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As we were walking in this really gorgeous area of the Memorial site, I was struck by the beauty and peace of it. Then I realized that this is where the SS were executing some prisoners using pistol, and I started to cold shiver...
"Executions through shots in the back of the neck were carried out at an earthen wall or in a ditch. In the Fall of 1944 the SS shot 92 Soviet officers, members of a resistance organization."
Dachau Concentration Camp Memorial Site, Germany. 24Jun2010
Fabrication and Execution
(i.e., mobile event units, kiosks, graphics, electronics)
Design and Creative is sole property of Stage Active Brand Marketing and the Ryan Partnership.
Sept. 22, 2011---The day after the state of Georgia murdered Troy Davis, an innocent man--Boston,Mass. protest against the death penalty.
*miniature wax carving of face; body of moveable limbs action figure
p.s. the head one of several dozen was carved in the early 90's
Watercolour
by Thomas Rowlandson
Rowlandson's watercolour offers a satrical view of the execution crowd, but a realistic representation of the gallows execution method. The condemned stood on a cart while nooses were tied to the crossbeam above. Having said their final prayers, the cart was slowly drawn away to leave the condemned suspended by the neck.*
From the exhibition
Executions
(October 2022 – April 2023)
Exploring how public executions shaped Londoners’ lives and the city’s landscape in a major exhibition.
Public executions were a major part of Londoners’ lives for centuries.
From Smithfield to Southwark, from Banqueting House to Newgate Prison, executions became embedded in London’s landscape from the 12th century right through to the 19th. Even today, hints of this uncomfortable past can still be seen across the capital.
The Museum of London Docklands brought the rarely told and often tragic human stories behind these events to a new exhibition. Executions showcased a range of fascinating objects, paintings and projections, including the vest said to have been worn by King Charles I when he was executed, a recreation of the Tyburn gallows with an immersive projection, last letters of the condemned, and much more. Many of the items on display had rarely been seen in public.
[*Museum of London Docklands]
Taken in the Museum of London Docklands
FILE - This July 25, 2014 photo shows bottles of the sedative midazolam at a hospital pharmacy in Oklahoma City. Oklahoma is one of three states where executions have gone awry this year using midazolam as part of a two- or three-drug lethal injection process. Officials in Texas and Missouri, two of the most active death penalty places, are confident in the use of their single drug pentobarbital and show no willingness to slow down. (AP Photo/File)
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.
Execution Rocks Light is a lighthouse in the middle of Long Island Sound on the border between New Rochelle and Sands Point, New York. It stands 55 feet tall, with a white light flashing every 10 seconds. The granite tower is painted white with a brown band around the middle. It has an attached stone keeper's house which has not been inhabited since the light was automated in 1979.
It was added to the National Register of Historic Places in 2007 as Execution Rocks Light Station.
Last Saturday, the children traditionally visited Facts, a fair in Ghent comparable to ComiCon. After working on great cosplay costumes for a few months, we drove to Ghent. Finally, after an hour and a half of standing in traffic jams, they moved into the exhibition halls.
Heidi and I had decided in advance to explore the surroundings of Ghent this time. After another half hour in traffic jams, we were able to leave the site and drove towards the harbor.
The "Captain Zeppos Park" (look for our album "Kapitein Zeppospark")was our first stop. This is a former inner dock that has now been turned into a park. A small playground, a beach on the water where swimming is not allowed, an old harbor crane that functions as a landmark and some old quay walls. A nice place.
Autumn has now fully erupted here. This makes it rain, strong winds, ... . In short, no weather to chase a dog through. As a result, we searched for some nice places to visit via Google Maps. Places with a roof over our heads. Yet our attention was drawn to a special place.
A former execution site of the Nazis. We couldn't resist visiting this place. With a large umbrella in one hand and my mobile phone in the other, I managed to take some pictures. The inclement weather contributed greatly to the experience of the place.
Quote from Wikipedia:
The Execution Centre Rieme-Oostakker is the place in the Ghent borough of Oostakker where 66 resistance fighters were executed by the German occupiers between 8 February 1943 and 24 August 1944.
