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This is about as close as one has ever let me get. It was kind of fun.
(IMG_0260-greatblueherontryinDAP)
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Day 68/365
I have had a weird afternoon where things have either gone completely right or completely wrong. Needless to say I'd lost the plot by the time I got home and all I wanted was a bottle of cider and a curry...I went into the garden (raining) and snapped my crocosmia which is flowering nicely and then had a few minutes playing around in the trial copy of Topaz Impression that I downloaded last night. It's fun if you like that sort of thing...
. . . fixing the knife at the left leg of the cocks
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A cockfight is a blood sport between two roosters (cocks), or more accurately gamecocks, held in a ring called a cockpit. The history of raising fowl for fighting goes back 6,000 years. The first documented use of the word gamecock, denoting use of the cock as to a "game", a sport, pastime or entertainment, was recorded in 1646, after the term "cock of the game" used by George Wilson, in the earliest known book on the sport of cockfighting in The Commendation of Cocks and Cock Fighting in 1607. But it was during Magellan's voyage of discovery of the Philippines in 1521 when modern cockfighting was first witnessed and documented by Antonio Pigafetta, Magellan's chronicler, in the kingdom of Taytay.
The combatants, referred to as gamecocks, are specially bred birds, conditioned for increased stamina and strength. The comb and wattle are cut off in order to meet show standards of the American Gamefowl Society and the Old English Game Club and to prevent freezing in colder climates (the standard emerged from the older practice of severing the comb, wattles, and earlobes of the bird in order to remove anatomical vulnerabilities, similar to the practice of docking a dog's tail and ears).
Cocks possess congenital aggression toward all males of the same species. Cocks are given the best of care until near the age of two years. They are conditioned, much like professional athletes prior to events or shows. Wagers are often made on the outcome of the match.
Cockfighting is a blood sport due in some part to the physical trauma the cocks inflict on each other, which is sometimes increased for entertainment purposes by attaching metal spurs to the cocks' natural spurs. While not all fights are to the death, the cocks may endure significant physical trauma. In some areas around the world, cockfighting is still practiced as a mainstream event; in some countries it is regulated by law, or forbidden outright. Advocates of the "age old sport" often list cultural and religious relevance as reasons for perpetuation of cockfighting as a sport.
PROCESS
Two owners place their gamecock in the cockpit. The cocks fight until ultimately one of them dies or is critically injured. Historically, this was in a cockpit, a term which was also used in the 16th century to mean a place of entertainment or frenzied activity. William Shakespeare used the term in Henry V to specifically mean the area around the stage of a theatre. In Tudor times, the Palace of Westminster had a permanent cockpit, called the Cockpit-in-Court.
HISTORY
Cockfighting is an ancient spectator sport. There is evidence that cockfighting was a pastime in the Indus Valley Civilization. The Encyclopædia Britannica (2008) holds:
The sport was popular in ancient times in India, China, Persia, and other Eastern countries and was introduced into Ancient Greece in the time of Themistocles (c. 524–460 BC). For a long time the Romans affected to despise this "Greek diversion", but they ended up adopting it so enthusiastically that the agricultural writer Columella (1st century AD) complained that its devotees often spent their whole patrimony in betting at the side of the pit.
Based on his analysis of a Mohenjo-daro seal, Iravatham Mahadevan speculates that the city's ancient name could have been Kukkutarma ("the city [-rma] of the cockerel [kukkuta]"). However, according to a recent study, "it is not known whether these birds made much contribution to the modern domestic fowl. Chickens from the Harappan culture of the Indus Valley (2500–2100 BC) may have been the main source of diffusion throughout the world." "Within the Indus Valley, indications are that chickens were used for sport and not for food" (Zeuner 1963) and that by 1000 BC they had assumed "religious significance".
Some additional insight into the pre-history of European and American secular cockfighting may be taken from the The London Encyclopaedia:
At first cockfighting was partly a religious and partly a political institution at Athens; and was continued for improving the seeds of valor in the minds of their youth, but was afterwards perverted both there and in the other parts of Greece to a common pastime, without any political or religious intention.
