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Edouard Manet’s Execution of the Emperor Maximilian (1867) portrays the dramatic moment of Maximilian’s execution alongside generals Miguel Miramón and Tomás Mejía, ordered by Benito Juárez. Breaking convention, Manet depicted this contemporary political event on a monumental scale, usually reserved for mythological or historical scenes. The composition, inspired by Francisco Goya’s “Third of May 1808,” emphasizes the immediacy of the tragic event through dynamic and unresolved brushwork. This painting is the earliest version of several Manet created, reflecting his ideological opposition to Napoleon III’s intervention in Mexico. The painting was acquired by Frank Gair Macomber in 1909, likely upon Mary Cassatt’s recommendation, and gifted to the MFA in 1930.
The Museum of Fine Arts was founded in 1870 and relocated to its current neoclassical building designed by architect Guy Lowell at 465 Huntington Avenue in 1909. The museum's vast collection spans over 500,000 works of art, with highlights including ancient Egyptian artifacts, 18th- and 19th-century American art, French Impressionist and Post-Impressionist masterpieces, and a renowned collection of Asian art. Originally located in a Gothic Revival building in Copley Square, much of the museum’s early collection came from the Boston Athenaeum Art Gallery. Over the years, the museum expanded significantly, adding the Decorative Arts Wing in 1968, the Norman Jean Calderwood Garden Court and Terrace in 1997, and a modern Americas Wing in the mid-2000s designed by Foster and Partners.
The execution room at Seodaemun Prison. The preferred method of execution by the Japanese during the occupation: hanging.
Seodaemun Prison was built during the Japanese occupation (1910-1945) to keep Korean "dissidents" -- Koreans who rather valued national independence -- in line. The conditions were pretty barbarous, to say the least, and included torture along with other inhumane treatment.
Seoul, South Korea.
On 15th August 1941 the German spy Josef Jakobs was blindfolded and placed in a chair and executed by firing squad.
0327-562-21
Summers & Koontz Executions
On 22 May 1865, after the Civil War ended. Capt. George W. Summers, Sgt. I. Newton Koontz, and two other armed veterans of Co. D, 7th Virginia Cavalry, robbed six Federal
cavalrymen of their horses near Woodstock. The horses were returned the next day to the 192d Ohio Volunteer Infantry at Rude’s Hill. Despite assurances that all was forgiven, Lt. Col. Cyrus Hussy, temporarily commanding the 192nd, later ordered the men arrested. The others escaped, but Summers and Koontz were shot without trial here on 27 June. Thirty years later, Capt. Thomas J. Adams and friends erected the nearby monument to commemorate their deaths.
On March 16 2018, Brookings Economic Studies’ Center on Regulation and Markets hosted a discussion on how to create a smarter, more efficient approach to infrastructure. At the start of the event, U.S. Department of Transportation Under Secretary Derek Kan discussed the president’s new infrastructure initiative. Following Kan’s remarks, a panel of experts explored how to implement infrastructure projects that save American taxpayer dollars while delivering the infrastructure investment that Americans deserve. Lastly, Representative Brian Babin (R-TX) spoke about his district's infrastructure policy efforts and gave closing remarks.
Photo by Paul Morigi
From the display notes:
The Spine and Tooth of Santo Guerro, 2007
Guns, bullets, shot, steel, glass, tooth, bone, and 15th-century fabric.
Museum purchase, gift of Dr. Thomas Jackson and Dr. Kathleen Grant
The design of The Spine and Tooth of Santo Guerro draws on elements from several medieval European cathedrals. In its creation Farrow used more than two hundred deconstructed guns, as well as thousands of bullets and shot, as a comment on the longstanding connection between religious intolerance and warfare. Here he focuses particularly on the medieval Crusades, which sanctioned the violent conquest of the Holy Land and the conversion or execution of non-Christians.
Farrow transforms the cathedral into a reliquary by including a human spine in the nave and a human tooth over the transept door--both relics belonging ostensibly to the fictitious Santo Guerro ("Saint War"). The spine, mounted for display on a platform covered with 15-century silk, reminds us that many European cathedrals were built with funds derived from the viewing of relics.
Evoking the Catholic Church's core doctrines of mortality and immortality, these bone-filled reliquaries serve as traditional "vanitas" symbols. They illustrate the futility of most human endeavors--even the great cathedrals--and the inevitability of death. However, they also suggest that it is neither religion nor the human soul that is eternal, but rather the human instinct to make war.
Paul Sandby
Watercolour over graphite on paper
At a time when public executions were popular entertainment, hawkers sold pamphlets that claimed to be the last words or confessions of the hanged to a bloodthirsty crowd. Sandby shows something of the horror of the event.
With a limp body hanging from the gallows traced in the background, the focus is on the woman making her living from the spectacle of the event. The frenetic lines of her tattered clothes and hand, clutched against her grimacing face, contrast with the ease of the grinning man behind her. He swaggers toward the gallows with a pamphlet (perhaps one of hers) in his hand.
[Tate Britain]
From the exhibition
Hogarth and Europe
(November 2021 – March 2022)
In a dramatically changing 18th century Europe, William Hogarth became famous for his vibrant, often sharply satirical, paintings and prints that wittily captured the new modern experience. His art gives a unique and engaging glimpse of the time - its opportunities and innovation, materialism, exploitation and injustices, which continue to resonate today.
But he was not alone. Across Europe, fellow artists were also creating their own vivid images of contemporary life and took on new roles as social commentators. From the rich and poor, the immoral and self-deluding, to the selfish and selfless – all were made characters in pictorial stories that caught people’s imagination and took art in novel directions.
