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Nellie Bly
Elizabeth Cochrane Seaman was born Elizabeth Jane Cochran in Cochran's Mills, Armstrong County, Pennsylvania, U.S. on the 5th. May 1864. However, Elizabeth was better known by her pen name Nellie Bly.
Nellie was an American journalist, industrialist, inventor, and charity worker who was widely known for her record-breaking trip around the world in 72 days, in emulation of Jules Verne's fictional character Phileas Fogg.
She is also noted for her exposé in which she worked undercover to report on a mental institution from within. She was a pioneer in her field, and launched a new kind of investigative journalism.
-- Nellie Bly - The Early Years
Elizabeth Jane Cochran was born in "Cochran's Mills", now part of the Pittsburgh suburb of Burrell Township, Armstrong County, Pennsylvania.
Her father, Michael Cochran, born about 1810, started out as a labourer and mill worker before buying the local mill and most of the land surrounding his family farmhouse. He later became a merchant, postmaster, and associate justice at Cochran's Mills (which was named after him) in Pennsylvania.
Michael married twice. He had 10 children with his first wife, Catherine Murphy, and 5 more children, including Elizabeth Cochran, with his second wife, Mary Jane Kennedy.
Michael Cochran's father had immigrated from County Londonderry, Ireland, in the 1790's. Michael died in 1871, when Elizabeth was 6.
As a young girl, Elizabeth was often called "Pinky" because she so frequently wore that color. As she became a teenager, she wanted to portray herself as more sophisticated, and so dropped the nickname and changed her surname to "Cochrane".
In 1879, she enrolled at Indiana Normal School (now Indiana University of Pennsylvania) for one term, but was forced to drop out due to lack of funds.
In 1880, Cochrane's mother moved her family to Pittsburgh. A newspaper column entitled "What Girls Are Good For" in the Pittsburgh Dispatch reported that girls were principally for birthing children and keeping house. The article prompted Elizabeth to write a response under the pseudonym "Lonely Orphan Girl".
The Dispatch's editor, George Madden, was impressed with her passion, and ran an advertisement asking the author to identify herself. When Cochrane introduced herself to the editor, he offered her the opportunity to write a piece for the newspaper, again under the pseudonym "Lonely Orphan Girl".
Her first article for the Dispatch, entitled "The Girl Puzzle", was about how divorce affected women. In it, she argued for the reform of divorce laws. Madden was impressed again, and offered her a full-time job.
It was customary for women who were newspaper writers at that time to use pen names. The editor chose "Nellie Bly", after the African-American title character in the popular song "Nelly Bly" by Stephen Foster. Cochrane originally intended that her pseudonym be "Nelly Bly", but her editor wrote "Nellie" by mistake, and the error stuck.
-- Nellie Bly's Career
-- The Pittsburgh Dispatch
As a writer, Nellie Bly focused her early work for the Pittsburgh Dispatch on the lives of working women, writing a series of investigative articles on women factory workers.
However, the newspaper soon received complaints from factory owners about her writing, and she was re-assigned to women's pages to cover fashion, society, and gardening, the usual role for women journalists.
However Nellie became dissatisfied, and still only 21, she was determined "to do something no girl has done before." She travelled to Mexico to serve as a foreign correspondent, spending nearly half a year reporting on the lives and customs of the Mexican people; her dispatches later were published in book form as 'Six Months in Mexico'.
In one report, she protested against the imprisonment of a local journalist for criticising the Mexican government, then a dictatorship under Porfirio Díaz. When Mexican authorities learned of Bly's report, they threatened her with arrest, prompting her to flee the country. Safely home, she accused Díaz of being a tyrannical czar suppressing the Mexican people and controlling the press.
-- Nellie Bly's Asylum Exposé
Burdened with theatre and arts reporting, Bly left the Pittsburgh Dispatch in 1887 for New York City. She faced rejection after rejection as news editors would not consider hiring a woman.
Penniless after four months, she talked her way into the offices of Joseph Pulitzer's newspaper the New York World and took an undercover assignment for which she agreed to feign insanity to investigate reports of brutality and neglect at the Women's Lunatic Asylum on Blackwell's Island, now named Roosevelt Island.
It was not an easy task for Bly to be admitted to the Asylum: she first decided to check herself into a boarding house called Temporary Homes for Females. She stayed up all night to give herself the wide-eyed look of a disturbed woman, and began making accusations that the other boarders were insane.
Bly told the assistant matron:
"There are so many crazy people
about, and one can never tell what
they will do."
She refused to go to bed, and eventually scared so many of the other boarders that the police were called to take her to the nearby courthouse. Once examined by a police officer, a judge, and a doctor, Bly was taken to Blackwell's Island.
Committed to the asylum, Bly experienced the deplorable conditions first-hand. After ten days, the asylum released Bly at The New York World's behest.
Nellie's report, later published in book form as 'Ten Days in a Mad-House', caused a sensation, prompting the asylum to implement reforms, and brought her lasting fame. She had a significant impact on American culture, and shed light on the experiences of marginalized women beyond the bounds of the asylum as she ushered in the era of stunt girl journalism.
In 1893, Bly used the celebrity status she had gained from her asylum reporting skills to schedule an exclusive interview with the allegedly insane serial killer Lizzie Halliday.
Biographer Brooke Kroeger wrote:
"Bly's two-part series in October 1887 was
a sensation, effectively launching the decade
of “stunt” or “detective” reporting, a clear
precursor to investigative journalism, and one
of Joseph Pulitzer’s innovations that helped
give “New Journalism” of the 1880's and 1890's
its moniker.
The employment of “stunt girls” has often been
dismissed as a circulation-boosting gimmick of
the sensationalist press. However, the genre
also provided women with their first collective
opportunity to demonstrate that, as a class, they
had the skills necessary for the highest level of
general reporting.
The stunt girls, with Bly as their prototype, were
the first women to enter the journalistic mainstream
in the twentieth century".
-- Around the World in 72 Days
In 1888, Bly suggested to her editor at the New York World that she take a trip around the world, attempting to turn the fictional Around the World in Eighty Days (1873) into fact for the first time.
A year later, at 9:40 a.m. on November 14, 1889, and with two days' notice, she boarded the Augusta Victoria, a steamer of the Hamburg America Line, and began her 40,070 kilometre journey.
Nellie took with her the dress she was wearing, a sturdy overcoat, several changes of underwear, and a small travel bag carrying her toiletry essentials. She carried most of her money (£200 in English bank notes and gold, as well as some American currency) in a bag tied around her neck.
The New York newspaper Cosmopolitan sponsored its own reporter, Elizabeth Bisland, to beat the time of both Phileas Fogg and Bly.
Bisland travelled the opposite way around the world, starting on the same day as Bly.
Bly, however, did not learn of Bisland's journey until reaching Hong Kong. She dismissed the cheap competition. She stated:
"I would not race. If someone
else wants to do the trip in less
time, that is their concern."
To sustain interest in the story, the World organized a "Nellie Bly Guessing Match" in which readers were asked to estimate Bly's arrival time to the second, with the Grand Prize consisting at first of a free trip to Europe and, later on, spending money for the trip.
During her travels around the world, Nellie went through England, France (where she met Jules Verne in Amiens), Brindisi, the Suez Canal, Colombo (Ceylon), the Straits Settlements of Penang and Singapore, Hong Kong, and Japan.
The development of efficient submarine cable networks and the electric telegraph allowed Bly to send short progress reports, although longer dispatches had to travel by regular post, and thus were often delayed by several weeks.
Bly traveled using steamships and the existing railway systems, which caused occasional setbacks, particularly on the Asian leg of her race. During these stops, she visited a leper colony in China and, in Singapore, she bought a monkey.
As a result of rough weather on her Pacific crossing, she arrived in San Francisco on the White Star Line ship RMS Oceanic on the 21st. January, two days behind schedule.
However, after New York World owner Pulitzer chartered a private train to bring her home, she arrived back in New Jersey on the 25th. January 1890 at 3:51 pm.
Just over seventy-two days after her departure from Hoboken, Bly was back in New York. She had circumnavigated the globe, traveling alone for almost the entire journey. Bisland was, at the time, still crossing the Atlantic, only to arrive in New York four and a half days later.
She also had missed a connection, and had to board a slow, old ship (the Bothnia) in the place of a fast ship (Etruria). Bly's journey was a world record, although it was bettered a few months later by George Francis Train, whose first circumnavigation in 1870 possibly had been the inspiration for Verne's novel.
Train completed the journey in 67 days, and on his third trip in 1892 in 60 days. By 1913, Andre Jaeger-Schmidt, Henry Frederick, and John Henry Mears had improved on the record, the latter completing the journey in fewer than 36 days.
-- Nellie Bly The Novelist
After the fanfare of her trip around the world, Bly quit reporting and took a lucrative job writing serial novels for publisher Norman Munro's weekly New York Family Story Paper.
The first chapters of Eva The Adventuress, based on the real-life trial of Eva Hamilton, appeared in print before Bly returned to New York.
Between 1889 and 1895 she wrote eleven novels. As few copies of the paper survived, these novels were thought lost until 2021, when author David Blixt announced their discovery, found in Munro's British weekly The London Story Paper.
In 1893, though still writing novels, she returned to reporting for the New York World.
-- Nellie Bly's Patent for an Improved Milk-Can
In 1895, Bly married millionaire manufacturer Robert Seaman. Nellie was 31 and Seaman was 73 when they married. Due to her husband's failing health, she left journalism and succeeded her husband as head of the Iron Clad Manufacturing Co., which made steel containers such as milk cans and boilers.
In 1904, Iron Clad began manufacturing the steel barrel that was the model for the 55-gallon oil drum still in widespread use in the United States. There have been claims that Bly invented the barrel, although the inventor was registered as Henry Wehrhahn.
Nellie was, however, an inventor in her own right, receiving U.S. Patent 697,553 for a novel milk can and U.S. Patent 703,711 for a stacking garbage can, both under her married name of Elizabeth Cochrane Seaman.
In 1904, Robert Seaman died, and for a time Nellie was one of the leading women industrialists in the United States, but her negligence, and embezzlement by a factory manager, resulted in the Iron Clad Manufacturing Co. going bankrupt.
According to biographer Brooke Kroeger:
"She ran her company as a model of social
welfare, replete with health benefits and
recreational facilities.
But Bly was hopeless at understanding the
financial aspects of her business, and ultimately
lost everything.
Unscrupulous employees bilked the firm of
hundreds of thousands of dollars, troubles
compounded by a protracted and costly
bankruptcy litigation".
Back in reporting, Nellie covered the Woman Suffrage Procession of 1913 for the New York Evening Journal. Her article's headline was "Suffragists Are Men's Superiors" and in its text she accurately predicted that it would be 1920 before women in the United States would be given the right to vote.
Nellie also wrote stories on Europe's Eastern Front during the Great War. Bly was the first woman, and one of the first foreigners, to visit the war zone between Serbia and Austria. She was arrested when she was mistaken for a British spy.
-- The Death of Nellie Bly
On the 27th. January 1922, Nellie Bly died of pneumonia at St. Mark's Hospital, New York City, at the young age of 57. She was laid to rest at Woodlawn Cemetery in The Bronx, New York City.
-- The Legacy of Nellie Bly
-- Honours
In 1998, Bly was inducted into the National Women's Hall of Fame. Bly was one of four journalists honoured with a US postage stamp in a "Women in Journalism" set in 2002.
In 2019, the Roosevelt Island Operating Corporation put out an open call for artists to create a Nellie Bly Memorial art installation on Roosevelt Island. The winning proposal, 'The Girl Puzzle' by Amanda Matthews, was announced on the 16th. October 2019.
The New York Press Club confers an annual Nellie Bly Cub Reporter journalism award to acknowledge the best journalistic effort by an individual with three years or less professional experience.
-- Nellie Bly in the Theatre
Nellie was the subject of the 1946 Broadway musical 'Nellie Bly' by Johnny Burke and Jimmy Van Heusen. The show ran for 16 performances.
During the 1990's, playwright Lynn Schrichte wrote and toured 'Did You Lie, Nellie Bly?', a one-woman show about Bly.
-- Nellie Bly in Film and Television
Bly has been portrayed in the films 'The Adventures of Nellie Bly' (1981), '10 Days in a Madhouse' (2015), and 'Escaping the Madhouse: The Nellie Bly Story' (2019).
In 2019, the Center for Investigative Reporting released 'Nellie Bly Makes the News', a short animated biographical film.
A fictionalized version of Bly as a mouse named Nellie Brie appears as a central character in the animated children's film 'An American Tail: The Mystery of the Night Monster'.
Anne Helm appeared as Nellie Bly in the 21st. November 1960, 'Tales of Wells Fargo' TV episode "The Killing of Johnny Lash".
Julia Duffy appeared as Bly in the 10th. July 1983 'Voyagers!' episode "Jack's Back".
The character of Lana Winters (Sarah Paulson) in 'American Horror Story: Asylum' is inspired by Bly's experience in the asylum.
Bly was also a subject of Season 2 Episode 5 of 'The West Wing' in which First Lady Abbey Bartlet dedicates a memorial in Pennsylvania in honour of Nellie Bly, and convinces the President to mention her and other female historic figures on his weekly radio address.
Bly has been the subject of two episodes of the Comedy Central series 'Drunk History'. The second-season episode "New York City" featured her undercover exploits in the Blackwell's Island asylum, while the third-season episode "Journalism" retold the story of her race around the world against Elizabeth Bisland.
On May 5, 2015, the Google search engine produced an interactive "Google Doodle" for Bly; for the "Google Doodle" Karen O wrote, composed, and recorded an original song about Bly, and Katy Wu created an animation set to Karen O's music.
-- Nellie Bly in Literature
Nellie Bly has been featured as the protagonist of novels by David Blixt, Marshall Goldberg, Dan Jorgensen, Carol McCleary, Pearry Reginald Teo and Christine Converse. David Blixt also appeared on a 10th. March 2021 episode of the podcast 'Broads You Should Know' as a Nellie Bly expert.