An early image of a fighting rooster has been found on a 6th-century BC seal of Jaazaniah from the biblical city of Mizpah in Benjamin, near Jerusalem. Remains of these birds have been found at other Israelite Iron Age sites, when the rooster was used as a fighting bird; they are also pictured on other seals from the period as a symbol of ferocity, such as the late-7th-century BC red jasper seal inscribed "Jehoahaz, son of the king", which likely belonged to Jehoahaz of Judah "while he was still a prince during his father's life".
The anthropologist Clifford Geertz wrote the influential essay Deep Play: Notes on the Balinese Cockfight, on the meaning of the cockfight in Balinese culture.
REGIONAL VARIATIONS
In some regional variations, the birds are equipped with either metal spurs (called gaffs) or knives, tied to the leg in the area where the bird's natural spur has been partially removed. A cockspur is a bracelet (often made of leather) with a curved, sharp spike which is attached to the leg of the bird. The spikes typically range in length from "short spurs" of just over an inch to "long spurs" almost two and a half inches long. In the highest levels of 17th century English cockfighting, the spikes were made of silver. Ironically, the sharp spurs have been known to injure or even kill the bird handlers. In the naked heel variation, the bird's natural spurs are left intact and sharpened: fighting is done without gaffs or taping, particularly in India (especially in Tamil Nadu). There it is mostly fought naked heel and either three rounds of twenty minutes with a gap of again twenty minutes or four rounds of fifteen minutes each and a gap of fifteen minutes between them.
Nicaragua, Venezuela, Colombia, Ecuador, France, Mexico, Dominican Republic, Philippines, Peru, Panama, Puerto Rico, Canary Islands, Saipan, and Guam have arenas with seats or bleachers for spectators surrounding the ring. Among the competitors who raise fighting cocks, there is great pride in the prowess of their birds and in winning a championship.
AMERICAS
CUBA
Cockfighting is a popular activity in Cuba. It is a seasonal sport, held only during the coolest months of the year (November to April). Cocks are not ready to fight and their plumage moults during the warmest months (May to October).
In Cuba the tradition is to fix detachable natural (non-artificial) spurs to both legs of the fighting cocks. Before fixing the detachable spurs, the natural spurs should be trimmed, leaving a trunk not longer than 3 millimeters. The final length of the detached spurs ranks from 22 to 25 millimeters according to the relevance of the match.
Cockfights are held in a round arena commonly called valla, surrounded by a small fence around which the spectators are accommodated.
Comb and wattles should be previously trimmed but feathers should not be necessarily groomed as well, although tradition imposes an extensive feather trimming. The feathers of the chest, hackle and thighs are generally shorn completely off. The reasons for this vary among individual game fowl enthusiasts (see also Gamecock).
Cocks should have a weight within the rank of 50–69 Castilian Ounces (2300–3180 grams) to be admitted.
The combatants are strictly paired up to fight according to their body weight. The allowed difference in weight between the contenders ranks from half to one ounce (14–29 grams) according to the body weight.
Fights are limited to a single round of 30 minutes, but statistics show that more than 50% of the fights end within the first five minutes.
The persons proved to be betting are severely punished with a temporary or definite expulsion from the tournaments and the prohibition to participate in further meetings.
MEXICO
Cockfighting in Mexico has been taking place for over a hundred years. In Aguascalientes, a state capital, one of the city's principal concert halls is the cockfighting arena, the palenque. Palenques are very common throughout the country, with almost every major city having one, and are closely related to Mexican traditional music performers, such as Vicente Fernández, and also being (as mentioned below) the stage for pop artists as well. During the San Marcos Fair, well known throughout Mexico, cockfights alternate with important concerts, where the singers or dancers perform from the cockpit. Many popular singers have performed there, e.g. Latin Grammy winners Alejandro Fernández and Alejandra Guzmán.Cockfighting remains legal in the municipality of Ixmiquilpan.
PERU
In Peru, cockfighting is allowed and it takes place in coliseums with round sand fields. Only a judge and two managers each carrying a cock are allowed in the field. Judges use tables to facilitate the refereeing of fights.
Cockfighting championships of Peru are of two kinds, Beak and Spur. The Peruvian Razor Rooster ('Gallo Navajero Peruano') features in Spur fights. In Spur fights the weight and size of the rooster varies. There are free weight championships as well.
The most important cockfighting championships take place in the Lima Region at the Coliseums Sandia, Rosedal, Abraham Wong, The Peruvian Cockfighting Circle's Coliseum and The Valentino, of the Rooster Breeders' Association of Peru.
