right is Pedro Moya de Contreras who was the inquisitor general, and archbishop & Viceroy of Mexico.
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2nd panel, bottom: A Conquistador rapes an Indian woman and behind him, native Tlaxcaltecans who sided & fought alongside with the Spanish.
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3rd panel, top: Banner with the Zapatista slogan "Tierra y Libertad" (Land and Liberty). From left to right above the banner are Emiliano Zapata (the revolutionary leader), Felipe Carrillo Puerto (governor of Yucatán), and José Guadalupe Rodríquez..
On the top left are Álvaro Obregón Salido and Plutarco Elías Calles. Both were key players in the Mexican Revolution. Alvaro Obregón Salido was was a Mexican farmer and general who became President in 1920. Plutarco Elías Calles was a Mexican general and politician who suceeded Obregón as President.
Below Álvaro Obregón in the mural are Agustín de Iturbide (in red and white regal costume) and Vicente Guerrero (in red vest holding the banner).
At the end of the Mexican War of Independence, the Army of the Three Guarantees was created to fight Spanish royalist forces which refused to accept Mexican independence. The army was formed from the unification of the Spanish troops led by Agustín de Iturbide and the Mexican insurgent troops of Vicente Guerrero. The decree creating this army stated the three guarantees which it was meant to defend: religion, independence, and unity.
In the mural, Vicente Guerrero is holding the flag of the Three Guarantees. On 27 September 1821, Iturbide led the Army of the Three Guarantees triumphantly into Mexico City; the following day Mexico was declared independent.
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3rd panel, centre: Miguel Hidalgo's response to the Spanish prohibition against growing grapes to protect the sales of Spanish imports of the items.
Miguel Hidalgo, was a Mexican priest and a leader of the Mexican War of Independence. He tried to help the poor by showing them how to grow olives and grape. In 1810 he gave the famous speech, "The Cry of Dolores", calling upon the people to protect the interest of their King Fernando VII (held captive by Napoleon) by revolting against the Spaniards. He led an army of poor farmers & civilians across Mexico, but was eventually defeated and killed by the Spanish.
The figure holding the sword is Martín Cortée (son of Hernán Cortés and La Malinche). He was educated in Spain and returned to Mexico in 1563. However, he was accused of conspiracy against the Crown and subsequently imprisoned, tortured and sentenced to indefinite exile in Spain, never to return to Mexico.
Eagle clutching the Aztec symbol of war, the Atl-Tlachinolli ("burning water").
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3rd panel, bottom: The siege of Tenochtitlan 1521.
Tenochtitlan was the capital of the Aztec Empire. During the Spanish conquest of the Aztec Empire, Hernán Cortés allied with rivals of the Aztecs, including the Totonacs, and the Tlaxcaltecas. Cortés fought numerous battles against the Aztecs, but it was the siege of Tenochtitlan in 1521 that was the final and decisive battle that led to the downfall of the Aztec civilization.
Cuauhtémoc was the Aztec ruler of Tenochtitlan at the time of the siege. His name means "One That Has Descended Like an Eagle". As Tenochtitlán fell to the Spanish, Cuauhtémoc was captured and tortured by Hernán Cortés. In 1525, he was hanged for treason while accompanying a Spanish expedition to Guatemala.
In the mural, Hernán Cortés is on horseback with vizer up leading the attack. Beneath him are indigenous peoples who fought alongside the Spanish against the Aztecs.
Cuauhtémoc is dressed in an eagle costume, leading the defense of Tenochtitlán. Next to him is a priest who offers up a Spanish victim's heart. Next to the Priest is Cuitláhuac, who ruled Tenochtitlan for just 80 days and was succeeded by Cuauhtémoc. Cuitláhuac died of smallpox that had been introduced to the New World by the Europeans.
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4th panel, top: The Federal Constitution of the United Mexican States of 1857.
The Constitution of 1957 was ratified on February 5, 1857 establishing individual rights for Mexicans such as freedom of speech, freedom of the press and the right to bear arms. It also reaffirmed the abolition of slavery.
However, some of the reforms curtailed the power of the Catholic Church, restricting their privileges and forcing the sale of property belonging to the church.
In the mural, Benito Juárez who was the President of the Republic, is seen holding the constitution.
In the background are men with pick-axes destroying churches and the door of the central church is already destroyed.