Here the memory of the 20 resistance fighters who died at rieme's execution site is also kept alive. That site had to disappear in 1998 because of the construction of the Kluizendok of the port of Ghent. The whole has been transferred to the border area between Oostakker and Lochristi.
The executions were carried out in secret and the victims were buried anonymously. A number of the resistance fighters killed in Rieme were found in a mass grave in Hechtel-Eksel. In addition, German soldiers and Belgian criminals were also executed. Due to these circumstances, it is still unclear how many people died. After the Liberation, the mass grave in Oostakker was uncovered. The victims were identified and buried in their residences. The crosses on the site therefore have a symbolic meaning. Yet the execution site is also a cemetery: in 1952 the remains of 15 West Flemish political prisoners beheaded in Munich were interred.
Tsali chooses the way of the warrior and he and his two sons and his daughter's husband are executed.
Last Saturday, the children traditionally visited Facts, a fair in Ghent comparable to ComiCon. After working on great cosplay costumes for a few months, we drove to Ghent. Finally, after an hour and a half of standing in traffic jams, they moved into the exhibition halls.
Heidi and I had decided in advance to explore the surroundings of Ghent this time. After another half hour in traffic jams, we were able to leave the site and drove towards the harbor.
The "Captain Zeppos Park" (look for our album "Kapitein Zeppospark")was our first stop. This is a former inner dock that has now been turned into a park. A small playground, a beach on the water where swimming is not allowed, an old harbor crane that functions as a landmark and some old quay walls. A nice place.
Autumn has now fully erupted here. This makes it rain, strong winds, ... . In short, no weather to chase a dog through. As a result, we searched for some nice places to visit via Google Maps. Places with a roof over our heads. Yet our attention was drawn to a special place.
A former execution site of the Nazis. We couldn't resist visiting this place. With a large umbrella in one hand and my mobile phone in the other, I managed to take some pictures. The inclement weather contributed greatly to the experience of the place.
Quote from Wikipedia:
The Execution Centre Rieme-Oostakker is the place in the Ghent borough of Oostakker where 66 resistance fighters were executed by the German occupiers between 8 February 1943 and 24 August 1944.
Here the memory of the 20 resistance fighters who died at rieme's execution site is also kept alive. That site had to disappear in 1998 because of the construction of the Kluizendok of the port of Ghent. The whole has been transferred to the border area between Oostakker and Lochristi.
The executions were carried out in secret and the victims were buried anonymously. A number of the resistance fighters killed in Rieme were found in a mass grave in Hechtel-Eksel. In addition, German soldiers and Belgian criminals were also executed. Due to these circumstances, it is still unclear how many people died. After the Liberation, the mass grave in Oostakker was uncovered. The victims were identified and buried in their residences. The crosses on the site therefore have a symbolic meaning. Yet the execution site is also a cemetery: in 1952 the remains of 15 West Flemish political prisoners beheaded in Munich were interred.
Last Saturday, the children traditionally visited Facts, a fair in Ghent comparable to ComiCon. After working on great cosplay costumes for a few months, we drove to Ghent. Finally, after an hour and a half of standing in traffic jams, they moved into the exhibition halls.
Heidi and I had decided in advance to explore the surroundings of Ghent this time. After another half hour in traffic jams, we were able to leave the site and drove towards the harbor.
The "Captain Zeppos Park" (look for our album "Kapitein Zeppospark")was our first stop. This is a former inner dock that has now been turned into a park. A small playground, a beach on the water where swimming is not allowed, an old harbor crane that functions as a landmark and some old quay walls. A nice place.
Autumn has now fully erupted here. This makes it rain, strong winds, ... . In short, no weather to chase a dog through. As a result, we searched for some nice places to visit via Google Maps. Places with a roof over our heads. Yet our attention was drawn to a special place.
A former execution site of the Nazis. We couldn't resist visiting this place. With a large umbrella in one hand and my mobile phone in the other, I managed to take some pictures. The inclement weather contributed greatly to the experience of the place.
Quote from Wikipedia:
The Execution Centre Rieme-Oostakker is the place in the Ghent borough of Oostakker where 66 resistance fighters were executed by the German occupiers between 8 February 1943 and 24 August 1944.