BRAZIL
Cockfighting, known in Brazil as rinha de galos ("baiting the rooster"), was banned in 1934 with the help of President Getúlio Vargas through Brazil's 1934 constitution, passed on 16 July. Based on the recognition of animals in the Constitution, a Brazilian Supreme Court ruling resulted in the ban of animal related activities that involve claimed "animal suffering such as cockfighting, and a tradition practiced in southern Brazil, known as 'Farra do Boi' (the Oxen Festival)", stating that "animals also have the right to legal protection against mistreatment and suffering".
ASIA
SOUTHEAST ASIA
Cockfighting is common throughout all of Southeast Asia, where it is implicated in spreading bird flu. Like Islam, Christianity might shun the belief in spirits, but in Southeast Asia, indigenous interpretations of the veneration of saints and passion plays dominate. In the Christian northern Philippines, respect is accorded the veneration of traditional anito (spirits), shamans number in the thousands and Catholic priests are powerless to stop cockfighting, a popular form of fertility worship among almost all Southeast Asians. Also in rural northern Thailand a religious ceremony honoring ancestral spirits takes place known as "faun phii", spirit dance or ghost dance, and includes offerings for ancestors with spirit mediums sword fighting, spirit possessed dancing, and "spirit mediums cockfighting", in a spiritual cockfight.
INDONESIA
Cockfighting is a very old tradition in Balinese Hinduism, the Batur Bang Inscriptions I (from the year 933) and the Batuan Inscription (dated 944 on the Balinese Caka calendar) disclose that the tabuh rah ritual has existed for centuries. In Bali, cockfights, known as tajen, are practiced in an ancient religious purification ritual to expel evil spirits. This ritual, a form of animal sacrifice, is called tabuh rah ("pouring blood"). The purpose of tabuh rah is to provide an offering (the blood of the losing chicken) to the evil spirits. Cockfighting is a religious obligation at every Balinese temple festival or religious ceremony. Cockfights without a religious purpose are considered gambling in Indonesia, although it is still largely practiced in many parts of Indonesia. Women are generally not involved in the tabuh rah process.
All forms of gambling, including the gambling within secular cockfighting, were made illegal in 1981 by the Indonesian government, while the religious aspects of cockfighting within Balinese Hinduism remain protected.
The American anthropologist Clifford Geertz published his most famous work, Notes on the Balinese Cockfight, on the practice of cockfights in Bali. In it, he argued that the cockfight served as a pastiche or model of wider Balinese society from which judgments about other aspects of the culture could be drawn.
JAPAN
Cockfighting is similar to boxing for the younger roosters as they battle for a victory with their blunt natural spurs or lack thereof and after maturity they battle with their mature natural spurs which may have become pointed. Despite fighting cocks allowed to be used in cockfighting, "the state has designated them a protected species".
INDIA
Cockfighting (Vetrukkaal seval porr in Tamil which means "naked heel cockfight") (Kodi Pandem in Telugu) (Kori katta in Tulu) is a favourite sport of people living in the coastal region of Andhra Pradesh, Dakshina Kannada and Udupi districts of Tulu Nadu region of Karnataka, and the state of Tamil nadu India. Three- or four-inch blades (Bal in Tulu) are attached to the cocks' legs. Knockout fights to the death are widely practised in Andhra Pradesh. In Tamil Nadu, the winner is decided after three or four rounds. People watch with intense interest surrounding the cocks. The sport has gradually become a gambling sport.
In Tamil Nadu, Chennai, Tanjore, Trichy and Salem Districts, only naked heel sport is performed. In Erode, Thiruppur, Karur and Coimbatore districts only bloody blade fights are conducted. During festival seasons, this is the major game for men. Women normally don't participate. There are many rare breeds preserved by these cockfighters.
The cockfight, or more accurately expressed the secular cockfight, is an intense sport, recreation, or pastime to some, while to others, the cockfight remains an ancient religious ritual, a sacred ceremony (i.e. a religious and spiritual cockfight) associated with the ‘daivasthanams’ (temples) and held at the temples precincts. In January 2012 at India's 'Sun God' Festival the Bharatiya Janata Party (BJP) district committee, demanded that police not interfere in the cockfighting known as ‘kozhi kettu’ as it is a part of the temple rituals, while the police replied they would not interfere if the cockfight is held at a temple.