For the first time, this show will bring these works together in one setting. Now you can explore over 60 of Hogarth’s extraordinary works in a new light, alongside images by his international peers – including Pietro Longhi in Venice, Jean-Siméon Chardin in Paris and Cornelis Troost in Amsterdam. Academics, historians and practicing artists are among those who offer a range of perspectives and commentary throughout the exhibition. They suggest new ways of looking at these artworks, enriching our understanding of Hogarth’s incredible body of work.
[Tate Britain]
Van Nelle Factory, Rotterdam The Netherlands – Architects: Brinkman and Van der Vlugt – masterplan 1914 – 1923; design 1923 – 1925; execution 1925 - 1931
The Van Nelle Factory is one of the highlights of the Modern Movement in the Netherlands. The impressive glass building is not only an example of functionalism and rational production, but also improved working conditions for workers in the twentieth century. The restored building is now one of the most important monuments of Rotterdam
The Firm Van Nelle was selling coffee, tea, tobacco and snuff in Rotterdam since 1782. The entirely new complex consists of the actual factory building, an office building, a warehouse, expedition and storage depots along the canal, a boiler house and several workshops. A cafeteria and sports fields were also to be found in the area. The factory building consists of three elongated in height sloping parts separated by stairwells. Tobacco has eight, coffee five and tea factory three floors. The staircases house the washing and changing facilities, toilets and lifts, separated for men and women. This allowed for continues factory floors and easily adjustable layouts. By using a concrete frame the non-load bearing facades could be made almost entirely of glass with only thin steel frames. Light and air could penetrate deep into the building. The expedition and storage strip along the water is connected to the main building by overhead conveyor bridges. Another sky bridge connects the plant to the office at the entrance of the complex. The office consists of a strip with two layers of offices and a large open space with glass walls and glass meeting rooms. The office follows the curve in the road. During construction, a tea room on the roof of the tobacco factory was added.
In 1942, low-rise warehouses designed by Brinkman and Van den Broek were realized. In 1974 at the back of the building, a new distribution centre was built. In 1951 other products such as pudding and chewing gum made their entrance. After a takeover by the American Standard Brands in 1989, Van Nelle competitor Sara Lee / Douwe Egberts, sold the complex in 1995, so it could finally get the status of national monument. Using the name Van Nelle Design Factory, the complex started a new life. The factory complex was restored by Wessel de Jonge and Claessens Erdmann. The transparency of the factory floor was maintained as much as possible by the new climate walls on the inside. The new inner facades are made of aluminium and therefore clearly identifiable as new elements. On the floors office spaces of various sizes have been realized for the creative sector. The ground floor is used for exhibitions and conferences. The adjacent buildings have been restored and are used by a number of architectural firms.
The Płaszów camp, originally intended as a forced labour camp, was constructed on the grounds of two former Jewish cemeteries in the summer of 1942 during Nazi German occupation of Poland. In 1943 the camp was extended and subsequently became a concentration camp with deportations of the Jews from the Kraków Ghetto beginning October 28, 1942. Commanding the camp was Amon Göth, an SS commandant from Vienna who was known for being uncommonly sadistic in his treatment and killings of prisoners. On March 13, 1943, Göth personally oversaw the liquidation of the Kraków Ghetto, forcing its Jewish inhabitants deemed capable of work into the camp. Those who were declared unfit for work were killed. The camp was a slave Arbeitslager (English: Work Camp), supplying manpower to several armament factories and a stone quarry. The death rate in the camp was very high. Many prisoners, including many children and women, died of typhus, starvation and executions. Płaszów camp became particularly infamous for both individual and mass shootings carried out there.
Lady Jane Grey was Queen of England for just 9 days until she was driven from the throne and sent to the Tower of London to be executed.
Jane became queen after the death of her cousin, Edward VI in 1553. As a Protestant, Jane was crowned queen in a bid to shore up Protestantism and keep Catholic influence at bay.
The plan didn't work. Jane's claim to the crown was much weaker than Edward VI's half sister Mary. Mary, a Catholic, had popular support and soon replaced Jane as queen.
Lady Jane Grey was executed at Tower Green on 12 February 1554. She was just 16 years old.
In this painting, she is guided towards the execution block by Sir John Brydges, Lieutenant of the Tower. The straw on which the block rests was intended to soak up the victim's blood. The executioner stands impassive to the right and two ladies in attendance are shown grieving to the left.
The painting was exhibited in Paris at the city's famous Salon in 1834, where it caused a sensation.
Operational Contract Support Joint Exercise 2016 participants perform the exercise execution phase April 2, 2016, at Fort Bliss, Texas. This exercise provides training across the spectrum of OCS readiness from requirements and development of warfighter staff integration and synchronization through contract execution supporting the joint force commander. (U.S. Air Force photo by Staff Sgt. Jonathan Snyder/Released)
"Urgent for the attention of Margaret Moran
Dear Margaret Moran: Resign now or your bay tree will pay the price of your greed.You have insulted us with your theft of public funds and disgraced yourself by clinging to office. With no effective means of legal redress, with no political mechanism to remove you from office until the next election and with no prospect of eliciting a sense of dignity or shame in yourself (this would be like asking a leech to have personal pride) you leave us no option but direct action. To this end we have kidnapped your potted bay tree from one of your homes.Although the bay tree is a legitimate political target for direct action it is being cared for and well treated. Indeed despite finding itself a hostage the bay tree is in considerably better health than when it remained in your possession."
www.markthomasinfo.com/section_newsblog/
www.oneandother.co.uk/participants/Anna
www.telegraph.co.uk/news/newstopics/mps-expenses/5311182/...
México a través de los siglos, o, Epopeya del pueblo mexicano
DIEGO RIVERA
Escalera de la Emperatriz
Palacio Nacional
Mexico City
Ciudad de Mexico
26 January 2014
2014-Mexico 1083