Here the memory of the 20 resistance fighters who died at rieme's execution site is also kept alive. That site had to disappear in 1998 because of the construction of the Kluizendok of the port of Ghent. The whole has been transferred to the border area between Oostakker and Lochristi.
The executions were carried out in secret and the victims were buried anonymously. A number of the resistance fighters killed in Rieme were found in a mass grave in Hechtel-Eksel. In addition, German soldiers and Belgian criminals were also executed. Due to these circumstances, it is still unclear how many people died. After the Liberation, the mass grave in Oostakker was uncovered. The victims were identified and buried in their residences. The crosses on the site therefore have a symbolic meaning. Yet the execution site is also a cemetery: in 1952 the remains of 15 West Flemish political prisoners beheaded in Munich were interred.
Last Saturday, the children traditionally visited Facts, a fair in Ghent comparable to ComiCon. After working on great cosplay costumes for a few months, we drove to Ghent. Finally, after an hour and a half of standing in traffic jams, they moved into the exhibition halls.
Heidi and I had decided in advance to explore the surroundings of Ghent this time. After another half hour in traffic jams, we were able to leave the site and drove towards the harbor.
The "Captain Zeppos Park" (look for our album "Kapitein Zeppospark")was our first stop. This is a former inner dock that has now been turned into a park. A small playground, a beach on the water where swimming is not allowed, an old harbor crane that functions as a landmark and some old quay walls. A nice place.
Autumn has now fully erupted here. This makes it rain, strong winds, ... . In short, no weather to chase a dog through. As a result, we searched for some nice places to visit via Google Maps. Places with a roof over our heads. Yet our attention was drawn to a special place.
A former execution site of the Nazis. We couldn't resist visiting this place. With a large umbrella in one hand and my mobile phone in the other, I managed to take some pictures. The inclement weather contributed greatly to the experience of the place.
Quote from Wikipedia:
The Execution Centre Rieme-Oostakker is the place in the Ghent borough of Oostakker where 66 resistance fighters were executed by the German occupiers between 8 February 1943 and 24 August 1944.
Here the memory of the 20 resistance fighters who died at rieme's execution site is also kept alive. That site had to disappear in 1998 because of the construction of the Kluizendok of the port of Ghent. The whole has been transferred to the border area between Oostakker and Lochristi.
The executions were carried out in secret and the victims were buried anonymously. A number of the resistance fighters killed in Rieme were found in a mass grave in Hechtel-Eksel. In addition, German soldiers and Belgian criminals were also executed. Due to these circumstances, it is still unclear how many people died. After the Liberation, the mass grave in Oostakker was uncovered. The victims were identified and buried in their residences. The crosses on the site therefore have a symbolic meaning. Yet the execution site is also a cemetery: in 1952 the remains of 15 West Flemish political prisoners beheaded in Munich were interred.
Main Street, Gloucester - 1917
John Sloan (American, 1871 - 1951)
Sloan spent each summer from 1914 to 1918 in the small Cape Ann, Massachusetts, town of Gloucester. This work, executed during the fourth summer, reveals an aesthetic sophistication stimulated by the artist's absorption of the 1913 Armory Show's provocative presentation of avant-garde and modernist art. That landmark exhibition, coupled with those he helped to organize for The Eight in 1908 and the Exhibition of Independent Artists in 1910, inspired Sloan to explore a constellation of new ideas and methods. The body of work he created during the Gloucester years speaks of a renewed rigor as well as an intrepid and vigorous spirit of experimentation that would endure throughout his career.(1)
Initially, “Main Street, Gloucester” captivates as one of Sloan's distinctive "city-life" pictures, for which he garnered an enormous reputation. In the decade and a half preceding this painting's creation, his keen powers of observation, selection, and rendering were honed through his work as an illustrator, etcher, and painter of the urban scene. Yet his production during the Gloucester period represented a fundamental shift in his methods of conception and execution.