IRAQ
Cockfighting is illegal but widespread in Iraq. The attendees come to gamble or just for the entertainment. A rooster can cost up to $8,000. The most-prized birds are called Harati, which means that they are of Turkish or Indian origin, and have muscular legs and necks.
PAKISTAN
Cockfighting is a popular sport in rural Pakistan; however, "betting is illegal under the Prevention of Gambling Act 1977". Betting is illegal, but police often turn a blind eye towards it. In Sindh (one of 4 major provinces of Pakistan), people are fond of keeping fighting cock breed, known as Sindhi aseel in Pakistan. These cocks are noted being tall, heavy and good at fighting. Another popular breed is called Asil chicken|Mianwali Aseel. In Sindh Gamblor or Khafti uses Almond and other power enhancing medicines to feed the fighter cocks.
PHILIPPINES
Cockfighting, locally termed Sabong, is a popular pastime in the Philippines where both illegal and legal cockfights occur. Legal cockfights are held in cockpits every week, whilst Illegal ones called tupada or tigbakay, are held in secluded cockpits where authorities cannot raid them. In both types, knives or gaffs are used. There are two kinds of knives used in Philippine cockfighting. The single edge blade (use in derbies) and double edged blades, lengths of knives also vary. All knives are attached on the left leg of the bird, but depending on agreement between owners, blades can be attached on the right or even on both legs. Sabong and illegal tupada, are judged by a referee called sentensyador or koyme, whose verdict is final and not subject to any appeal. Bets are usually taken by the kristo, so named because of his outstretched hands when calling out wagers from the audience and skillfully doing so purely from memory.
The country has hosted several World Slasher Cup derbies, held biannually at the Smart Araneta Coliseum, Quezon City, where the world's leading game fowl breeders gather. World Slasher Cup is also known as the "Olympics of Cockfighting".
Cockfighting was already flourishing in pre-colonial Philippines, as recorded by Antonio Pigafetta, the Italian diarist aboard Ferdinand Magellan’s 1521 expedition. Cockfighting in the Philippines is derived from the fact that it shares elements of Indian and other Southeast Asian cultures, where the jungle fowl (bankivoid) and Oriental type of chicken are endemic.
OCEANIA
In the Mariana Islands in Micronesia, the sport of cockfighting has been considered a "cultural tradition" dating back to Spanish rule. Cockfighting became more popular with an influx of Filipino immigrants to the islands before and after World War II. Fights are held throughout the week at a government licensed pit in the village of Dededo, Guam, and in other villages during fiestas, where a patron saint of the village is celebrated. Imported roosters and hens from the U.S. mainland fetch heavy prices that can reach as much as a thousand dollars each. On the island of Saipan, north of Guam, legal cockfighting takes place several times a week in an arena called the Dome in the village of Gualo Rai.
OTHER BIRD SPECIES
In 2009, authorities caught and shut down an illegal songbird-fighting ring in Shelton, Connecticut that had been using saffron finches and canaries. The American Society for the Prevention of Cruelty to Animals commented that such songbird fighting is extremely rare. The ancient Greeks used to practice quail fighting, using the common quail Coturnix coturnix. Also in south east Asia and ancient China were used to practice "quail fighting", but using the female buttonquails.
LEGAL STATUS
In many places, cockfights and other animal fights have been outlawed, often based on opposition to gambling or animal cruelty. It has been banned outright in the United Kingdom since the 19th Century, however in some states of the USA, it is not illegal to possess, raise, train, advertise, or trade cocks or accoutrements that could be used for cockfighting. However, actively participating in a cockfight in any manner is illegal: advertising, transporting participants or spectators, placing wagers, hosting an event, etc. It is common for law enforcement to confiscate property associated with any cockfighting activity.
ASIA
INDIA
India's judiciary has ordered to ban the sport, saying it violated Prevention of Cruelity to Animals act. But it remains hugely popular, especially in rural areas, with large amount of betting involved.[
PHILIPPINES
There is no nationwide ban of cockfighting in the Philippines but since 1948, cockfighting is prohibited every Rizal Day on December 30 where violators can be fined or imprisoned due to the Republic Act No. 229.