A fictionalized account of Bly's around the world trip was used in the 2010 comic book 'Julie Walker Is The Phantom' published by Moonstone Books.
Bly is one of 100 women featured in the first version of the book 'Good Night Stories for Rebel Girls' written by Elena Favilli & Francesca Cavallo.
-- Eponyms and Namesakes
The board game 'Round the World with Nellie Bly', created in 1890, is named in recognition of her trip.
The Nellie Bly Amusement Park in Brooklyn, New York City, was named after her, taking as its theme Around the World in Eighty Days. The park reopened in 2007 under new management, renamed "Adventurers Amusement Park".
A fireboat named Nellie Bly operated in Toronto, Canada, in the first decade of the 20th. Century.
From early in the twentieth century until 1961, the Pennsylvania Railroad operated an express train named the Nellie Bly on a route between New York and Atlantic City. In its early years, it was a parlour-car only train; in 1901 it crashed, killing 17 people.
The newly released Autodesk Inventor 2012 now contains Ray Tracing directly inside the geometry window!
Inventor of computer mouse and pioneer of human computer interaction.
©Robert Holmgren, all rights reserved. bobholmgren@gmail.com
Dr. Douglas C. Engelbart is an American inventor and early computer pioneert. He is best known for inventing the computer mouse, as a pioneer of human-computer interaction whose team developed hypertext, networked computers, and precursors to GUIs; and as a committed and vocal proponent of the development and use of computers and networks to help cope with the world’s increasingly urgent and complex problems.
His lab at SRI was responsible for more breakthrough innovation than possibly any other lab before or since. Engelbart had embedded in his lab a set of organizing principles, which he termed his "bootstrapping strategy", which he specifically designed to bootstrap and accelerate the rate of innovation achievable.
Standing in the southeast corner of the Kogod Courtyard looking north at mid-afternoon shadows on the wall of the central courtyard linking the National Portrait Gallery and the Smithsonian American Art Museum in Washington, D.C., in the United States.
U.S. patent law of 1790 required inventors to submit a scale model of their invention. In 1810, Congress authorized the purchase of the unfinished Blodgett's Hotel to house the U.S. Post Office and the Patent Office. But the patent office quickly ran out of space due to the hundreds of models it had to house. Even though Blodgett's Hotel was enlarged in 1829, the need for a new building was clear. On July 4, 1836 (the same date it enacted the landmark Patent Act of 1836), Congress authorized erection of a new patent office building. But even as ground was broken for the new building, Blodgett's Hotel burned to the ground on December 15, 1836, causing the loss of nearly all its records and models, and its entire library.
Architect Robert Mills designed the new Patent Office building. Mills was a protegé of Benjamin Henry Latrobe (architect of the Capitol) and James Hoban (architect of the White House), and had designed many important churches in the U.S. as well as a highly regarded prison in New Jersey notable for its reformatory rather than punitive aspects. 1836 was "the year of Mills". Not only did he win the Patent Office commission, but his designs for the Washington Monument and the Treasury Building were also chosen by the federal government.
The Patent Office building was built on a large public square which Pierre L'Enfant had originally set aside for a massive nondenominational church. Both G Street and F Street were diverted around this square, which was a third larger than the average block in the city. Mills designed a Greek Revival structure that would have massive, ceremonial entrances on both the north and south sides. His model was the Parthenon in Athens. This was a new design, for most neoclassical buildings in D.C. had been based on Roman structures or Romanesque Revival buildings constructed during the Renaissance (1400 to 1650). Mills was a big promoter of "fireproof" buildings made with as little timber as possible. This meant using masonry piers and vaults, and iron trusses where possible. As this was the day of whale-oil lighting, Mills designed the building to have a large inner courtyard so that light could reach both the inner and outer offices. The fourth floor of the building also had skylights ("light courts"); this meant the fourth floor could be used for clerical offices (which needed a lot of light), while models, archives, and the library could be on the darker first, second, and third floors.
The Patent Office was made part of the State Department in 1802, because patents involved international law. Under the supervision of the Secretary of State, the south wing of the Patent Office was completed in 1840. In 1849, Congress created the Department of the Interior, and transferred the patent office to this new department. The Interior Department moved into the Patent Office Building alongside its new agency.
Criticizing architects was the main sport of Congress in the early days of the republic. Few buildings were erected with federal funds anywhere in the country (except for post offics and customs houses), and members of Congress were routinely criticized for "subsidizing" the growth of Washington by allocating money for construction there. Furthermore, architects who lost competitions wasted no time in undermining the reputation and work of those who won them, hoping to get the architect fired and to replace him.
Sure enough, construction on the Patent Office building was very slow. Mills was frequently attacked for incompetence, and in congressional committees (hardly staffed with experts!) forced him to add unnecessary tie rods and iron bracing to the building. His most critical opponent wa William Easby, commissioner of public buildings. Easby ran a quarry, and had lost several contracts for the Patent Office building after supply far inferior product. He now took his reveange, repeatedly and without evidence attacking the structural soundsness of Mills' designs. Mills' relationship with Congress soured, and he was dismissed in April 1851.
Another of Mills' harshest critics was architect Thomas U. Walter. A believer in Greek Revival architecture, Walter had designed a large number of banks, churches, courthouses, prisons, and residences in the country. In 1850, he won the competition for the design of the east extention of the U.S. Capitol (and would later design, with Captain Montgomery Meigs of the US Army Corps of Engineers, the Capitol dome).
In 1852, Congress appropriated money for the construction of the east wing, the west wing, and the basement beneath the courtyard. The east wing was completed and occupied in January or February of 1853. This was followed by money for the facade of the north wing in 1856, and completion of the west wing (for patent models) and more construction of the north facade in 1857. The west wing opened in 1856. Money was approved for adding the fourth floor to the west wing in 1858, and completion of the north wing in 1859.
Due to the exigencies of the Civil War, the north wing was not completed and occupied until 1867.
The third floor and attic of the west and north wings of the Patent Office were destroyed by fire in 1877. The cause of the blaze was never fully determined, although many thought that sparks from chimneys landed on the wooden roof above the patent model rooms. (Others thought the fire originated in the patent model rooms.) Not surprisingly, Mill's masonry vaults withstood the fire; Walter's much weaker iron-braced vaults collapsed.
Local German-American architect Adolf Cluss was hired to rebuild the Patent Office Building. Cluss had designed a large number of churches, hotels, office buildings, residences, retail buildings (including the city's first department store, the Lansburgh), and schools in the city. He designed the first Department of Agriculture headquarters in 1867, Center Market (the most advanced public marketplace and grocery store in the country) in 1871, and Eastern Market in 1872 (it still stands), and he rebuilt the Smithsonian Castle in 1867 after a devastating fire there. (His work on the Patent Office reconstruction won him the competition to design the Smithsonian Arts & Industries Building in 1879.) In 1872, Cluss was named City Engineer, and he oversaw the design and construction of the great expansion of public works that transformed Washington in the 1870s: street paving, sewer construction, gas lines, street lighting, and the planting of thousands of trees.
Cluss largely retained the neoclassical facades by Mills and Walter, but made some changes to reflect a more Renaissance look and feel. His greatest changes, however, came in the interior. He significantly strengthened the structural elements of the interior (so they could withstand another fire), which created numerous marble pillars and beautiful vaulted masonry ceilings throughout the interior. He also paved the floors with brilliantly colored encaustic tile, added wonderfully detailed decorative iron railings, and lined the halls with marble wainscoting. He also added a grand double-curved staircase to the south entrance, a Great Hall to replace the model rooms, and installed brilliant stained glass windows throughout. Cluss also redesigned the grand south entrance staircase, which had been damaged by firefighters in 1877.
The Patent Office used the building until 1932, when it moved to new headquarters due to space needs. The Civil Service Commission occupied the building afterward. Appallingly, the widening of F Street in 1935 amputated the monumental south stairs. The Patent Office Building was due to be demolished in 1953. But in one of the first preservation efforts in D.C., it was saved. President Dwight D. Eisenhower gave it to the Smithsonian in 1958. Starting in fall 1964, it was renovated into a museum by the firm of Faulkner, Kingsbury & Stenhouse. It was designated a National Historic Landmark in 1965, and opened as the National Museum of American Art (now the Smithsonian American Art Museum) and the National Portrait Gallery in January 1968. The north wing housed the art museum and the south wing the portrait gallery. Offices and a cafe occupied the east wing, and the west wing was empty. The open-air courtyard had an outdoor cafe.
By 1999, the Old Patent Office Building was in serious need of renovation. Much of the interior space had been converted into office space, making visitor circulation poor. Drop-ceilings of particleboard covered up the vaulted ceilings, many windows had been boarded up on the inside and outside (to prevent light from entering and to add display space), and hallways had been partitioned to add office space and create narrow, ugly galleries. Floors were built across the open space between the mezzanines in the Great Hall to add more space, the great double-staircase on the south side was concealed and used for staff only, and much of the interior moldings, pilasters, cornices, pillars and capitals had been covered over with plywood to create a "modern" look. Outside, the porticos had been closed off, and in some cases concealed or altered to make the columns appear to be pilasters (fake columns). The great north staircase was closed, and the south staircase replaced with modern steel steps.
The building closed in 2000. Most of the modifications to the interior were ripped out, revealing the amazing, colorful magnificence of the original building's interior. The Great Hall was restored, the north staircase reopened, the double-staircase in the south reopened and restores, the colonnades restored, the vaulting in the galleries revealed, the windows reopened, and the fourth floor skylights reinstalled. Full circulation on the first three floors was also restored. Most significantly, the open-air courtyard was covered over to create a new dining and performance space. Although this was not part of the original renovation project, the Smithsonian began considering enclosing the courtyard in 2002. Approval from Congress was secured in August 2003.
The renovation was overseen by architects Warren Cox and Mary Kay Lanzillotta of the D.C. firm of Hartman-Cox Architects. The Kogod Courtyard canopy was designed by the British firm of Foster and Partners in cooperation with the British firm of Buro Happold. Interior and exterior landscaping was designed by the landscape architectural firm of Gustafson Guthrie Nichol.
The total cost of the was $283 million -- $166 million in federal money, $38 million in miscellaneous private donations and $25 million from the Kogod family for the courtyard, and $54 million in miscellaneous private donations for preservation of the building.
The Old Patent Office Building reopened in July 2006. The Kogod Courtyard opened in November 2007.
Renovations included the Nan Tucker McEvoy Auditorium in the basement. The Great Hall was completely restored along with its two mezzanines. The Luce Foundation Center for American Art was built around the circumference of the Great Hall, and on the two mezzanines above it. This new gallery space displays more than 3,300 artworks in secure glass cases, paintings densely hung on screens, three-dimensional art (sculptures, etc.) on shelves, and small artwork (miniatures, medals, jewelry) in pneumatic drawers.
Northwest corner of third floor contains office space for the two museums. But the third and fourth floor mezzanines now house the Lunder Conservation Center -- a space where the public can see artwork being restored and conserved, and where information on art preservation and curation is displayed and provided in computer stations and kiosks. Third floor mezzanine space over the grand double-staircase was also opened creating two new, narrow gallery spaces.
But the most astonishing change was the creation of the Robert and Arlene Kogod Courtyard. (Robert Kogod was CEO of the Charles E. Smith Co., a huge real estate development firm in D.C., and his wife Arlene Smith Kogod is heir to the Smith fortune.) To cover the 28,000-square-foot courtyard, a system of eight aluminum columns was built to support the canopy without putting any structural stress on the Old Patent Office Building itself. The canopy is an aluminum grid containing double-glazed glass panels, which appears to float over the courtyard.
Kathryn Gustafson of Gustafson Guthrie Nichol designed the new courtyard interior. The grass and pathways were removed, and black granite paving installed. White marble planters on the south and north sides contain ficus and black olive trees, ferns, shrubs, and seasonal plantings. Four water scrims, each a quarter-inch deep, run down the south-center axis.
Dr. Barba’s patented method of inducing early flowering in mango trees revolutionized the Filipino mango industry and made the prized fruit one of its top export items. Watch the video.
Copyright: WIPO. Photo: Jean-François Arrou-Vignod. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.
The Personal Air Freshener is just that, an air freshener that can be personalized with your name or unique phrase all while keeping your car smelling fresh! This invention is the brain child of our client, Curtis.
Born in Columbus, Ohio, in April 23, 1856, Granville T. Woods dedicated his life to developing a variety of inventions relating to the railroad industry. To some he was known as the "Black Edison, both great inventors of their time. Granville T. Woods invented more than a dozen devices to improve electric railway cars and many more for controlling the flow of electricity. His most noted invention was a system for letting the engineer of a train know how close his train was to others. This device helped cut down accidents and collisions between trains.
Granville T. Woods literally learned his skills on the job. Attending school in Columbus until age 10, he served an apprenticeship in a machine shop and learned the trades of machinist and blacksmith. During his youth he also went to night school and took private lessons. Although he had to leave formal school at age ten, Granville T. Woods realized that learning and education were essential to developing critical skills that would allow him to express his creativity with machinery.
In 1872, Granville T. Woods obtained a job as a fireman on the Danville and Southern railroad in Missouri, eventually becoming an engineer. He invested his spare time in studying electronics. In 1874, Granville Woods moved to Springfield, Illinois, and worked in a rolling mill. In 1878, he took a job aboard the Ironsides, a British steamer, and, within two years, became Chief Engineer of the steamer. Finally, his travels and experiences led him to settle in Cincinnati, Ohio, where he became the person most responsible for modernizing the railroad.