Between the monk and the Pope is Antonio López de Santa Anna, president of Mexico on several occasions. He was corrupt and funneled government funds into his own pockets.In 1855 a group of liberals led by Benito Juárez and Ignacio Comonfort overthrew Santa Anna and fled to Cuba.
Opposite Antonio López de Santa Anna is Miguel Miramón - a staunch conservative who opposed the Constitution of 1857 and fought in the War of Reform. In 1867, he was shot for treason on the order of President Benito Juárez. The broken sword held by Miguel Miramón in the mural represents his betrayal of Mexico.
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4th panel, centre: The New Laws of 1542.
The New Laws of 1542 were created to prevent the exploitation of the Indigenous peoples of the Americas by the Encomenderos. This included its solemn prohibition of their enslavement and stated that the natives would be considered free persons and the encomenderos could no longer demand their labour.
The Spanish missionary Bartolomé de las Casas was instrumental for the creation of the New Laws, who was able to influence the King to sign the New Laws. His active role in the reform movement earned Bartolomé de las Casas the nickname, "Defender of the Indians".
In the mural, Bartolomé de las Casas is seen holding a cross shielding Indigenous people from the Spanish conquerors. A stone serpent sculpture is used as a Christian baptismal font to baptise Indigenous people.
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5th panel, top: The Mexican–American War (1846-48).
The Mexican–American War started after the 1845 U.S. annexation of Texas, which Mexico considered part of its territory.
The mural shows scenes of the Battle of Chapultepec in September 1847. Nicolás Bravo was the Mexican general who led the troops defending Chapultepec Castle.
In the mural, Nicolás Bravo is holding his sword in front of the Mexican troops. Chapultepec Castle is in the background and the flying eagle holds the Aztec symbol of war, the Atl-Tlachinolli.
The National Palace, Mexico City.
The nail that sticks out must be pounded down.
STREET PHOTOGRAPHY IS NOT A CRIME*
________________ ___________________ ______________
The word from the officials regarding the police harassment I've received:
"Although Cst. Hynes had the power to seize Dean's entire camera, it appears that he inconvenienced Dean less by simply deleting the images in question and then returning the camera to him."
(The Office of the Police Complaints Commissioner)
"Sgt. Sawyer located numerous concerning photographs in your internet collection, including dolls manipulated into sexual positions..."
(The Victoria Chief of Police)
"Your complaint and the outcome is a classic example of why we have no faith in the police complaints system in B.C."
(David Eby, Executive Director of the B. C. Civil Liberties Assoc.)
"...the investigation report aims to discredit Mr. Dean and to treat the complaint as not being a serious matter. That is, with respect, inappropriate."
(Robert Holmes, President of the B. C. Civil Liberties Assoc.)
________________ ___________________ ______________
*based on the photo by Eddie Adams - "The Execution of a Viet Cong Guerrilla" (1968)
South Vietnamese National Police Chief Brig Gen. Nguyen Ngoc Loan executes a Viet Cong prisoner with a single pistol shot in the head in Saigon Feb. 1, 1968. Nguyen died Wednesday, July 15, 1998 at his home in Burke, a suburb of Washington, D.C., after a battle with cancer, said his daughter, Nguyen Anh. He was 67. This photo of Nguyen aiming a pistol point-blank at the grimacing prisoner's head became a memorable image of the Vietnam War. The photograph, by Eddie Adams, won a Pulitzer prize for The Associated Press.
With North Vietnam’s Tet Offensive beginning, Nguyen Ngoc Loan, South Vietnam’s national police chief, was doing all he could to keep Viet Cong guerrillas from Saigon. As Loan executed a prisoner who was said to be a Viet Cong captain, AP photographer Eddie Adams opened the shutter. Adams felt that many misinterpreted the scene, and when told in 1998 that the immigrant Loan had died of cancer at his home in Burke, Va., he said, “The guy was a hero. America should be crying. I just hate to see him go this way, without people knowing anything about him.”
A lightly dressed girl hangs on the wooden beam. Nobody seems to be bothered of it. Macabre protest action of a nightclub owner in a dispute with the authorities because of the opening times. Rorschach, Switzerland, March 12, 2012.
Berthold had two Times families in its phototype library at the time this Berthold Types catalog was published in 1988. “Times New Roman” looks to be based on a 12pt or larger size, like the digital Times we know today. But Times New Roman 327 (a series name from Monotype) appears to be based on a smaller metal version. It’s darker, broader, and sturdier.