EUROPE
SPAIN
Cockfighting is legal in the Canary Islands and Andalusia. Organisations such as the WWF/Adena and some political parties are trying to ban it there too. The law allows it but tries to make it disappear "naturally" by blocking its expansion. Contrasting with the rest of the country (except with Catalonia), bullfighting is instead forbidden in the Canary Islands, since it is not considered traditional, unlike cockfighting.
Cockfighting is also legal in Andalusia in the cities and villages where it is considered traditional. With its famous Jerezanos race of fighting cocks, the Cádiz province is the most popular centre of cockfighting in Andalusia.
UNITED KINGDOM
Cockfighting was banned outright in England and Wales and in the British Overseas Territories with the Cruelty to Animals Act 1835. Sixty years later, in 1895, cockfighting was also banned in Scotland, where it had been relatively common in the 18th century. A reconstructed cockpit from Denbigh in North Wales may be found at St Fagans National History Museum in Cardiff and a reference exists in 1774 to a cockpit at Stanecastle in Scotland.
According to a 2007 report by the RSPCA, cockfighting in England and Wales was still taking place, but had declined in recent years.
FRANCE
Holding cockfights is a crime in France, but there is an exemption under subparagraph 3 of article 521–1 of the French penal code for cockfights and bullfights in locales where an uninterrupted tradition exists for them. Thus, cockfighting is allowed in the Nord-Pas de Calais region, in Metropolitan France, where it takes place in a small number of towns including Raimbeaucourt, La Bistade and other villages around Lille. On Réunion Island, there are five officially authorized gallodromes (i.e. cockfighting arenas). The Nord-Pas-de-Calais has a dozen gallodromes, that also target the Belgian associations of aficionados, who travel to France to avoid the prohibition of cockfighting in Belgium. The Nord-Pas-de Calais has its own race of fighting cocks the "Combattant de Nord".
There is currently a flow of British aficionados to cockfights that come from January to June to the Nord-Pas-de-Calais to participate in the cockfights. Some of them have been arrested at the British border for transporting cockerels or material for cockfights, which has led to a small cottage industry of British-owned cockerel farms. Likewise, some caretakers in Nord-Pas-de-Calais cater exclusively to British cockfighters who, by law, are not permitted to transport and care for their birds in the United Kingdom.
AMERICAS
COSTA RICA
Cockfights have been illegal in Costa Rica since 1922. The government deems the activity as animal cruelty, public disorder and a risk for public health and is routinely repress by the State's National Secretary for Animal Welfare.
CUBA
Cockfighting was so common during the Cuban colonization by Spain, that there were arenas in every urban and rural town. The first official known document about cockfighting in Cuba dates from 1737. It is a royal decree asking, to the governor of the island, a report about the inconveniences that might cause cockfights "with the people from land and sea" and asking for information about rentals of the games. The Spaniard Miguel Tacón, Lieutenant General and governor of the colony, banned cockfighting by a decree dated on October 20, 1835, limiting these spectacles only to holidays.
In 1844 a decree dictated by the Captain General of the island, es:Leopoldo O'Donnell, forbade to non-white people the attendance to these shows. During the second half of the 19th century many authorizations were conceded for building arenas, until General es:Juan Rius Rivera, then civilian governor in Havana, prohibited cockfighting by a decree of October 31. 1899 and later the Cuban governor, General Leonard Wood, dictated the military order No. 165 prohibiting cockfights in the whole country since June 1, 1900.
In the first half of the 20th century, legality of cockfights suffered several ups and downs.
In 1909 the then Cuban president es:José Miguel Gómez, with the intention to gain followers, allowed cockfights once again, and then regulations were agreed for the fights.
Up to beginnings of 1968 cockfights used to be held everywhere in the country, but with the purpose of stopping the bets, the arenas were closed and the fights forbidden by the authorities. In 1980 authorities legallized cockfights again and a state business organization was created with the participation of the private breeders, grouped in territories. Every year the state organization announces several national tournaments from January to April, makes trade shows and sells fighting cocks to clients from other Caribbean countries.