In 1888, Granville T. Woods developed a system for overhead electric conducting lines for railroads, which aided in the development of the overhead railroad system found in cities such as Chicago, St. Louis, and New York City. In his early thirties, he became interested in thermal power and steam-driven engines. And, in 1889, he filed his first patent for an improved steam-boiler furnace. In 1892, a complete Electric Railway System was operated at Coney Island, NY. In 1887, he patented the Synchronous Multiplex Railway Telegraph, which allowed communications between train stations from moving trains. Granville T. Woods' invention made it possible for trains to communicate with the station and with other trains so they knew exactly where they were at all times.
Alexander Graham Bell’s company purchased the rights to Granville T. Woods’ "telegraphony," enabling him to become a full-time inventor. Among his other top inventions were a steam boiler furnace and an automatic air brake used to slow or stop trains. Wood’s electric car was powered by overhead wires. It was the third rail system to keep cars running on the right track.
Success led to law suits filed by Thomas Edison who sued Granville Woods claiming that he was the first inventor of the multiplex telegraph. Granville Woods eventually won, but Edison didn’t give up easily when he wanted something. Trying to win Granville Woods over, and his inventions, Edison offered Granville Woods a prominent position in the engineering department of Edison Electric Light Company in New York. Granville T. Woods, preferring his independence, declined.
Famous composer Igor Stravinsky (1882-1971) by Italian sculptor Marino Marini (1901-1980). Seen at an exhibition of Marini at Museum De Fundatie Zwolle, the Netherlands.
More Marino Marini at
History of the Barber-Colman Company
Historically one of Rockford’s largest manufacturers.
Began with the founding of the Barber & Colman Company in 1894 – partnership between Howard Colman, an inventor and entrepreneur, and W. A. Barber, an investor. [Today he would probably be considered a venture capitalist.] Colman’s first patent and marketable invention was the Creamery Check Pump used to separate buttermilk and dispense skimmed milk.
Colman’s textile production inventions led the company on its rapid rise as a worldwide leader in the design and manufacture of diversified products. Specific items designed for the textile industry included the Hand Knotter and the Warp Tying Machine. Through these innovations, Barber & Colman was able to build its first plant on Rock Street in Rockford’s Water Power District, and to establish branch offices in Boston MA and Manchester, England.
Incorporated as Barber-Colman in 1904 and built 5 new major structures on their site by 1907.
Later innovations for the textile industry included an Automatic Winder, High Speed Warper and Automatic Spoolers. By 1931, the textile machinery division had branch production facilities in Framingham MA; Greenville SC; Munich, Germany; and Manchester. This part of the business flourished through the mid-1960s but then declined as other divisions expanded.
Branched out from the textile industry into machine tools in 1908 with Milling Cutters. Barber-Colman created machines used at the Fiat plant in Italy (1927) and the Royal Typewriter Co. outside Hartford CT. By 1931, the Machine Tool and Small Tool Division of Barber-Colman listed branch offices in Chicago, Cincinnati and Rochester NY.
As part of its commitment to developing a skilled work force, Barber-Colman began the Barber-Colman Continuation School for boys 16 and older shortly after the company was founded. It was a 3-year apprentice program that trained them for manufacturing jobs at Barber-Colman and paid them hourly for their work at rate that increased as their proficiency improved. The program was operated in conjunction with the Rockford Vocational School.
To foster continued inventions, an Experimental Department was established with the responsibility of continually developing new machines. A lab was first installed in 1914 and was divided into two parts – a chemistry lab to provide thorough analysis of all metals and their component properties, and a metallurgical lab to test the effectiveness of heat treatment for hardening materials. Innovations in the Experimental Department laid the groundwork for the company’s movement into the design and development of electrical and electronic products, and energy management controls.
BARBER-COLMAN became involved in the electrical and electronics industry in 1924 with the founding of the Electrical Division. First product was a radio operated electric garage door opener controlled from the dashboard of a car. Unfortunately, it was too expensive to be practical at the time. The division’s major product in its early years was Barcol OVERdoors, a paneled wood garage door that opened on an overhead track. Several designs were offered in 1931, some of which had the appearance of wood hinged doors. This division eventually expanded into four separate ones that designed and produced electronic control instruments and systems for manufacturing processes; small motors and gear motors used in products such as vending machines, antennas and X-ray machines; electronic and pneumatic controls for aircraft and marine operations; and electrical and electronic controls for engine-powered systems.
In the late 1920s, the Experimental Department began conducting experiments with temperature control instruments to be used in homes and other buildings and the Temperature Control Division was born. Over time, BARBER-COLMAN became known worldwide leader in electronic controls for heating, ventilating and air conditioning. These are the products that continue its name and reputation today.
The death of founder Howard Colman in 1942 was sudden but the company continued to expand its operations under changing leadership. Ground was broken in 1953 for a manufacturing building in neighboring Loves Park IL to house the overhead door division and the Uni-Flow division. Three later additions were made to that plant.
The divestiture of BARBER-COLMAN divisions began in 1984 with the sale of the textile division to Reed-Chatwood Inc which remained at BARBER-COLMAN’s original site on Rock Street until 2001. The machine tooldivision, the company’s second oldest unit, was spun off in 1985 to Bourn and Koch, another Rockfordcompany. At that time, it was announced that the remaining divisions of the BARBER-COLMAN Company would concentrate their efforts on process controls and cutting tools. These moves reduced local employment at BARBER-COLMAN’s several locations to about 2200. The remaining divisions were eventually sold as well, but the BARBER-COLMAN Company name continues to exist today as one of five subsidiaries of Eurotherm Controls Inc whose worldwide headquarters are in Leesburg VA. The Aerospace Division and the Industrial Instruments Division still operate at the Loves Park plant, employing 1100 workers in 2000. The historic complex on Rock Street was vacated in 2001 and the property purchased by the City of Rockford in 2002.
Extensive documentation from the Experimental Department was left at the Rock Street plant when the company moved out and was still there when the site was purchased by the City of Rockford. These documents are now housed at the Midway Village Museum.
Old egyptian hieroglyphic painting showing an early instance of a domesticated animal (cow being milked).
[Rights free image - source: commons.wikimedia.org/wiki/Image:Egyptian_Domesticated_An...]
American artist, designer and inventor L. R. Emerson II may be considered the Thomas Edison of art yet is equally considered among the world’s most unusual artists. L. R. Emerson II may also be one of the most prolific artists the world has ever witnessed. Since 1983, has been personally compelled to develop and express through multi-directional art.
L. R. Emerson II is best known as the leading artist of the Upside-Down Art Movement or Masg Art movement.
Emerson never intended to become a household name in artmaking and the evidence of his effort to avoid selling out is firstly, his diligent efforts to make art that was intentionally against the common trends and secondly to keep his style secret from the world at large for two decades.
Recently, however after Emerson decidedly released some of his work after keeping it suppressed since the 1980’s renowned artist Georg Baselitz called L. R. Emerson's art"...inspiring." Baselitz’ own art has sold for in excess of $4.2 million dollars at recent auction.
In tribute, paying homage to neo-expressionist painter Georg Baselitz, Emerson recently exhibited at Saatchi an work Upside-Down Artwork or also known as Masg art called "Ode to Baselitz". Featured at Saatchionine.com Emerson has presented a work which has garnered the attention of Charles Saatchi himself who personally flagged L. R. Emerson ‘s work as “Liked”. "Ode to Baselitz" is part of L. R. Emerson II's "Heavy Ink" series.
The medium of “Ode to Baselitz” is called Digigraph or Digiography (both phrases termed and documented in 2009 in The Purple Tree; Art in a Boundless Age) is a combination of both traditional and tech media. The Digigraph featured at Saatchi is part of L. R. Emerson’s 50+ documented, pioneering inventions for making art - each calling for combinations of traditional and digital technology mediums.
“Ode to Baselitz” is a culmination of pen and ink, and computer aided design. Emerson’s goal with “Ode to Baselitz” is not only to bring attention to the already known upside-down work of Baselitz but moreover for the fact that like Emerson, Baselitz has ridden the critical seas of the public’s reaction to upside down work.
Baselitz, according to Emerson has paved a way for artists, even ones who are not working neo-expressively to express themselves through multi-directional composition – though Baselitz does not intend his upside-down works be hung in two or more directions as Emerson intentionally does.
As Emerson puts it “Baselitz broke the water and I am simply delivering the baby” speaking metaphorically to the aspect of L. A. times featured article from 1984 showing Baselitz’ then Upside-Down painting. By comparison, Emerson’s 1984 series was removed from exhibition during the same time period (’85) as Emerson feared critical rejection and stylistic copying. Thus L. R. Emerson II’s art was selectively hidden from the world for the next two decades.
In 2005 Emerson II exhibited nearly 800 works sharing several signed prints with major museums and galleries in 11 countries, yet he determined it necessary to continue to hold other selections from the public eye. What is seen today in exhibition by Emerson are mere artistic fragments of what he actually creates. With his current work never shown and by only releasing work that is about two years old, Emerson keeps ahead of those who would choose to mimic his style.
With over 100 awards to date and currently working in his third decade, L. R. Emerson II has proven himself worthy of critical appraisal. Nicholas Forrest, contributing writer to Art & Antiques Magazine wrote about L. R. Emerson II stating "An amazing artist, Amazing art!" 2006. L. R. has been actively researching, developing, and inventing methods of making art and specifically Upside-Down art known as Masg Art, from Gaelic meaning to mix; or infuse for 30 years.
To date, Emerson has delivered on his 1983 promises to make “Upside-Down Art” a household name in the very near future. In the aftermath we find now major artists effecting and or following the Upside-Down Art movement which is crossing international lines with artists such as Germany's Georg Baselitz and British Sculptor Anish Kapoor, giving significantly strong visual support.
Emerson's own efforts in leading the Upside-Down Art Movement has thus far have encompassed the following:
•Created Upside-Down Art for nearly thirty years having begun in 1983 and has made more upside-down, multi-directional, ambigram, Masg styled art than any person in history.
•Exhibited at age 18, and worked as a commissioned artist beginning at age of 19 with work appearing in newspaper and magazines by age 19 and for major celebrities by age 23
•First artist ever to offer their art for free; up to $1 million dollars of L. R. Emerson II’s artwork was literally offered for free to anyone in the world. The offer was advertised to the general public in numerous places and stood from 2005 until 2009
•Created in excess of 100,000 works within over 1,000 series
•Engaged 30 years of innovative, experimentation and invention driven research on Upside-Down Art or Multidirectional Art Composition, process and art methodology
•Created Upside-Down, multi-directional Masg Art in the following mediums: airbrush, collography, clayography, etching, lino-cut, oil on linen and canvas, acrylic on canvas, acrylic on board, emulsion transfer, mixed media, photography, digiography, emulsion transfer on metal, pen & ink with watercolor, pencil and ink on paper, oil pastel, collage, digital imaging, vector-based CGI, acetone transfer
•Has been awarded for being considered one of America’s Leading Art Educators, frequently serving as a Lead Art Educator on a variety of curriculum writing and Art Education textbook adoption committees or chairperson capacities. Emerson’s curriculum writing experiences have included practicum, research and committee collaboration to develop Art Education practices and standards for Art Foundation teaching and Cornerstone Assessments which serve as standards or benchmarks to assess a practicing artist’s skills and ability(2008 to 2012)
•Secured exhibition opportunities for student artists - having exhibited several academic thousand works.
•Invented in excess of 50 documented new methods for making Upside-Down Art or Masg Art
•Established a world record in the “Most Digital Works Created in One Hour” with the record set at 86 in 2007 and succeeded to a new record of 87 in 2008, both held by Emerson
•Published The Purple Tree; Art in a Boundless Age, 2009
•2012 Charles Saatchi personally flags Emerson’s online Saatchi Gallery as a “Liked User”
•Among the world’s most accomplished airbrush artists, having been placed in magazines the age of 19 and still today advancing the power of airbrush through invention and exhibition.
•Serving among the world’s most influential 21st Century Artists and Designers
•Created work for numerous patron including Grammy Winning musician/songwriter Leon Russell – who wrote “Superstar” the number one hit song for the late Karen Carpenter , March 2, 1950 – February 4, 1983 (also a Grammy Winner) and living legend Barbara Streisand, born April 24, 1942.
•Donated by Deed the printing, publishing and rights to sale of over $1 million dollars in art.
•Created the first Upside-Down Art/Masg art Portraiture featuring a living person
•Established new art movement named “Pop Not” – genuine Pop Art styled social criticism with Pop styled, collages and punchy graphics but far removed from the kitschy, pseudo Pop Art existing today. L. R. Emerson II documented in the Purple Tree; Art in A Boundless Age the mission of Pop Not artists and the socially critical work they produce.
•Produced 14 Art Education videos highlighting the earmarks of Upside-Down Art
•Achieved in excess of 100 awards including awards for advertising design and photography
•Received critical acclaim from Nicholas Forrest, contributing writer to Art and Antiques Magazine. Forrest wrote about L. R. Emerson II’s Upside-Down Art or Masg Art stating “Amazing art by an amazing artist!” 2006
•Written and published Art History and or Criticism articles about Upside-Down Art
•Exhibited Upside-Down Art or Masg Art at prominent museums such The Museum of Contemporary Art
•Works held in both private estate and public art collections
•Developed, termed and published research about the "Digigraph" art process and art medium - a unique new art medium using traditional art media and technology
•2005, Established e4 Fine Art and an accompanying website e4fineart.com to serve as the exclusive representative for L.R.’s work and the web site to host functional space to not only electronically exhibit my work but moreover to share understanding about the art history related to Upside-Down Art.
•To date www.e4fineart.com.com and its’ counterpart gallery, www.upside-down-art.com has had over 600.000 visitors from across the planet and exists as “The World’s Largest Solo Artist Site” TM
•First artist to call for a change in the current Art Education texts and practices as L. R. Emerson II’s 30 years of pioneering research has proved the merits and validity of Upside-Down Art, or Masg Art as being a worthy alternative to the three common forms of compositional balance.
Because of the work of L. R. Emerson II and other supporting Upside-Down artists the old texts and teaching foundations known as The Principles of Art/Design are outdated and need revision. Museums, Art Critics, Educators, conservators and Historians can no longer ignore the relevance and merit of multi-directional composition or Upside-Down Art.