The difference is even more obvious in the bolds of the two families. To me, the sources for both Monotype (AKA 334) and Linotype digital versions (MT’s is essentially what you see here at left) really suffer from the condensed bold. At first I thought this was the result of duplexing, the practice of casting multiple styles and weights on the same width, but Walter Tracy in Letters of Credit says that wasn’t a requirement for the project and indeed Roman and Bold widths differ. In fact, many Bold letters are actually narrower, resulting in counters reduced to mere slits in some cases. Times 421 is not compromised in this way and the result is much more clear and confident. Yes, it takes up more space; but this style needs to — especially for text.
Times 421 also maintains the angled stress of the regular (327), while Times New Roman Bold is forced into an unrelated vertical stress. Starling is a digital interpretation of Times that does maintain stress angle and open counters throughout its weights, but it’s still more of a display face.
I haven’t yet compared the italics.
I don’t know if this design originated at Monotype or if it’s a Berthold invention. It isn’t a match, but it does seem similar to the variant used by Stanley Morison in his essay on Times for A Tally of Types (1953), which he describes as “a wide version, more suited for longer lines.” Jaspert, Berry and Johnson show that in Encyclopaedia of Typefaces as “Times Wide” (Series 427).
Another possible link to this Berthold design is mentioned by Tracy in Letters of Credit:
“This disparity in style between the roman and bold was evidently something the German Linotype company thought should be eliminated. In the version of Times Roman they issued in 1935, first called Neue Romanisch but then named Toscana, the bold lowercase was redesigned in the ‘old style’ mode. The idea of harmonising the bold with the roman was logical; the actual execution, especially the character spacing, was not well done. The type soon disappeared.” [scan]
Painting Cabinet 30
Gysbert Gillisz. de Hondecoeter (?), 1603/04 - 1653, active in Utrecht
Spotted drake
Oil on oak wood
Staatliche Kunsthalle Karlsruhe
In the famous Comte de Vence auction in February 1761 Karoline Luise acquired this painting as a work by Jan Brueghel. The already in the auction catalog vaunted close to nature and the fine execution the Marchioness particularly will have liked. Although the attribution to Brueghel can not be proved, so come here but art and nature - two areas for which Karoline Luise had a burning interest - at a high level together.
Malereikabinett 30
Gysbert Gillisz. de Hondecoeter (?), 1603/04 - 1653, tätig in Utrecht
Gefleckter Erpel
Öl auf Eichenholz
Staatliche Kunsthalle Karlsruhe
Bei der berühmten Comte de Vence-Auktion im Februar 1761 erwarb Karoline Luise dieses Gemälde als Werk Jan Brueghels. Die schon im Versteigerungskatalog gepriesene Naturnähe und die feine Ausführung werden der Markgräfin besonders gefallen haben. Auch wenn sich die Zuschreibung an Brueghel nicht halten lässt, so kommen hier doch Kunst und Natur - zwei Bereiche, für die sich Karoline Luise brennend interessierte, auf hohem Niveau zusammen.
Collection
The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.
A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.
The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).
In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.
Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.
One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.
For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.
Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.
In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.
Sammlung
Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.
Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.
Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).
In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.
Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.
Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.
Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.
Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.
Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.
Henri Regnault (1849-1871)
Summary Execution under the Moorish Kings of Grenada
1870
Oil on canvas
H. 305; W. 146 cm
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Henri Regnault was born in Paris in 1843 and killed in 1871 in one of the last battles of the Franco-Prussian war. Yet the young man had already made a name for himself in the Paris art scene. After winning the Prix de Rome in 1868, he was the first not to spend the three compulsory years in the Italian capital that went with the prize but obtained permission to discover other cultures. He went to Spain, whence he sent to the Salon of 1869 the gigantic painting General Juan Prim, also in the Musee d'Orsay, then briefly to North Africa, bringing back a number of astonishing canvases, flooded with light.
Taking his inspiration from local legends, he painted this Summary Execution under the Moorish Kings of Grenada in 1870. Against an architectural background based on the Alhambra in Granada and infused with an orange glow, Regnault has painted a scene of decapitation. The low angle and vigorous rising composition give the main character an imposing presence.
The executioner's detached attitude and commonplace gesture contrast with the foreground in which the blood dripping down the steps joins the severed head to the body. The colours also take part in this opposition because the executioner's caftan, which picks up the orange tones of the background, contrasts with the victim's green and black clothing.
The painting was acclaimed by the critics and bought by the State from Regnault's heirs, in 1872, to honour the artist's memory in the Musée du Luxembourg, Paris.