UNITED STATES
In the United States, cockfighting is now illegal in all fifty U.S. states and the District of Columbia. The last state to implement a state law banning cockfighting was Louisiana; the Louisiana State Legislature voted to approve a Louisiana ban in June 2007. The ban took effect in August 2008. Thirty-three states and the District of Columbia have made cockfighting a felony. It is illegal in all fifty states to knowingly attend a cockfight or bring a minor to the event. On February 7, 2014 President Obama signed the Farm Bill which contained the U.S. H.R. 366/S. 666—Animal Fighting Spectator Prohibition Act. "The final bill includes a provision making it a federal crime to attend or bring a child under the age of 16 to an animal fighting event[.]" "The Animal Fighting Spectator Prohibition Act would make it a federal offense to knowingly attend an organized animal fight and would impose additional penalties for bringing children to animal fights. Violators would face up to one year in prison for attending a fight, and up to three years in prison for bringing a minor to a fight." In the District of Columbia it is illegal to be a spectator at cockfights. Animal welfare activists continue to lobby for a ban on the sport.
Cockfighting remains legal in the unincorporated US territories of Puerto Rico, the U.S. Virgin Islands, the Northern Mariana Islands, and Guam; particularly in Guam and Puerto Rico, cockfighting is a popular spectator pastime with centuries of tradition, thanks to the islands' shared history as Spanish colonies. In 2006, the Virgin Islands adopted a law banning modifications such as the use of artificial spurs. This move, along with the aforementioned 2014 farm bill, sparked fears that cockfighting would be banned everywhere on US soil, but as of 2015 these fears have not materialized.
The Animal Fighting Prohibition Enforcement Act, a federal law that made it a federal crime to transfer cockfighting implements across state or national borders and increasing the penalty for violations of federal animal fighting laws to three years in prison became law in 2007. It passed the House of Representatives 368–39 and the Senate by unanimous consent and was signed into law by President George W. Bush.
The Animal Welfare Act was amended again in 2008 when provisions were included in the 2008 Farm Bill (P.L. 110-246). These provisions tightened prohibitions on dog and other animal fighting activities, and increase penalties for violation of the act.
On February 8, 2014, law enforcement made New York State's largest cockfighting bust where they seized three thousand birds and arrested roughly seventy people across three counties. The investigation was deemed the name "Operation Angry Birds" and they made three raids: a cockfight in Queens; a pet shop in Brooklyn; and a farm in Plattekill. The raids were performed by the task force, along with New York State Police, the Homeland Security Department and the Ulster County sheriff's office. Upon entry of the Queens cockfight, authorities found the birds in small cages with razors attached to them. The seventy individuals who attended the event were taken into custody. All but nine of these men were let go. The nine men were given felony arrests and animal-fighting charges.
On July 26, 2014, Princess Irina of Romania, and her husband John Walker, appeared in federal court in Portland, Oregon in connection with running illegal cockfights they held in Irrigon, Oregon in 2012 and 2013. The couple was originally charged with twelve counts including operating an illegal gaming business, conspiracy, and violating the Animal Welfare Act but they agreed to "sell their ranch and forfeit $200,000 to the government in lieu of incarceration".
AUSTRALIA
Cockfighting, and the possession of cockfighting equipment, is illegal in Australia.
NOTABLE COCKFIGHTERS
Chicken George (born c. 1807), son of Kizzy and slave owner Tom Moore, grandson of Kunta Kinte, and ancestor of Alex Haley, was a cockfighter in the United States and England.
IN POPULAR CULTURE
Cockfighting has inspired artists in several fields to create works which depict the activity. Several organizations, including the University of South Carolina, Jacksonville State University in Jacksonville, Alabama, and London football team Tottenham Hotspur F.C. have a gamecock as their mascot.
IN MUSIC
Cockfighting has also been mentioned in songs such as Kings of Leon's Four Kicks and Bob Dylan's song "Cry a While" from the album Love and Theft. The story song "El Gallo del Cielo" by Tom Russell is entirely about cockfighting, and the lyrics utilize detailed imagery of fighting pits, gamecocks, and gambling on the outcome of the fights. Cockfighting has also been in Korean boy band Exo's music video for "Lotto".
IN VISUAL ARTS
The painting "The Cock Fight" (1846) an academic exercise of the French painter Jean-Léon Gérôme, Vainqueur au combat de coqs (1864) bronze statue from the French sculptor Alexandre Falguière and the painting "Cockfight" (1882) from the Flemish painter Emile Claus are samples of the presence of cockfighting in visual arts.