•In 2005, after having been kept secret for over two decades, Masg or Upside-Down Art was introduced to more than 500 galleries and in excess of 50 renowned museums worldwide including:
National Gallery
Tate Museum, London
Smithsonian American Art Museum
Musée du Louvre, Paris
The Museum of Modern Art, NYC
Solomon R. Guggenheim Foundation
San Francisco Museum of Modern Art
The J. Paul Getty Museum, Los Angeles
Additionally, several videos were produced in the past three years and subsequently presented to the global community including the following:
Art is Art is Art by L R Emerson II
www.youtube.com/watch?v=ftwMV0kxeuo
L R Emerson II Art
www.youtube.com/watch?v=gyekoiK5N4c
Art is Upside-Down by L R Emerson II
www.youtube.com/watch?v=f7R5nuZ-2So
Art 21 L. R. Emerson II: Masg A New Art Movement
www.youtube.com/watch?v=xIYCTL-cnPs
Art History by L. R. Emerson II
www.youtube.com/watch?v=rjlw6iFfnvQ
Math and Art - Music and Art
www.youtube.com/watch?v=Ks1RKmUodbA
The Purple Tree: Art in a Boundless Age
www.youtube.com/watch?v=OjZwNnWZNLA
“Currently as I continue my research and documentation I look toward an Upside-Down Art group exhibition including myself, Georg Baselitz, and Anish Kapoor. London’s Tate Museum, NYC Guggenheim, MOMA and the Los Angeles County Museum of Art are fine venues for this warranted proposal. The considerably unusual exhibition will likely be presented as the world’s most unusual art of the 20th and 21st Century.
We have come a long way but still have an engaging journey ahead. I am pleased however at our progress so far and know we have truly shattered the proverbial “glass ceiling” or stronghold of art conservators, critics and museums as they too now have accepted our methods of composition and see that we have forever changed the manner in which art is composed.
The more I’ve advocated for Upside-Down Art, the greater the number of artists we (representatives and assistants) find are mimicking my style, however this is rewarding to me. Neither am I displeased to be named ‘Jack the Flipper’ (linguistically spinning Pollack’s ‘… dripper’ nomenclature).” Excerpt: L. R. Emerson II, 2012
Please see the revolutionary art of L. R. Emerson II at www.upside-down-art.com , “The World’s Largest Solo Artist Site” TM, and consider the merit of L. R. Emerson II’s work for inclusion in your presentation, writing, evaluation and discussion of 21st Century Art.
Inventor Tim Jenison attempted to solve one of the greatest mysteries in all art: How did 17th century Dutch Master Johannes Vermeer (“Girl with a Pearl Earring”) manage to paint so photo-realistically.
Tim’s Vermeer: Tim Jenison Close-Up is an exhibition of Mr. Jenison’s process work on display at Kennedy Library.
American artist, designer and inventor L. R. Emerson II may be considered the Thomas Edison of art yet is equally considered among the world’s most unusual artists. L. R. Emerson II is best known as the leading artist of the Upside-Down Art Movement or Masg Art movement.
L. R. Emerson II may also be one of the most prolific artists the world has ever witnessed. Since 1983, has been personally compelled to develop and express through multi-directional art.
Emerson never intended to become a household name in artmaking and the evidence of his effort to avoid selling out is firstly, his diligent efforts to make art that was intentionally against the common trends and secondly to keep his style secret from the world at large for two decades.
Recently, however after Emerson decidedly released some of his work after keeping it suppressed since the 1980’s renowned artist Georg Baselitz called L. R. Emerson's art"...inspiring." Baselitz’ own art has sold for in excess of $4.2 million dollars at recent auction.
Baselitz, according to Emerson has paved a way for artists, even ones who are not working neo-expressively to express themselves through multi-directional composition – though Baselitz does not intend his upside-down works be hung in two or more directions as Emerson intentionally does.
As Emerson puts it “Baselitz broke the water and I am simply delivering the baby” speaking metaphorically to the aspect of L. A. times featured article from 1984 showing Baselitz’ then Upside-Down painting.
By comparison, Emerson’s 1984 series was removed from exhibition during the same time period (’85) as Emerson feared critical rejection and stylistic copying. Thus L. R. Emerson II’s art was selectively hidden from the world for the next two decades.
In 2005 L. R. Emerson II exhibited nearly 800 works sharing several signed prints with major museums and galleries in 11 countries, yet he determined it necessary to continue to hold other selections from the public eye. What is seen today in exhibition by Emerson are mere artistic fragments of what he actually creates. With his current work never shown and by only releasing work that is about two years old, Emerson keeps ahead of those who would choose to mimic his style.
With over 100 awards to date and currently working in his third decade, L. R. Emerson II has proven himself worthy of critical appraisal. Nicholas Forrest, contributing writer to Art & Antiques Magazine wrote about L. R. Emerson II stating "An amazing artist, Amazing art!" 2006. L. R. has been actively researching, developing, and inventing methods of making art and specifically Upside-Down art known as Masg Art, from Gaelic meaning to mix; or infuse for 30 years.
To date, Emerson has delivered on his 1983 promises to make “Upside-Down Art” a household name in the very near future. In the aftermath we find now major artists effecting and or following the Upside-Down Art movement which is crossing international lines with artists such as Germany's Georg Baselitz and British Sculptor Anish Kapoor, giving significantly strong visual support.
“We have come a long way but still have an engaging journey ahead. I am pleased however at our progress so far and know we have truly shattered the proverbial “glass ceiling” or stronghold of art conservators, critics and museums as they too now have accepted our methods of composition and see that we have forever changed the manner in which art is composed.
The more I’ve advocated for Upside-Down Art, the greater the number of artists we (representatives and assistants) find are mimicking my style, however this is rewarding to me. Neither am I displeased to be named ‘Jack the Flipper’ (linguistically spinning Pollack’s ‘… dripper’ nomenclature).
"Many artists are now heading to where I am at artistically - and this is both rewarding and flattering but when they arrive they see I am no longer there; for I only exhibit mostly past works thus keeping my latest upside-down inventions for another day." L. R. Emerson II, 2012
Please see the revolutionary art of L. R. Emerson II at www.upside-down-art.com , “The World’s Largest Solo Artist Site” TM, and consider the merit of L. R. Emerson II’s work for inclusion in your presentation, writing, evaluation and discussion of 21st Century Art.
For informations or inquiry contact representatives of L. R. Emerson II at info@e4fineart.com.
l. R. Emerson II, anish kapoor, Abc, cbs, MSNBC, fox news, art in america, american artist, famous artist, art collector, collectors, kempt, gustave verbeek, peter newell, ambigram, topsy turvy, miles davis, Elton john, art techniques, skill, design, designer, sales, space, nasa, jpl, gallery, media, videos, vrial, art education, top ten artists, celebrity artist, thames, regis, idol, american eagle, apostle, school art, classroom, art ed, big ben, rolling stones, live at leads, dean martin, grand ole oprey, Tulsa, Nashville, nick cage, universal studers, walt disney, america’s got talent, prince, beatles, moby, the motels, gary neuman, the cars, suburbs, movie industrie, Goodyear blimp, Tahoe, reno, new mexico, Baja, big surr, surfing, nike, keds, vans, o.p. ocean pacific, u.s. 101, Malibu, montery, quebec, montreal, ton onto, actors, actress, capitol records, squeeze, adam ant, nobel prize, france, germany, Scotland, australia, aussie, giant birthday card, leon russell, Ohio, Nebraska, keith harring, los angeles, upside-down drawing, art, tina turner, the voice, ansel adams, sally mann, cy twombly, masg, whitney american art museum, California, Trafalgar square, toys, k-tel, dick clark, steve jobs, google, yahoo, e-news, entertainment, walk of fame, Hollywood, frame, framing, canva, giclee, print, news, newspaper, publishing, advertisting, paris, rome, spain, NYC, berlin, London, Sweden, Warhol, paul klee, magazine, 21st century art magazine, art news, airbursh, art news, Salvador dali, art today, da vinci, art and antiques magazine, Nicholas forrest, art critic, art collector, charles Saatchi, Donald trump, celebrity artist, upside-down artist, drawing, printmaking, youtube, Guggenheim, etching, collography, fashion design, vogue, ellen degeneres, hoda and Kathy lee, steve martin, brady theatre, whiskey a go go, L.A., urban, texas, dallas, Utah, san fransciso, san diego, Saturday night live, boston museum of art, LACMA, lourve, national gallery, Smithsonian, tate modern, baselitz, mtv, l. r. emerson ii digital art, airbrush digital art, upside-down drawing digital art, photography digital art, pen and ink digital art, l. r. emerson ii canvas prints, airbrush canvas prints, upside-down drawing canvas prints, photography canvas prints, pen and ink canvas prints
Thomas Parker
Inventor
Dates of interest in Thomas Parker’s life include:-
1881 (Age 38) Responsible for the first electric tramway in the world at Portrush, Northern Ireland. Powered by the first hydro electric generator.
1882 Shared the invention of the Plante Battery
1882 Founded the first company in The Midlands to manufacture electrical equipment in Commercial Road, Wolverhampton - in parnership with Mr Paul Bedford Elwell
1884 Designed electric powered transmission system for collieries
1884/86 Designed equipment for refining copper by electricity
1887 Invented the method of producing phosphorus and chlorate of soda by electricity
1889 Invented the sparking plug
1889 Designed the first electric locomotive for the Birmingham Tramways
1891 Made the first electric omnibus to run in London, from Charing Cross to Victoria, at 7mph
1892 Designed the high voltage direct current system for the City of Oxford
1893 The firm of Elwell and Parker was reconstituted as The Electric Construction Company.
1893 Responsible for the electrification of the South Staffordshire Tramway
1893 Responsible for the electrification of the Liverpool Overhead Railway for which he was awarded the Stephenson Medal and the Telford Premium by The Institute of Civil Engineers.
1894 Founded the firm of Thomas Parker (Ltd) in Wolverhampton
1896 Produced a prototype 'electric dog-cart'
1898 Contested Kingswinford seat of Parliament for the Liberal Party
1899 Responsible for the electrification of the first underground railway in Great Britain, a section of the London Metropolitan Railway, as a result he was invited to join the Board of Directors of this company.1904 Awarded two gold medals by the smoke abatement society for his work against air pollution. One for his invention of the Kyrle Fire Grate and one for his invention of the distillation of coal by low temperature method to produce a smokeless fuel.
1905 He urged the necessity of decimalisation of the English weights, measures and currency and did much to promote a decimal system of his own creation.
1907 Bought Severn House and the Court Works in Madeley
1910 Patented the forerunner of the jeep
Courtesy of The History of the Valley Hotel, Coalbrookdale
Born: 1843
Died: 1915
An exhibition showing the intellectual property (IP) behind Steve Jobs’ innovations opened to the public at WIPO on March 30, 2012 and will run through to World Intellectual Property Day on April 26, 2012. The exhibition ties in with this year’s World Intellectual Property Day theme – Visionary Innovators.
The Patents and Trademarks of Steve Jobs: Art and Technology that Changed the World is located in the atrium of the new WIPO building and is open to the public from 9.00am through 6pm. It features over 300 of the patents that bear Steve Jobs name along with many of Apple’s trademarks. The exhibition is co-organized by WIPO and the United States Patent and Trademark Office (USPTO) and supported by the U.S. Mission to the United Nations in Geneva.
The exhibit was created and designed by Invent Now, Inc., a non-profit organization dedicated to fostering invention and creativity through its many programs and which runs the National Inventors Hall of Fame and Museum on the USPTO campus in Alexandria, Virginia.
Opening the exhibition, WIPO Director General Francis Gurry hailed Jobs as "one of the most influential technology thinkers and actors of his generation.”
Ambassador Betty E. King, U.S. Representative to the United Nations in Geneva, said the exhibit was an "opportunity to see how Steve Jobs, at the helm of Apple, acted upon his vision, and in doing so shaped the means by which our world functions and communicates on a daily basis.”
The exhibit, with its iconic panels in the form of iPhones, was first shown in the lobby of the U.S. PTO Office shortly after Job's death, recalled Teresa Stanek Rea, Deputy Under Secretary of Commerce for Intellectual Property and Deputy Director United States Patent and Trademark Office.
Leaving the PTO office late at night, Stanek Rea said she would often find the PTO lobby full of people gazing at the patents. Steve Job's brilliance was in the marriage of design to function, she said, citing the innovator's famous words: “Design is not just what it looks like and feels like. Design is how it works.”
U.S. Mission Photo by Eric Bridiers
- Ann Makosinski: yhoo.it/1jxygvI
- Eesha Khare: ti.me/1mUVRYc
- Krtin Nithiyanandam: bit.ly/1O5zU6z
- Anya Pogharian: bit.ly/1zXQyQT
- Jack Andraka: bit.ly/1LE9HLH
- Shubham Banerjee: bit.ly/1hEKvZR
- Azza Faiad: bit.ly/1aoK179
- Kelvin Doe: bit.ly/1fWrOM8
St Margaret,
Horsmonden,
Kent.
I get to visit all sorts of place in the persuit of orchids and churches, and on occasion, your breath gets taken away by arriving at the most perfect of place.
Horsmonden is such a place.
Sitting in the shadow of the hill on which Goudhurst sits, but the high road passes far enough away so not to be heard.
The church is some distance from the village it serves, and can be found down a dead end lane, ending with a farm and two fine cottages that shre covered in Kentish pantiles..
We had been searching for churches based on the symbols on our country A-Z, finding two churches not there.
Oh well.
Good to report that not only was St Margaret there, it was open.
More shots in due course.