I had been dependent on waiting for the inspiration to paint a picture because I had so little leisure time to work for myself. So I decided to save up enough money to take off for a few months, go to the country and work from nature to get fresh ideas about plastic design and color rhythms.(2)
Thus issues of pure painting, rather than subject, motivated his work at this time.
This redirection toward plasticity, design, and color resulted from Sloan's thoughtful analysis of the work of what he called the "ultra-moderns" at the Armory Show. Sloan recalled the impact of that landmark exhibition: "It was exciting, it pointed many ways to freedom of expression, color, texture, most of all “graphics”. It pointed the way back to mental rather than visual thinking."(3) He credited the works of Cézanne, Matisse, and Van Gogh, among others, as powerful antidotes for the disease of "clever eyesight painting," the scourge of art production and consumption since the advent of photography.(4) He wrote: "Many intelligent people have accepted the false idea that accuracy in representing visual facts is a sign of progress in art. Such imitation of superficial effects has nothing to do with art, which is and always has been the making of mental concepts."(5)
Sloan's summers in Gloucester precipitated the auspicious convergence of several paths of inquiry in his own work. Using color as a constructive, expressive element in painting had been one of his preoccupations since 1909, when Robert Henri introduced him to Hardesty Maratta's experimental color system. Through it, Sloan had moved away from a dark tonal palette by increasing the presence of bright vivid colors. Maratta's system was predicated on the analogous relationship of the twelve colors in the chromatic wheel to notes in an octave of music.(6) The careful, precise orchestration of notes, chords, and harmonies was facilitated through the use of a set palette of premixed colors. With this palette, Sloan was confident that he could maintain the continuity of a painting's colors as he worked on it over time:
These Maratta colors opened up the palette for me. I had been analyzing the color of the city streets and the few things I painted from the model, in terms of color changes away from a basic raw umber note. With the Maratta colors I had six, twelve color-hues to work with, and from there could think of branching up into notes of higher intensity.(7)
His use of the Maratta system was given fresh impetus when he coupled it with plein-air techniques. The genre of landscape provided a comfortable arena in which to experiment with color that was often somewhat antinaturalistic. "After selecting the subject I would take half an hour to set my palette. Then I would pick up those set tones and draw with paint. Instead of imitating the colors in nature, I decided on some quality of color that interested me and set a limited palette."(8) His deep sympathy for humanity prevented his taking too many liberties with human subjects. "There is no better subject [than landscape] to free one of color habits. The variety in nature offers new color combinations, new ideas. You also feel more free to take liberties with color in nature than when painting from the figure."(9)
In “Main Street, Gloucester” Sloan effectively merged plein-air techniques with his exploration of color rhythms and plastic design. Through the skilled massing and organization of form, volume, and color, he devised a composition that is at once stable and balanced yet highly animated. By the artist's criteria for a successful composition, “Main Street, Gloucester” is a successful work. "A good design has stability. It is at rest with itself. Sense the opposition of horizontal and vertical rhythms to the dynamic movement of diagonal curves. Feel the weight of tones and colors, balance and counterbalance them against line and mass."
Born in Lock Haven, Pennsylvania, John Sloan was the first child and only surviving son of Henrietta Ireland, a former school teacher, and James Dixon Sloan, who repaired bicycles and worked as a photographer after the decline of his family's cabinetry business. Sloan's childhood was spent reading, sketching, and pouring over illustrated books. He attended Philadelphia's prestigious collegiate Central High School with fellow students William Glackens and Albert Barnes. In 1888 Sloan left school just six months shy of graduation, to become the family's primary breadwinner.
Sloan took a job as a cashier at Porter and Coates' bookstore and continued his education by reading and studying prints. He taught himself to etch using Philip Hamerton's “Etcher's Handbook” (1881), a popular "how-to" manual, and supplemented his income by selling prints at the bookshop. When A. Edward Newton, one of his co-workers, left to open his own store, he hired Sloan to etch giftbooks and pamphlets. At this time, Sloan made his first oil painting, “Self-Portrait” (1890; Delaware Art Museum, Wilmington), using another "how-to" book, John Collier's “Manual of Oil Painting” (1886), and painting on a piece of window shade his father gave him.