The Expressionist painter Sir Robin Philipson, of Edinburgh, was well known for his series of works that included depictions of cockfighting.
The 1930 cartoon Mexico shows Oswald the Lucky Rabbit challenging a bear in a cockfight. The 1938 cartoon Honduras Hurricane features the pirate John Silver forcing Captain Katzenjammer into a rigged cockfight. Other cartoon depictions portray humanized roosters treating cockfights like boxing matches; these cartoons include Disney's Cock o' the Walk (1936), MGM's Little Bantamweight (1938), and Walter Lantz's The Bongo Punch (1958).
Live-action films that include scenes of the sport include the 1964 Mexican film El Gallo De Oro, the 1965 film The Cincinnati Kid, and the 1974 film Cockfighter, directed by Monte Hellman (based on the novel of the same name by Charles Willeford).
The 1990 film No Fear, No Die centers around two men who are part of an illegal cockfighting ring.
Cockfighting is depicted twice in the 2011 film The Rum Diary (film).
The Spike TV show 1000 Ways to Die features a death involving a cockfight, where a man who bets on a rooster attaches razors to its claws to ensure its winning, but is slashed to death himself.
In the Seinfeld episode "The Little Jerry", Kramer enters his rooster into a cockfight in order to get one of Jerry's bounced checks removed from a local bodega where the cockfights actually take place.
In the HBO series Eastbound & Down, Kenny Powers moves to Mexico and is in the cockfighting business until his cock "Big Red" dies.
The 2011 Tamil film Aadukalam revolves around the practice of cockfighting in Madurai, Tamil Nadu. In the FX Network's police drama, "The Shield" episode titled "Two Days of Blood" (season #1, episode #12), Detective Shane Vendrell and Detective Curt Lemansky go undercover in a cockfighting event to track down an illegal arms smuggler.
IN LITERATURE
Nathanael West's 1939 novel The Day of the Locust includes a detailed and graphic cockfighting scene, as does the Alex Haley novel Roots: The Saga of an American Family and the miniseries based on it. In literature, a description of a bordertown cockfight fiesta can be found in On the Border: Portraits of America's Southwestern Frontier. Charles Willeford wrote a novel, Cockfighter, which gives a detailed account of the protagonist's life as a 'cocker'. Abraham Valdelomar's 1918 tale El Caballero Carmelo depicts a cockfight between the protagonist, a cock named Carmelo, and his rival Ajiseco from a child's perspective, who considered this bird as an heroic member of his family.
In martial arts
The term "human cockfighting" was used by United States senator John McCain to describe mixed martial arts, which at the time he was campaigning to ban.
IN VIDEO GAMES
The video game Law & Order: Legacies uses a cockfight as a plot point. With a man having died because of a rooster with a spur had slashed him, but with a twist that he would have survived if his wife had called the police.
In 2016 Edge Games launched the world's first Virtual Cockfighting sports betting game.
Square Enix's video game Sleeping Dogs allows the player character to spectate and bet on various virtual cockfights based around the game's rendition of the city of Hong Kong.
IN RELIGION
Augustine of Hippo once described a cockfight in spiritual terms: "in every motion of these animals unendowed with reason there was nothing ungraceful since, of course, another higher reason was guiding everything they did".
WIKIPEDIA
Pride and Prejudice: on Raphael Perez's Artwork
Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.
In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.
Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.
This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.
Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.
When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.
This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).
In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.
"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"
His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.
"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."
From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.
In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.
In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.
As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.
Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.
Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.
Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.
Daniel Cahana-Levensohn, curator.
Interview with the painter Raphael Perez about his family artist book
An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem
Question: Raphael Perez, tell me about the family artist book you created
Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..
Question: Tell me when you were born, where, and a little about your family
Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem
I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls
Question: Tell us a little about your parents
Answer: My parents were new immigrants from Morocco, both immigrated young.
My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,
My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....
They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..
Question: What did your parents Shimon and Aliza Peretz work for?
Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69
My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..
My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...
Question: A book about the brothers and sisters
Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56
Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.
She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...
My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi
The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.
I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born
My mother still gets confused and can't remember who was born first :-)
My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action
The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.
The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.
Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..
The personification of the flower couple paintings by the Israeli painter Raphael Perez
Raphael Perez, also known as Rafi Peretz, is an Israeli painter who
explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.