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What a delightful and fascinating church! West tower, nave with aisles and long chancel make this building sound so commonplace. Yet its atmosphere and furnishings make this stand out as one of the most easily recognisable churches in the county. Set in a farmyard some distance from its village, St Margaret's church holds much of note. The chancel has been stripped of its limewash making it an interesting (though historically incorrect) contrast with the clerestoried nave. Firstly it has two Rood Loft Staircases - an obvious sign that over the course of the late middle ages the screen changed its position, or access. On the south wall is a memorial bust to an extraordinary inventor, John Read. This nineteenth century genius invented the round oast-house, the stomach pump and a tobacco enema! Nearby is an early eighteenth century `spider` chandelier. A huge brass is situated in the centre of the chancel (with a rubbing nearby). This is to Henry Grofhurst and dates from the mid fourteenth century. There are two very colourful windows by Rosemary Everett dating from the 1940s.
www.kentchurches.info/church.asp?p=Horsmonden+1
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HORSEMONDEN
IS the next parish northward from Lamberhurst, a small part of it is within the borough of Rugmerhill, which lies at the western side of it adjoining to that of Brenchley, and is as such within the antient demesne of the manor of Aylesford, and consequently exempt from the jurisdiction of this hundred.
A small part of this parish is said to be within the hundred of Larkfield.
THE PARISH OF HORSEMONDEN is situated much like that of Lamberhurst last described. being a surface of continued hill and dale. It is bounded towards the north-east and south by different streams of the river Medway, which flow from hence, and join the main river at Yalding, besides which it is watered by two other smaller rivulets, and several lesser springs interspersed over it, all which join the larger stream on the southern side of the parish. It is full four miles in length from north to south, but its breadth is but small, in some places not more than one, and in its broadest part not more than two miles. The high road from Maidstone through Yalding to Lamberhurst and Sussex, runs through the whole length of the parish; that from Watringbury over Brandt bridge through Brenchley towards Goudhurst crosses this parish and the other road, at a small green called Horsemonden-heath, which is built round with houses, forming the only village in the parish, the rest of the houses being dispersed singly over different parts of it. The soil, near the high road, is in general a sand intermixed with the rock or sand stone, the remainder is a deep stiff clay, exceeding miry in wet weather. It is much interspersed with coppice woods of oak, especially on the west and north sides of it, where the soil abounds with iron ore; the whole is much covered with fine spreading oak trees, which here from the soil being very kindly to their nourishment grow to a large size, and become sometimes nearly equal in value to the freehold of the estates.
The church stands, with the parsonage, about a quarter of a mile distant from it, very near the southeast boundary of the parish. In the upper part of itnear the river is a seat called Baynden, late belonging to Sir Charles Booth, of Stede-hill, deceased.
A fair is held here on St. Swithin's day, now by the alteration of the style on July 26, for cattle, pedlery and toys.
THE MANOR of Horsemonden was part of the antient possessions of the archbishopric of Canterbury, the archbishop holding it of the king in capite as one knight's fee, of whom it was again held by the noble family of Clare, earls of Gloucester and Hertford.
It appears by the inquisitions returned into the exchequer in the 13th and 14th years of king John, of the knights fees and other services held in capite, that this place was then in the possession of the family of Albrincis, (fn. 1) one of whom, William de Albrincis, or Averenches, dying s. p. Maud, his sister, at length became her brother's heir, and entitled her husband, Hamo de Crevequer, to the possession of it. He died in the 47th year of king Henry the IIId.'s reign, before which however, this manor seems to have passed in marriage with one of his daughters, Elene, to Bertram de Criol.
In the 42d year of king Henry III. there was a composition entered into between archbishop Boniface and Richard de Clare, earl of Gloucester, in relation to the customs and services which the archbishop claimed on account of the lands, which the earl held of him in Tunbridge, Horsemonden, and other places in this county, by which it was agreed that the earl should do homage, and the service of one knight's see for the manor of Horsemonden, and suit at the court of the archbishop and his successors at Canterbury.
In the 8th year of king Edward II. this manor was part of the possessions of the family of Rokesle, the heirs of Roger de Rokesle then holding it of the honor of Clare; one of these was Sir Richard de Rokesle, who died without male issue, leaving by his wife Joane, sister and heir of John de Criol, son of Bertram above-mentioned, two daughters his coheirs; of whom Agnes, the eldest, married Thomas de Poynings; and Joane, the youngest, first Hugh de Pateshull, and secondly Sir William le Baud, each of whom in her right became possessed of this manor, and the latter of them died possessed of it in the 4th year of king Edward III. His widow, in the 20th year of that reign, paid aid for it, being then held of the earl of Gloucester.
After which, although their son, Sir William Baud, seems to have had some interest in this estate, at his death in the 50th year of that reign, yet on hers, the manor itself came to her nephew Michael, son of Thomas de Poynings above mentioned, by Joane de Rokesle her sister, in whose descendants it continued down to his grandson Robert de Poynings, who died in the 25th year of king Henry VI. leaving Alianore, the wife of Sir Henry Percy, lord Percy, eldest son of Henry, earl of Northumberland, daughter of Richard de Poynings, his eldest son, who died in his life-time, his next heir; upon which the lord Percy, in her right, became entitled to this manor, and from him it continued down to Henry, earl of Northumberland, who died without issue in the 29th year of Henry the VIIIth.'s reign. The year before which, he by deed, granted to the king, all his manors, castles and estates, (fn. 2) although the year before this, an act had passed for assuming to the king all his lands and possessions, in case of failure of heirs of his body.
This manor thus coming to the crown, stayed not many years there, for the king in his 36th year, granted it to Stephen Darell, esq. and Agnes his wife, to hold in capite. He died in the 2d year of queen Elizabeth, after which his two sons, Henry and George successively, possessed it, the latter of whom in the 10th year of that reign, alienated this manor to Richard Payne, who anno 17 queen Elizabeth, levied a fine of it, and some time afterwards alienated it to William Beswicke, esq. of Spelmonden, in this parish, sheriff in the year 1616. He was son of William Beswicke, alias Berwicke, alderman and lord-mayor of London, the son of Roger Beswicke, of Cheshire. They bore for their arms, Gules, three bezants, a chief or. His son, Arthur Beswicke, was of Spelmonden, and married Martha, daughter of Laurence Washington, esq. of Maidstone, by whom he left an only daughter Mary his heir, who in her life-time settled this manor on Mr. Haughton, descended from those of Haughton Tower, in Lancashire. He left two daughters his coheirs, the eldest of whom Anne, carried it in marriage to James Marriott, esq. of Hampton, in Middlesex, who bore for his arms, Barry of six, or, and sable. His son, of the same name, died s p. in 1741, and gave it by will to his sister Anne, for her life, and then to his second cousin, Hugh Marriott, esq. who died in 1753, leaving by Lydia, his wife, widow of Dr. Hutton, two sons, James; and Thomas, slain at the siege of Madras in 1765, and one daughter Anne. James the eldest son is in holy orders, and LL. D. He married in 1767, Miss Bosworth, and is the present possessor of this manor, and other estates in this parish.
There is no court held for this manor.
SPELMONDEN is an antient seat at the southern boundary of this parish, which was once possessed by a family which took its surname from it. John de Spelmonden, one of the proprietors of it, is frequently mentioned in the deeds and evidences belonging to this estate; after they were become extinct here, this seat became part of the possessions of the eminent family of Poynings, one of whom Michael, son of Thomas de Poynings, by Joane de Rokesle, possessed it at his death in the 43d year of king Edward III.
He left two sons, Thomas, who died s. p. and Richard, who became his brother's heir, and died possessed of this estate in the 11th year of Richard II. He was succeeded in it by Robert de Poynings his only son, at whose death in the 25th year of king Henry VI. Robert, his younger son, seems to have inherited Spelmonden, and died in the 9th year of king Edward IV. His son and heir, Sir Edward Poynings, in the 14th year of that reign, alienated it to John Sampson, whose son, Christopher Sampson, in the 37th year of king Henry VIII. passed it away by sale to Stephen Davell, who afterwards resided here, and his son, George Darell, in the 10th year of queen Elizabeth, conveyed it to Richard Payne, of Twyford, in Middlesex, who in the 28th year of it sold this estate to William Nutbrown, and he next year alienated it to George Cure, esq. of Surry, from whom it immediately after was sold to Arthur Langworth, and from him again as quickly to William Beswicke, esq. who afterwards resided here, and was sheriff in 1616. Since which this seat has passed in like man ner as the manor of Horsemonden down to the Rev. Dr. Marriott, who is the present possessor of it.
LEWIS-HEATH is a manor situated in the centre of this parish, which was antiently part of the possessions of the family of Groveherst, or Grotherst, one of whom, John de Grotherst, rector of this church, as his epitaph still remaining in it informs us, gave this manor of Leueshothe to the abbot and convent of Begeham, to find one perpetual chaplain to celebrate in the church of Horsemonden and chapel of Leueshothe; and it continued part of the possessions of that abbey till the dissolution of it in the 17th year of king Henry VIII. who that year granted it with all its possessions, among which was this manor, to cardinal Wolsey, for the better endowment of Cardinal's college, in Oxford; but on his being cast in a præmunire, about four years afterwards, all the estates of that college, which, for want of time, had not been firmly settled on it, came into the king's hands, where this manor lay till queen Elizabeth, in the beginning of her reign, granted it to Anthony Brown, viscount Montague, who, as appears by the inquisition taken after his death, died possessed of it in 1593. He was succeeded in it by his eldest son and heir, who not long afterwards alienated it to William Beswicke, esq. of Spelmonden, in this parish, since which it has passed in like manner as that seat, and the rest of his estates in this parish, to the Rev. Dr. Marriott, the present possessor of it.
SPRIVERS is a manor situated on the western side of this parish, which had antiently owners of that surname, one of whom, Robert Sprivers, died possessed of it in 1447, anno 26 Henry VI. and by his will devised it to his son of the same name. After this family was become extinct here, the Vanes became proprietors of it, from whom it passed into the name of Bathurst.
Robert Bathurst possessed this manor and resided here in the reign of queen Elizabeth. He was second son of Laurence Bathurst, of Staplehurst, whole eldest son Edward was ancestor of the Bathursts, of Franks, in this county, under which more may be seen of them. Robert Bathurst, above-mentioned, was ancestor by his first wife to those of Letchlade, in Gloucestershire, and of Finchcocks and Wilmington, in this county, and by his second wife of those of Richmond, in Yorkshire; soon after this it was alienated to Malbert, and from thence again, after no long intermission, to Morgan, in which name it remained till it was sold to Holman, whose descendant Anne Holman, in 1704, passed it away by sale to Mr. Courthope, who bore for his arms, Or, a fess azure between three estoils sable. Some account of the different branches of whose family has already been given before under Brenchley. That branch of it, from which the Courthopes of Danny, in Sussex, and those of Horsemonden were descended, was seated at Goddards-green, in Cranbrook, in the reign of king Henry VIII. one of whom, Alexander Courthope, of Cranbrook, possessed lands there, in Biddenden, and Maidstone, as appears by his will in the Prerogativeoffice, Canterbury, as early as the year 1525.
Mr. Courthope, the purchaser of this estate, left by his wife, one of the sisters of Edward Maplesden, of Cheveney, in Marden, a son, Alexander, and five daughters, who all died unmarried, except Barbara, who married Mr. Cole, of Marden, and died in 1783, by whom she had two surviving sons, Peter and John. Alexander Courthope, esq. the son, rebuilt the mantion house of Sprivers at some distance from the antient one, and afterwards resided in it with true old English hospitality, and with a reputation of the highest integrity. He died unmarried in 1779, and by his will gave this manor, with the estate belonging to it, to his nephew, John Cole, esq. the present possessor, who resides in it.
A court baron is regularly holden for this manor.
Grovehurst is a manor which lies on the eastern side of this parish, and was in very early times part of the possessions of a family who took their surname from it. William Grovhurst died possessed of it, with Puleyns in this parish, (now the property of the Rev. Richard Bathurst, late of Finchcocks in Goudhurst) in the 7th year of king Edward III; his descendant Richard Groveherst left three daughters his coheirs, one of whom, Anne, carried this manor in marriage, about the latter end of the reign of king Richard II. to Richard Hextall, of Hextalls-court in East Peckham. His eldest son William, in the beginning of king Henry VI.'s reign, increased his property in this parish by the purchase of four estates here, called Hothe, Smeeths, Capell, and Augustpitts. He left Margaret his sole daughter and heir, who carried them in marriage to William Whetenhall, esq commonly called Whetnall, whose descendant of the same name, was sheriff in the 18th year of king. Henry VIII.'s reign, and in the 31st year of it procured his lands to be disgavelled by the act passed that year.
His descendant, Henry Whetenhall, in the reign of king James I. passed away the manors of Grovehurst, Hoathe, Smeethe, and Capell, (for that of Augustpitts had been before sold off, being now the property of Mr. John Osborne, who resides at it,) together with a seat in this parish, called Broadford, situated near the bridge of that name over the river here, to Francis Austen, the fifth son of Mr. John Austen, of this parish, who dying in 1620, was buried in this church, where his arms still remain, viz. Or, on a chevron sable three plates, between three lions paws erect and erased, sable. He afterwards resided at Grovehurst, of which he died possessed in 1687, and was buried here. He left a son, John Austen, who was likewise of Grovehurst, where he died in 1705, and was buried here. His son; John Austen, esq. resided at Broadford, and died the year before him, leaving six sons and one daughter, of whom John, the eldest, became his grandfather's heir to his estates in this parish, and Francis, the second son, was father of Francis Motley Austen, esq. now of Sevenoke in this county.
John Austen, esq. the eldest son, was of Broadford, and married Mary, daughter and coheir of Stephen Stringer, esq. of Goudhurst, by whom he had John Austen, esq. now of Broadford, who married Miss Joanna Weekes, of Sevenoke, by whom he has one daughter Mary, and he is the present possessor of these manors and estates.
There is a court baron regularly held for the manors of Grovehurst, Hoathe, and Smeethe.