During the 1890s Sloan worked as an illustrator for the “Philadelphia Inquirer” and the “Philadelphia Press”, honing his skills as an astute "spectator of life." Fellow illustrators Glackens, George Luks, and Everett Shinn introduced him to a circle of artists, including Robert Henri, who soon became his close friend and mentor. Their shared aspirations to infuse American art with vitality and release it from the tyranny of the conservative academic system of juried exhibitions and prizes led them to form the group known as The Eight. Their landmark exhibition of 1908 established Sloan's career as an artist, exhibition organizer, and forward-thinking modernist.
Sloan's earliest paintings, many executed in a limited palette, are indebted to the figurative traditions of James McNeill Whistler, Thomas Eakins, and Thomas P. Anshutz. Sloan moved to New York in 1904 and took up the city-life subjects that distinguished his ensuing career. His spirit of artistic exploration, fed by the 1913 Armory Show and summer sojourns to the art colonies of Gloucester (1914-18) and Santa Fe (1919-50), led him to experiment with color, glazing, and a graphic painting technique that he called "linework."
From 1900 until his death, Sloan's paintings, etchings, and drawings were exhibited in nearly nine hundred exhibitions, including those at the Pennsylvania Academy of the Fine Arts, Carnegie Institute, Art Institute of Chicago, Corcoran Gallery of Art, Whitney Studio Club and C. W. Kraushaar Art Galleries. “The Gist of Art” (1939), written with his student Helen Farr (later, Mrs. John Sloan), stands as a thoughtful and eminently readable compendium of his ideas and practices. Happily, Sloan's numerous contributions to the arts and to art education were recognized and celebrated in the decade before his death.
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www.nbmaa.org/permanent-collection
The NBMAA collection represents the major artists and movements of American art. Today it numbers about 8,274 paintings, works on paper, sculptures, and photographs, including the Sanford B.D. Low Illustration Collection, which features important works by illustrators such as Norman Rockwell, Howard Pyle, and Maxfield Parrish.
Among collection highlights are colonial and federal portraits, with examples by John Smibert, John Trumbull, John Singleton Copley, Gilbert Stuart, and the Peale family. The Hudson River School features landscapes by Thomas Cole, Asher B. Durand, Martin Johnson Heade, John Kensett, Albert Bierstadt, and Frederic Church. Still life painters range from Raphaelle Peale, Severin Roesen, William Harnett, John Peto, John Haberle, and John La Farge. American genre painting is represented by John Quidor, William Sidney Mount, and Lilly Martin Spencer. Post-Civil War examples include works by Winslow Homer, Thomas Eakins, John Singer Sargent, George de Forest Brush, and William Paxton, and 19 plasters and bronzes by Solon Borglum. American Impressionists include Mary Cassatt, Theodore Robinson, John Henry Twachtman, J. Alden Weir, Willard Metcalf, and Childe Hassam, the last represented by eleven oils. Later Impressionist paintings include those by Ernest Lawson, Frederck Frieseke, Louis Ritman, Robert Miller, and Maurice Prendergast.
Other strengths of the twentieth-century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O’Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson, and Ralston Crawford; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence, and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry, and Thomas Hart Benton, notably the latter’s celebrated five-panel mural, The Arts of Life in America (1932).
Works by the American Abstract Artist group (Stuart Davis, Ilya Bolotowsky, Esphyr Slobodkina, Balcomb Greene, and Milton Avery) give twentieth-century abstraction its place in the collection, as do later examples of Surrealism by artists Kay Sage and George Tooker; Abstract Expressionism (Lee Krasner, Giorgio Cavallon, Morris Graves, Robert Motherwell, Sam Francis, Cleve Gray), Pop and Op art (Andy Warhol, Larry Rivers, Robert Indiana, Tom Wesselman, Jim Dine), Conceptual (Christo, Sol LeWitt), and Photo-Realism (Robert Cottingham). Examples of twentieth-century sculpture include Harriet Frishmuth, Paul Manship, Isamu Noguchi, George Segal, and Stephen DeStaebler. We continue to acquire contemporary works by notable artists, in order to best represent the dynamic and evolving narrative of American art.