BADMONDEN is a reputed manor in this parish, in which there was formerly a cell, but not conventual, belonging to the priory of Beaulieu, in Normandy; in which situation it continued till the general suppression of the alien priories throughout England, in the 2d year of king Henry V. anno 1414, when their houses and possessions were in parliament given to the king and his heirs, who the next year gave it to the priory of St. Andrew, in Rochester, where it remained till the dissolution of that society in 1540; when all the rents and revenues of it were surrendered into the king's hands, who by his dotation charter in his 33d year, settled it on his new-founded dean and chapter of Rochester, with whom the inheritance of it remains at this time.
The manor of East Farleigh and East Peckham claims over this part of Horsemonden; the freeholders in Badmonden holding their lands of it in free socage tenure.
BRAMBLES is a small manor in this parish, which was heretofore the property of Mr. John Barnes, and now belongs to Mr. Usherwood.
A court baron is held for this manor.
The manor of Gillingham claims over the tithing or hamlet of Baveden, in this parish, being one of the four denns in the Weald holden of that manor, the freeholders holding their lands of it in free socage tenure.
Charities.
WILLIAM WYKES gave by will in 1682, for the maintenance of the poor in land, vested in trustees, the yearly produce of 14l. 6s. 6½d.
LADY ABERGAVENNY gave by will for the like purpose, in money and jewels, which were recovered by a decree in chancery in 1618, and laid out in the purchase of two farms, one in Tunbridge, of the clear annual produce of 19l. 16s. 5d. the other in Ticehurst, of 7l. 8s.
The number of poor constantly relieved here is yearly about fifty, those casually twenty.
HORSEMONDEN is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and deanry of Malling.
The church is dedicated to St. Margaret; it is a handsome building; in it are memorials of Groshurst, Browne, Austen, Courthope and Campion, and in the chancel, on the south side, a fair altar tomb, without the appearance of having ever had any inscription on it. Over the west door are the arms of Poynings and Fitzpaine; one of the former might very probably be the builder, or at least a considerable benefactor to the building of it.
It is valued in the king's books at 26l. 3s. 9d. and the yearly tenths at 2l. 12s. 4½d.
The patronage of this church was, from the earliest time, an appendage to the manor of Horsemonden, and consequently has had the same proprietors. There are two small manors annexed to it, called the manors of Hasellets alias Radmanden, and Cossington alias Heyden, for which there are court barons held—These, with the rectory, are now part of the possessions of the Rev. Dr. Marriot, lord of the manor of Horsemonden.
¶Robert de Grosshurst, of Horsemonden, in 1338, founded a perpetual chantry in this church, in the chapel of the Blessed Virgin Mary, built in honor of her annunciation in the north part of it, to the praise of God, and for the souls of himself, his wife, &c. And he ordained, that after the first vacancy, the parishioners should nominate the priest of it, to be presented to the bishop of Rochester, to be instituted and inducted into the said chantry. The priest to reside constantly, and to celebrate daily in it, according to the rules therein mentioned. And he ordained, that Sir William Langford, the first priest, and his successors, perpetual chaplains of it, should receive yearly for their maintenance, and the burthens incumbent on it, from the abbot and convent of Boxley, six marcs sterling yearly rent, which he had purchased of them for the endowment of it. Anno 1445, the bishop directed his official, &c. to enquire by inquisition, among other matters, concerning the dotation and endowment of this chantry, when it was returned that it consisted in six marcs annual rent from the abbot of Boxlay, of forty shillings annual rent from lands in the parish of Merden, granted to the chaplain for a term of years, and in one messuage and gardens of the value of twelve-pence, and in rent in Horsemonden of six shillings per annum; and that the house of the chantry was so much out of repair, that six marcs would scarce be sufficient to put it in good repair; and that thus the true value of this chantry, the burthens belonging to the chaplain of it being borne by him, amounted according to their estimation to eight marcs per annum.
Sir Edward Poynings gave twenty-four acres of land to the maintenance of lights in this church; from whence they obtained their present name of Torchfield. (fn. 3)
In the year 1701, this church was repaired by the aid of a brief collected for that purpose.
American artist, designer and inventor L. R. Emerson II may be considered the Thomas Edison of art yet is equally considered among the world’s most unusual artists. L. R. Emerson II may also be one of the most prolific artists the world has ever witnessed. Since 1983, has been personally compelled to develop and express through multi-directional art.
L. R. Emerson II is best known as the leading artist of the Upside-Down Art Movement or Masg Art movement.
Emerson never intended to become a household name in artmaking and the evidence of his effort to avoid selling out is firstly, his diligent efforts to make art that was intentionally against the common trends and secondly to keep his style secret from the world at large for two decades.
Recently, however after Emerson decidedly released some of his work after keeping it suppressed since the 1980’s renowned artist Georg Baselitz called L. R. Emerson's art"...inspiring." Baselitz’ own art has sold for in excess of $4.2 million dollars at recent auction.
In tribute, paying homage to neo-expressionist painter Georg Baselitz, Emerson recently exhibited at Saatchi an work Upside-Down Artwork or also known as Masg art called "Ode to Baselitz". Featured at Saatchionine.com Emerson has presented a work which has garnered the attention of Charles Saatchi himself who personally flagged L. R. Emerson ‘s work as “Liked”. "Ode to Baselitz" is part of L. R. Emerson II's "Heavy Ink" series.
The medium of “Ode to Baselitz” is called Digigraph or Digiography (both phrases termed and documented in 2009 in The Purple Tree; Art in a Boundless Age) is a combination of both traditional and tech media. The Digigraph featured at Saatchi is part of L. R. Emerson’s 50+ documented, pioneering inventions for making art - each calling for combinations of traditional and digital technology mediums.
“Ode to Baselitz” is a culmination of pen and ink, and computer aided design. Emerson’s goal with “Ode to Baselitz” is not only to bring attention to the already known upside-down work of Baselitz but moreover for the fact that like Emerson, Baselitz has ridden the critical seas of the public’s reaction to upside down work.
Baselitz, according to Emerson has paved a way for artists, even ones who are not working neo-expressively to express themselves through multi-directional composition – though Baselitz does not intend his upside-down works be hung in two or more directions as Emerson intentionally does.
As Emerson puts it “Baselitz broke the water and I am simply delivering the baby” speaking metaphorically to the aspect of L. A. times featured article from 1984 showing Baselitz’ then Upside-Down painting. By comparison, Emerson’s 1984 series was removed from exhibition during the same time period (’85) as Emerson feared critical rejection and stylistic copying. Thus L. R. Emerson II’s art was selectively hidden from the world for the next two decades.
In 2005 Emerson II exhibited nearly 800 works sharing several signed prints with major museums and galleries in 11 countries, yet he determined it necessary to continue to hold other selections from the public eye. What is seen today in exhibition by Emerson are mere artistic fragments of what he actually creates. With his current work never shown and by only releasing work that is about two years old, Emerson keeps ahead of those who would choose to mimic his style.
With over 100 awards to date and currently working in his third decade, L. R. Emerson II has proven himself worthy of critical appraisal. Nicholas Forrest, contributing writer to Art & Antiques Magazine wrote about L. R. Emerson II stating "An amazing artist, Amazing art!" 2006. L. R. has been actively researching, developing, and inventing methods of making art and specifically Upside-Down art known as Masg Art, from Gaelic meaning to mix; or infuse for 30 years.
To date, Emerson has delivered on his 1983 promises to make “Upside-Down Art” a household name in the very near future. In the aftermath we find now major artists effecting and or following the Upside-Down Art movement which is crossing international lines with artists such as Germany's Georg Baselitz and British Sculptor Anish Kapoor, giving significantly strong visual support.
Emerson's own efforts in leading the Upside-Down Art Movement has thus far have encompassed the following:
•Created Upside-Down Art for nearly thirty years having begun in 1983 and has made more upside-down, multi-directional, ambigram, Masg styled art than any person in history.
•Exhibited at age 18, and worked as a commissioned artist beginning at age of 19 with work appearing in newspaper and magazines by age 19 and for major celebrities by age 23
•First artist ever to offer their art for free; up to $1 million dollars of L. R. Emerson II’s artwork was literally offered for free to anyone in the world. The offer was advertised to the general public in numerous places and stood from 2005 until 2009
•Created in excess of 100,000 works within over 1,000 series
•Engaged 30 years of innovative, experimentation and invention driven research on Upside-Down Art or Multidirectional Art Composition, process and art methodology
•Created Upside-Down, multi-directional Masg Art in the following mediums: airbrush, collography, clayography, etching, lino-cut, oil on linen and canvas, acrylic on canvas, acrylic on board, emulsion transfer, mixed media, photography, digiography, emulsion transfer on metal, pen & ink with watercolor, pencil and ink on paper, oil pastel, collage, digital imaging, vector-based CGI, acetone transfer
•Has been awarded for being considered one of America’s Leading Art Educators, frequently serving as a Lead Art Educator on a variety of curriculum writing and Art Education textbook adoption committees or chairperson capacities. Emerson’s curriculum writing experiences have included practicum, research and committee collaboration to develop Art Education practices and standards for Art Foundation teaching and Cornerstone Assessments which serve as standards or benchmarks to assess a practicing artist’s skills and ability(2008 to 2012)
•Secured exhibition opportunities for student artists - having exhibited several academic thousand works.
•Invented in excess of 50 documented new methods for making Upside-Down Art or Masg Art
•Established a world record in the “Most Digital Works Created in One Hour” with the record set at 86 in 2007 and succeeded to a new record of 87 in 2008, both held by Emerson
•Published The Purple Tree; Art in a Boundless Age, 2009
•2012 Charles Saatchi personally flags Emerson’s online Saatchi Gallery as a “Liked User”
•Among the world’s most accomplished airbrush artists, having been placed in magazines the age of 19 and still today advancing the power of airbrush through invention and exhibition.
•Serving among the world’s most influential 21st Century Artists and Designers
•Created work for numerous patron including Grammy Winning musician/songwriter Leon Russell – who wrote “Superstar” the number one hit song for the late Karen Carpenter , March 2, 1950 – February 4, 1983 (also a Grammy Winner) and living legend Barbara Streisand, born April 24, 1942.
•Donated by Deed the printing, publishing and rights to sale of over $1 million dollars in art.
•Created the first Upside-Down Art/Masg art Portraiture featuring a living person
•Established new art movement named “Pop Not” – genuine Pop Art styled social criticism with Pop styled, collages and punchy graphics but far removed from the kitschy, pseudo Pop Art existing today. L. R. Emerson II documented in the Purple Tree; Art in A Boundless Age the mission of Pop Not artists and the socially critical work they produce.
•Produced 14 Art Education videos highlighting the earmarks of Upside-Down Art
•Achieved in excess of 100 awards including awards for advertising design and photography
•Received critical acclaim from Nicholas Forrest, contributing writer to Art and Antiques Magazine. Forrest wrote about L. R. Emerson II’s Upside-Down Art or Masg Art stating “Amazing art by an amazing artist!” 2006
•Written and published Art History and or Criticism articles about Upside-Down Art
•Exhibited Upside-Down Art or Masg Art at prominent museums such The Museum of Contemporary Art
•Works held in both private estate and public art collections
•Developed, termed and published research about the "Digigraph" art process and art medium - a unique new art medium using traditional art media and technology
•2005, Established e4 Fine Art and an accompanying website e4fineart.com to serve as the exclusive representative for L.R.’s work and the web site to host functional space to not only electronically exhibit my work but moreover to share understanding about the art history related to Upside-Down Art.
•To date www.e4fineart.com.com and its’ counterpart gallery, www.upside-down-art.com has had over 600.000 visitors from across the planet and exists as “The World’s Largest Solo Artist Site” TM
•First artist to call for a change in the current Art Education texts and practices as L. R. Emerson II’s 30 years of pioneering research has proved the merits and validity of Upside-Down Art, or Masg Art as being a worthy alternative to the three common forms of compositional balance.
Because of the work of L. R. Emerson II and other supporting Upside-Down artists the old texts and teaching foundations known as The Principles of Art/Design are outdated and need revision. Museums, Art Critics, Educators, conservators and Historians can no longer ignore the relevance and merit of multi-directional composition or Upside-Down Art.
•In 2005, after having been kept secret for over two decades, Masg or Upside-Down Art was introduced to more than 500 galleries and in excess of 50 renowned museums worldwide including:
National Gallery
Tate Museum, London
Smithsonian American Art Museum
Musée du Louvre, Paris
The Museum of Modern Art, NYC
Solomon R. Guggenheim Foundation
San Francisco Museum of Modern Art
The J. Paul Getty Museum, Los Angeles
Additionally, several videos were produced in the past three years and subsequently presented to the global community including the following:
Art is Art is Art by L R Emerson II
www.youtube.com/watch?v=ftwMV0kxeuo
L R Emerson II Art
www.youtube.com/watch?v=gyekoiK5N4c
Art is Upside-Down by L R Emerson II
www.youtube.com/watch?v=f7R5nuZ-2So
Art 21 L. R. Emerson II: Masg A New Art Movement
www.youtube.com/watch?v=xIYCTL-cnPs
Art History by L. R. Emerson II
www.youtube.com/watch?v=rjlw6iFfnvQ
Math and Art - Music and Art
www.youtube.com/watch?v=Ks1RKmUodbA
The Purple Tree: Art in a Boundless Age
www.youtube.com/watch?v=OjZwNnWZNLA
“Currently as I continue my research and documentation I look toward an Upside-Down Art group exhibition including myself, Georg Baselitz, and Anish Kapoor. London’s Tate Museum, NYC Guggenheim, MOMA and the Los Angeles County Museum of Art are fine venues for this warranted proposal. The considerably unusual exhibition will likely be presented as the world’s most unusual art of the 20th and 21st Century.
We have come a long way but still have an engaging journey ahead. I am pleased however at our progress so far and know we have truly shattered the proverbial “glass ceiling” or stronghold of art conservators, critics and museums as they too now have accepted our methods of composition and see that we have forever changed the manner in which art is composed.
The more I’ve advocated for Upside-Down Art, the greater the number of artists we (representatives and assistants) find are mimicking my style, however this is rewarding to me. Neither am I displeased to be named ‘Jack the Flipper’ (linguistically spinning Pollack’s ‘… dripper’ nomenclature).” Excerpt: L. R. Emerson II, 2012
Please see the revolutionary art of L. R. Emerson II at www.upside-down-art.com , “The World’s Largest Solo Artist Site” TM, and consider the merit of L. R. Emerson II’s work for inclusion in your presentation, writing, evaluation and discussion of 21st Century Art.
American artist, designer and inventor L. R. Emerson II may be considered the Thomas Edison of art yet is equally considered among the world’s most unusual artists. L. R. Emerson II may also be one of the most prolific artists the world has ever witnessed. Since 1983, has been personally compelled to develop and express through multi-directional art.
L. R. Emerson II is best known as the leading artist of the Upside-Down Art Movement or Masg Art movement.
Emerson never intended to become a household name in artmaking and the evidence of his effort to avoid selling out is firstly, his diligent efforts to make art that was intentionally against the common trends and secondly to keep his style secret from the world at large for two decades.
Recently, however after Emerson decidedly released some of his work after keeping it suppressed since the 1980’s renowned artist Georg Baselitz called L. R. Emerson's art"...inspiring." Baselitz’ own art has sold for in excess of $4.2 million dollars at recent auction.
In tribute, paying homage to neo-expressionist painter Georg Baselitz, Emerson recently exhibited at Saatchi an work Upside-Down Artwork or also known as Masg art called "Ode to Baselitz". Featured at Saatchionine.com Emerson has presented a work which has garnered the attention of Charles Saatchi himself who personally flagged L. R. Emerson ‘s work as “Liked”. "Ode to Baselitz" is part of L. R. Emerson II's "Heavy Ink" series.
The medium of “Ode to Baselitz” is called Digigraph or Digiography (both phrases termed and documented in 2009 in The Purple Tree; Art in a Boundless Age) is a combination of both traditional and tech media. The Digigraph featured at Saatchi is part of L. R. Emerson’s 50+ documented, pioneering inventions for making art - each calling for combinations of traditional and digital technology mediums.
“Ode to Baselitz” is a culmination of pen and ink, and computer aided design. Emerson’s goal with “Ode to Baselitz” is not only to bring attention to the already known upside-down work of Baselitz but moreover for the fact that like Emerson, Baselitz has ridden the critical seas of the public’s reaction to upside down work.
Baselitz, according to Emerson has paved a way for artists, even ones who are not working neo-expressively to express themselves through multi-directional composition – though Baselitz does not intend his upside-down works be hung in two or more directions as Emerson intentionally does.
As Emerson puts it “Baselitz broke the water and I am simply delivering the baby” speaking metaphorically to the aspect of L. A. times featured article from 1984 showing Baselitz’ then Upside-Down painting. By comparison, Emerson’s 1984 series was removed from exhibition during the same time period (’85) as Emerson feared critical rejection and stylistic copying. Thus L. R. Emerson II’s art was selectively hidden from the world for the next two decades.
In 2005 Emerson II exhibited nearly 800 works sharing several signed prints with major museums and galleries in 11 countries, yet he determined it necessary to continue to hold other selections from the public eye. What is seen today in exhibition by Emerson are mere artistic fragments of what he actually creates. With his current work never shown and by only releasing work that is about two years old, Emerson keeps ahead of those who would choose to mimic his style.
With over 100 awards to date and currently working in his third decade, L. R. Emerson II has proven himself worthy of critical appraisal. Nicholas Forrest, contributing writer to Art & Antiques Magazine wrote about L. R. Emerson II stating "An amazing artist, Amazing art!" 2006. L. R. has been actively researching, developing, and inventing methods of making art and specifically Upside-Down art known as Masg Art, from Gaelic meaning to mix; or infuse for 30 years.
To date, Emerson has delivered on his 1983 promises to make “Upside-Down Art” a household name in the very near future. In the aftermath we find now major artists effecting and or following the Upside-Down Art movement which is crossing international lines with artists such as Germany's Georg Baselitz and British Sculptor Anish Kapoor, giving significantly strong visual support.
Emerson's own efforts in leading the Upside-Down Art Movement has thus far have encompassed the following:
•Created Upside-Down Art for nearly thirty years having begun in 1983 and has made more upside-down, multi-directional, ambigram, Masg styled art than any person in history.
•Exhibited at age 18, and worked as a commissioned artist beginning at age of 19 with work appearing in newspaper and magazines by age 19 and for major celebrities by age 23
•First artist ever to offer their art for free; up to $1 million dollars of L. R. Emerson II’s artwork was literally offered for free to anyone in the world. The offer was advertised to the general public in numerous places and stood from 2005 until 2009
•Created in excess of 100,000 works within over 1,000 series
•Engaged 30 years of innovative, experimentation and invention driven research on Upside-Down Art or Multidirectional Art Composition, process and art methodology
•Created Upside-Down, multi-directional Masg Art in the following mediums: airbrush, collography, clayography, etching, lino-cut, oil on linen and canvas, acrylic on canvas, acrylic on board, emulsion transfer, mixed media, photography, digiography, emulsion transfer on metal, pen & ink with watercolor, pencil and ink on paper, oil pastel, collage, digital imaging, vector-based CGI, acetone transfer
•Has been awarded for being considered one of America’s Leading Art Educators, frequently serving as a Lead Art Educator on a variety of curriculum writing and Art Education textbook adoption committees or chairperson capacities. Emerson’s curriculum writing experiences have included practicum, research and committee collaboration to develop Art Education practices and standards for Art Foundation teaching and Cornerstone Assessments which serve as standards or benchmarks to assess a practicing artist’s skills and ability(2008 to 2012)
•Secured exhibition opportunities for student artists - having exhibited several academic thousand works.
•Invented in excess of 50 documented new methods for making Upside-Down Art or Masg Art
•Established a world record in the “Most Digital Works Created in One Hour” with the record set at 86 in 2007 and succeeded to a new record of 87 in 2008, both held by Emerson
•Published The Purple Tree; Art in a Boundless Age, 2009
•2012 Charles Saatchi personally flags Emerson’s online Saatchi Gallery as a “Liked User”
•Among the world’s most accomplished airbrush artists, having been placed in magazines the age of 19 and still today advancing the power of airbrush through invention and exhibition.
•Serving among the world’s most influential 21st Century Artists and Designers
•Created work for numerous patron including Grammy Winning musician/songwriter Leon Russell – who wrote “Superstar” the number one hit song for the late Karen Carpenter , March 2, 1950 – February 4, 1983 (also a Grammy Winner) and living legend Barbara Streisand, born April 24, 1942.
•Donated by Deed the printing, publishing and rights to sale of over $1 million dollars in art.
•Created the first Upside-Down Art/Masg art Portraiture featuring a living person
•Established new art movement named “Pop Not” – genuine Pop Art styled social criticism with Pop styled, collages and punchy graphics but far removed from the kitschy, pseudo Pop Art existing today. L. R. Emerson II documented in the Purple Tree; Art in A Boundless Age the mission of Pop Not artists and the socially critical work they produce.
•Produced 14 Art Education videos highlighting the earmarks of Upside-Down Art
•Achieved in excess of 100 awards including awards for advertising design and photography
•Received critical acclaim from Nicholas Forrest, contributing writer to Art and Antiques Magazine. Forrest wrote about L. R. Emerson II’s Upside-Down Art or Masg Art stating “Amazing art by an amazing artist!” 2006
•Written and published Art History and or Criticism articles about Upside-Down Art
•Exhibited Upside-Down Art or Masg Art at prominent museums such The Museum of Contemporary Art
•Works held in both private estate and public art collections
•Developed, termed and published research about the "Digigraph" art process and art medium - a unique new art medium using traditional art media and technology
•2005, Established e4 Fine Art and an accompanying website e4fineart.com to serve as the exclusive representative for L.R.’s work and the web site to host functional space to not only electronically exhibit my work but moreover to share understanding about the art history related to Upside-Down Art.
•To date www.e4fineart.com.com and its’ counterpart gallery, www.upside-down-art.com has had over 600.000 visitors from across the planet and exists as “The World’s Largest Solo Artist Site” TM
•First artist to call for a change in the current Art Education texts and practices as L. R. Emerson II’s 30 years of pioneering research has proved the merits and validity of Upside-Down Art, or Masg Art as being a worthy alternative to the three common forms of compositional balance.
Because of the work of L. R. Emerson II and other supporting Upside-Down artists the old texts and teaching foundations known as The Principles of Art/Design are outdated and need revision. Museums, Art Critics, Educators, conservators and Historians can no longer ignore the relevance and merit of multi-directional composition or Upside-Down Art.
•In 2005, after having been kept secret for over two decades, Masg or Upside-Down Art was introduced to more than 500 galleries and in excess of 50 renowned museums worldwide including:
National Gallery
Tate Museum, London
Smithsonian American Art Museum
Musée du Louvre, Paris
The Museum of Modern Art, NYC
Solomon R. Guggenheim Foundation
San Francisco Museum of Modern Art
The J. Paul Getty Museum, Los Angeles
Additionally, several videos were produced in the past three years and subsequently presented to the global community including the following:
Art is Art is Art by L R Emerson II
www.youtube.com/watch?v=ftwMV0kxeuo
L R Emerson II Art
www.youtube.com/watch?v=gyekoiK5N4c
Art is Upside-Down by L R Emerson II
www.youtube.com/watch?v=f7R5nuZ-2So
Art 21 L. R. Emerson II: Masg A New Art Movement
www.youtube.com/watch?v=xIYCTL-cnPs
Art History by L. R. Emerson II
www.youtube.com/watch?v=rjlw6iFfnvQ
Math and Art - Music and Art
www.youtube.com/watch?v=Ks1RKmUodbA
The Purple Tree: Art in a Boundless Age
www.youtube.com/watch?v=OjZwNnWZNLA
“Currently as I continue my research and documentation I look toward an Upside-Down Art group exhibition including myself, Georg Baselitz, and Anish Kapoor. London’s Tate Museum, NYC Guggenheim, MOMA and the Los Angeles County Museum of Art are fine venues for this warranted proposal. The considerably unusual exhibition will likely be presented as the world’s most unusual art of the 20th and 21st Century.
We have come a long way but still have an engaging journey ahead. I am pleased however at our progress so far and know we have truly shattered the proverbial “glass ceiling” or stronghold of art conservators, critics and museums as they too now have accepted our methods of composition and see that we have forever changed the manner in which art is composed.
The more I’ve advocated for Upside-Down Art, the greater the number of artists we (representatives and assistants) find are mimicking my style, however this is rewarding to me. Neither am I displeased to be named ‘Jack the Flipper’ (linguistically spinning Pollack’s ‘… dripper’ nomenclature).” Excerpt: L. R. Emerson II, 2012
Please see the revolutionary art of L. R. Emerson II at www.upside-down-art.com , “The World’s Largest Solo Artist Site” TM, and consider the merit of L. R. Emerson II’s work for inclusion in your presentation, writing, evaluation and discussion of 21st Century Art.
An old character. She may be making an appearance in The Otherwalls, so I thought I'd sketch her. I've ended up experimenting with colours on her too, trying out a new technique.
Painter X over a sketch.
Created For~ <a href="MII Challenge #3
With Kind Thanks To~
Original Source~Goldencrotalo
Premade Background~My Own
Texture~My Own
© Copyright Antonio Barbieri Show and Pubblications NON E' CONSENTITO ALCUN USO DELLE IMMAGINI A SCOPI COMMERCIALI.
© Copyright Antonio Barbieri Show and pubblications: IT IS NOT ALLOWED TO USE THE IMAGES FOR ANY PROFIT MAKING, COMMERCIAL OR BUSINESS PURPOSES.
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Tutti i contenuti del progetto "Amando Cattolica" sono protetti dalle leggi sul Copyrigth e sono un'esclusiva di www.antoniobarbieri.org e www.amandocattolica.com; i diritti delle immagini e dei testi appartengono ai rispettivi Autori (sono da considerarsi proprietà intellettuale dell'autore); è espressamente vietata la copia, la manipolazione e la pubblicazione di qualsiasi contenuto senza l'approvazione scritta dell'Autore. Chi ne farà utilizzo senza il consenso si assume la responsabilità per l’uso improprio o non autorizzato delle immagini, in violazione delle suddette disposizioni che devono considerarsi assolutamente inderogabili. Ogni violazione verrà perseguita legalmente secondo i termini della vigente legge italiana.
“Attimi, emozioni nel tempo infinito… sulle tracce di Guglielmo Marconi” VI° Edizione del Progetto “Amando Cattolica”; in collaborazione e partecipazione con la prestigiosa “Fondazione Marconi”, dedicato al Premio Nobel Guglielmo... Marconi. (Italiano/inglese) “Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi. VI° Edizione progetto "Amando Cattolica". ©Antonio Barbieri -All rights reserved- Pubblicazione "Amando Cattolica"
Dalla città di Cattolica il percorso del libro fotografico continua, inedite immagini, un abbraccio alle città italiane e straniere. “Amando Cattolica 2012” “Attimi, emozioni nel tempo infinito.. sulle tracce di Guglielmo Marconi”
Con il Patrocinio della Regione Emilia Romagna, ENIT Agenzia Nazionale del Turismo, Comune Roma Capitale, Provincia di Rimini, Provincia di Pesaro-Urbino, Provincia di Forlì Cesena, Comune Gradara, Comune Gabicce Mare, Comune Ferrara, Comune Cattolica, Comune Urbino, Comune Pesaro, Comune Fano
Le iniziative di “Amando Cattolica” sono state definite realizzazioni con finalità prettamente divulgativa a carattere culturale e di promozione turistica con il linguaggio universale delle immagini percorre un viaggio ideale rappresentando luoghi, persone, paesaggi, emozioni; che con il cuore racconta la nostra identità più profonda. Il progetto è riconosciuto come iniziativa che costituisce interesse, sotto l’aspetto dell’accoglienza e della promozione turistica a livello Nazionale e Internazionale per il contenuto, per il messaggio, per il sentimento che tramite le immagini desidera trasmettere riguardo il nostro territorio Italia anche all’estero.
Oltre ad essere stata definita a carattere umanitario rivolto al sociale per l’Edizione del volume 2011 dal titolo “Sguardi espressioni di un sentimento”. “Per aver onorato la memoria di un grande cittadino di Cattolica l’oncologo di fama mondiale, che fu ordinario di Pediatria, direttore dell’Istituto di Clinica Pediatrica e del Centro Interdipartimentale della ricerca sul cancro dell’Università degli Studi di Bologna Prof. Guido Paolucci, fondatore dell’A.G.E.O.P, Associazione per l'assistenza e l'accoglienza dei bambini affetti da patologie leucemiche e tumorali.
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Con immagini tra le quali:
città di Cattolica, città S.Giovanni in Marignano, città Morciano di Romagna, San Clemente, città Montescudo, città Sant'Arcangelo di Romagna, città Saludecio, città Mondaino, città Montegridolfo, città Coriano, città Montefiore Conca, città Montecolombo, Trarivi, città Misano Adriatico, Portoverde, città Riccione, città Rimini, città Cesena, città Cesenatico, città Verghereto, Bagno di Romagna, S.Piero in Bagno, Alfero, città di Ravenna, città Faenza, Repubblica di San Marino; città di Ancona, città Gabicce Mare, Fiorenzuola di Focara, Parco Monte San Bartolo, città Gradara, città Sant'Angelo di Lizzola, città Corbordolo, città Pesaro, città di Senigallia, città Urbino, città Urbania, Fermignano, città Sassocorvaro, città Tavullia, città Fano, città Bologna, città Reggio Emilia, città Modena, città Parma, città Ferrara, città Milano, Città del Vaticano, città di Roma, Castelli Romani: Nemi, Bracciano, Anguillara, Tivoli, Frascati, Santa Severa, Nettuno, città di Firenze. Città di Bruxelles, Parigi, Londra…
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“Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi.
Si ringrazia la Fondazione Guglielmo Marconi per i testi e il materiali forniti. In particolare si ringraziano gli autori Mario Giorgi e Barbara Valotti, il consulente scientifico Maurizio Bigazzzi e il Presidente della Fondazione Gabriele Falciasecca.
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Excerpt of photographs taken in . A photographic journey to discover the infinite wonders of our city. The location of the photo book continues with unprecedented images of our area including the Italian Emilia-Romagna, Marche, Tuscany, Lazio, Lombardy ..
With images including the cities of the Cattolica, St. John Marignano, Morciano di Romagna, San Clemente, Montescudo, Sant'Arcangelo di Romagna, Saludecio, Mondaino, Montegridolfo, Coriano, Montefiore Conca, Montecolombo, Misano Adriatico, Portoverde, Riccione, Rimini, Cesena, Faenza, Verghereto, Bagno di Romagna, San Piero in Bagno, Alfero, Republic of San Marino; Fano, Ancona, Senigallia, Fiorenzuola of Focara, Park Mount San Bartolo, Gabicce Mare, Gradara, San Angelo Lizzola, Corbordolo, Pesaro, Urbino, Urbania, Fermignano Sassocorvaro, Tavullia, Bologna, Modena, Reggio Emilia, Parma, Ferrara, Milan ... Paying homage to the Vatican City, Rome, Castelli Romani: Nemi, Bracciano, Anguillara, Tivoli, Frascati, Santa Severa, Neptune, and the city of Florence. Glad to pay homage to the city of Bruxelles, London, Paris
“Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi. Excerpt of photographs taken in . A photographic journey to discover the infinite wonders of our city. The location of the photo book continues with unprecedented images of our area including the Italian Emilia-Romagna, Marche, Tuscany, Lazio, Lombardy ..
“Amando Cattolica 2012” nuova pubblicazione fotografica VI° Edizione 2012 del Progetto "Amando Cattolica"
dal titolo:
“Attimi, emozioni nel tempo infinito… sulle tracce di Guglielmo Marconi” in collaborazione con la prestigiosa Fondazione Marconi, dedicato al Premio Nobel Guglielmo Marconi.
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“Amando Cattolica” Project new book: "Instants, emotions in the endless time"… on the traces of Guglielmo Marconi realized in collaboration with MARCONI foundation dedicated to Nobel Prize winner Guglielmo Marconi.
Si ringrazia la Fondazione Guglielmo Marconi per i testi e il materiali forniti. In particolare si ringraziano gli autori Mario Giorgi e Barbara Valotti, il consulente scientifico Maurizio Bigazzzi e il Presidente della Fondazione Gabriele Falciasecca.
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Excerpt of photographs taken in . A photographic journey to discover the infinite wonders of our city. The location of the photo book continues with unprecedented images of our area including the Italian Emilia-Romagna, Marche, Tuscany, Lazio, Lombardy ..
With images including the cities of the Cattolica, St. John Marignano, Morciano di Romagna, San Clemente, Montescudo, Sant'Arcangelo di Romagna, Saludecio, Mondaino, Montegridolfo, Coriano, Montefiore Conca, Montecolombo, Misano Adriatico, Portoverde, Riccione, Rimini, Cesena, Faenza, Verghereto, Bagno di Romagna, San Piero in Bagno, Alfero, Republic of San Marino; Fano, Ancona, Senigallia, Fiorenzuola of Focara, Park Mount San Bartolo, Gabicce Mare, Gradara, San Angelo Lizzola, Corbordolo, Pesaro, Urbino, Urbania, Fermignano Sassocorvaro, Tavullia, Bologna, Modena, Reggio Emilia, Parma, Ferrara, Milan ... Paying homage to the Vatican City, Rome, Castelli Romani: Nemi, Bracciano, Anguillara, Tivoli, Frascati, Santa Severa, Neptune, and the city of Florence. Glad to pay homage to the city of Bruxelles, London, Paris
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Tra la moltitudine di città interessate da questo nuovo percorso fotografico,emerge un prezioso itinerario che collega le diverse città in cui Guglielmo Marconi ha vissuto la sua vita.
Un nuovo viaggio fotografico, tra cui immagini che rendono omaggio al grande inventore italiano Guglielmo Marconi, padre della radio e Premio Nobel per la fisica nel 1909. Bolognese di nascita, Marconi passò molto del suo tempo nella sua casa di Cattolica. Chissà cosa penserebbe oggi, affacciato alla finestra di Villa Marconi, delle persone in spiaggia collegate a internet con computer e cellulari wireless, persone in contatto con il mondo ventiquattro ore al giorno. Su quella stessa spiaggia dove lui ha passeggiato e guardato il mare immerso nei suoi pensieri e nei suoi esperimenti. Forse tutta questa comunicazione l’avrebbe fatto sorridere, lui che fu il padre della comunicazione con telegrafia senza fili. Di una cosa però siamo sicuri, sicuramente affacciato alla finestra della sua camera, avrebbe rivolto lo sguardo all’Adriatico e avrebbe atteso uno di quei meravigliosi tramonti di Cattolica, in cui il sole diventa una palla di fuoco che scompare lentamente all’orizzonte. Uno spettacolo di colori che soltanto Lei può regalare. Attimi, si prefigge l’obiettivo di raccontare attraverso un percorso di immagini e racconti, il legame che la città romagnola conserva con il suo illustre personaggio. testo di Alessandra Fabri
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Regione Emilia Romagna Il Presidente
Con questo nuovo libro fotografico prosegue il progetto “Amando Cattolica” e con la VI Edizione, dal titolo “Attimi, EMOZIONI NEL TEMPO INFINITO…sulle tracce di Guglielmo Marconi”, Antonio Barbieri è , ancora una volta, riuscito a catturare, nelle sue fotografie, l’anima più intima di Cattolica e dei paesaggi vicini.
L’attaccamento alla propria terra, la passione e la sensibilità artistica sono evidenziate in queste immagini che mostrano con chiarezza la trasformazione nel tempo di questo territorio, facendone riaffiorare con emozioni intese l’essenza più vera.
L’obiettivo dell’artista si allarga su scorci suggestivi di altre città italiane, cogliendone particolari che ben delineano la ricchezza artistica, culturale architettonica della nostra Italia.
Il mio particolare apprezzamento va ancora una volta rivolto a questo lavoro, alla dedizione particolare e scrupolosa con cui Antonio Barbieri ha saputo mostrate la genuinità e la semplicità di un territorio in continua evoluzione ma sempre attento a rinnovare la propria cultura dell’accoglienza.
Vasco Errani
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Pubblicazioni Fotografiche collana "Amando Cattolica".
© Copyright Antonio Barbieri Show and Pubblications NON E' CONSENTITO ALCUN USO DELLE IMMAGINI A SCOPI COMMERCIALI.
Show and pubblications: IT IS NOT ALLOWED TO USE THE IMAGES FOR ANY PROFIT MAKING, COMMERCIAL OR BUSINESS PURPOSES.
Tutti i contenuti del progetto "Amando Cattolica" sono protetti dalle leggi sul Copyrigth e sono un'esclusiva di /www.antoniobarbieri.org" e www.amandocattolica.com; i diritti delle immagini e dei testi appartengono ai rispettivi Autori (sono da considerarsi proprietà intellettuale dell'autore); è espressamente vietata la copia, la manipolazione e la pubblicazione di qualsiasi contenuto senza l'approvazione scritta dell'Autore. Chi ne farà utilizzo senza il consenso si assume la responsabilità per l’uso improprio o non autorizzato delle immagini, in violazione delle suddette disposizioni che devono considerarsi assolutamente inderogabili. Ogni violazione verrà perseguita legalmente secondo i termini della vigente legge italiana.
Viewing the photographic images the user accept all copyright conditions established by Italian law and the existing international agreements and treaties on the matter. All contents of the project “Amando Cattolica” are copyrighted and represent an exclusive of www.antoniobarbieri.org and www.amandocattolica.com; all rights of the images and texts are owned by the Authors (the contents have to be considered as author’s intellectual propriety); copy, manipulation and publication of any content without Author’s approval are strictly forbidden. Every violation will be legally prosecuted by the means of the Italian law. Who will use the contents without explicit consent assumes his responsibility for the improper or non-authorized use of the images, in violation with the above-mentioned regulations that have to be considered as absolutely mandatory.
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Continua il percorso fra le regioni italiane, Emilia Romagna, Marche, Toscana, Lazio, Lombardia, Veneto…
www.amandocattolica.com/dblog/
Since the 19th century, this statue of Peter Cooper (1791–1883), a philanthropist, industrialist, and inventor, has watched over the park and school that bear his name. Cooper was a native New Yorker and workingman’s son who, with less than a year of formal schooling, became one of the most successful American businessmen of his day. He made his fortune in iron, glue, railroads, real estate, and communications. His inventions include the first trans-Atlantic telegraph cable and Tom Thumb, America’s first functioning steam engine. Cooper also invented Jell-o, with help from his wife, Sarah, who added fruit to his clarified gelatin.
Despite his many successful ventures, Cooper failed in an 1876 presidential bid on the Greenback ticket; he secured just 81,737 popular votes. The real contest was between Republican Rutherford B. Hayes and Democrat Samuel Jones Tilden. Although Tilden won a majority of the popular vote, he was denied the presidency by a partisan Electoral Commission.
Cooper dedicated his life and wealth to philanthropy. He wanted to ensure that immigrants and children of the working class would have access to the education which he never received. He believed that education should be “as free as water or air,” and in 1859 he established the Cooper Union for the Advancement of Science and Art, a coeducational college that continues to provide students with full-tuition scholarships in architecture, art, and engineering. Celebrated features of the institution included a free reading room and the Great Hall, the latter providing the setting for one of Abraham Lincoln’s most important speeches in which he established his anti-slavery platform. He delivered it on February 27, 1860 during his campaign for the Republican presidential nomination.
Following Cooper’s death in 1883, Augustus Saint-Gaudens, the preeminent 19th century sculptor and one of the earliest alumni of Cooper Union (class of 1864), was commissioned to design a monument in honor of the great visionary. Saint-Gaudens collaborated with the renowned architect Stanford White who created the piece’s marble and granite canopy.
Saint-Gaudens was born in Dublin and came with his family to the United States that same year. Besides studying drawing at the Cooper Union, he also trained at the National Academy of Design in New York and at the Ecole des Beaux-Arts in Paris. He returned to New York City in 1873, and in addition to the Cooper Monument he created such notable public works as Admiral Farragut in Madison Square Park, the Shaw Memorial on the Boston Common, and General Sherman in Manhattan’s Grand Army Plaza. A founding member of the National Sculpture Society in 1893, he also maintained a home and studio in Cornish, New Hampshire.
Saint-Gaudens labored for the Cooper Monument, completing 27 sketches of different versions before settling on the final impressive design. The monument committee raised $39,000 in popular subscriptions, exceeding the construction cost of $25,000, and expended the remainder on park beautification. The official dedication took place on May 29, 1897 at the northern end of Cooper Park.
The park was deeded to the City in 1828 for use as a public space by Charles H. Hall, a descendant of Governor Peter Stuyvesant. Named Stuyvesant Square at the time it was acquired by Parks in 1850, it was referred to as Fourth Avenue Park when it was first planted in the late 1870s, and renamed Cooper Park in 1883.
In 1935, coinciding with reconstruction of the park, the newly created Parks Monuments Crew, with funding from the federal Works Progress Administration, performed extensive repairs and cleaned the monument. The monument was again restored in 1987 under the Adopt-a-Monument Program, a joint project of the Municipal Art Society, the Art Commission, and Parks.