The characteristics of the naive painting of the painter Raphael Perez
A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children
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רפי פרץ צייר אמן ישראלי ראליסטי ראליסטים הראליסטי הראליסטים הריאליסטים הריאליסטי ריאליסטי פיגורטיבי הפיגורטיבי פיגורטיבית הפיגורטובית דיוקן הדיוקן הדיוקנאות בדיוקן ודיוקן מדיוקן לדיוקן דיוקנאות ודיוקנאות מדיוקנאות לדיוקנאות מדיוקנאות פנים הפנים פני עכשווי מודרני הצייר הישראלי העכשווי המודרני אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית אומנות העכשוויות הישראליות העכשוויות המודרניות ציור ציורים הציור הציורים וציור וציורים לציור לציורים מציור מציורים מצייר מציירים ומצייר ומציירים שמצייר שמציירים של עם גדול גדולים הגדול הגדולים והגדול והגדולים תערוכה תערוכות התערוכה התערוכות והתערוכה והתערוכה לתערוכה לתערוכות גלריה גלריות והגלריה והגלריות הגלריה הגלריות לגלריה לגלריות מהגלריה מהגלריות אדום כתום צהוב ירוק כחול סגול שחור לבן האדום הכתום הצהוב הירוק הכחול השחור הסגול הלבן שחורים לבנים אדומים כתומים צהובים ירוקים סגולים האדומים הכתומים הצהובים הירוקים הסגולים השחורים הלבנים צבעים צבע הצבעים הצבע בצבעים בצבע לצבע לצבעים והצבע והצבעים צובע צובעים הצובע הצובעים האמן האמנים האומנים לאמנים לאומנים והאומנים ציירים הציירים והציירים לציירים מהציירים מהאמנים אומנות האמנות באמנות לאמנות ואמנות באומנות לאומנות והאומנות אמנותי האמנות האומנותי האומנות תערוכה תערוכות התערוכה התערוכות הגלריה הגלריות בגלריה בגלריות והגלריה והגלריות מהגלריה מהגלריות מהתערוכה מהתערוכות חדש חדשני החדש החדשני חדשנית החדשנית מקורי המקורי המקורית מקורית מיוחד המיוחד המיוחדים מיוחדים המפורסמים המפורסם מפורסם מפורסמים בישראל ישראל וישראל מלאי בציורי ציורי וציורי לציורי מציורי אקריליק באקריליק על בד קנווס קנבס קנוס בקנווס בדים חזקים עזים החזקים העזים לבית לסלון למשרד בית סלון משרד לבתים למשרדים משרדים בתים למכירה מכירה המכירה מכירות מוכר המוכר קונה הקונה קונים הקונים בקנייה במכירה פומבית הפומבית לרכוש רכוש ברכישה ישירה
realism art realistic painting رئالیسم هنر نقاشی واقعی Realismus Kunst realistische Malerei realisme art realistische schilderkunst realismo da arte da pintura realista 现实主义艺术的现实主义绘画 رئالیسم هنر نقاشی واقعی Realismus Kunst realistische Malerei realisme art realistische schilderkunst
raphael perez rafi peretz israeli painter artist painters artists artwork artworks fine art colorful colorist colorfull israel picture pictures image flickr flickriver hive mind interesting tagged bizmakebiz photos images large big size painting paintings beautiful amazing famous realism realistic portrait portraits face figurative faces
Sideways growing tree in Bushy Park. A slight play on words as I was trying out a new lens yesterday. :)
near Times Square, New York City, New York
Exodus 35:33
to cut and set stones, to work in wood and to engage in all kinds of artistic crafts.
Painters and Dockers headlined a coomunity music festival in Yarraville today to help celebrate Australia Day
I ended up completely repainting Donna's face. It's not totally right, but I'm much happier with the result now! The original looks even crazier in comparison :-)
For Julia Kay's Portrait Party www.flickr.com/groups/portraitparty/discuss/7215762385402...
Donna's inspirational photostream
Blogged - whetnallwatercolours.blogspot.com/2010/06/new-portraits.html
This is my Gulliver's Travels inspired project. I use little Railroad figurines and depending on what they are doing dictates where they are placed on the body. Here the Painter is getting ready to help apply some make-up.
The Steerage is a photograph taken by Alfred Stieglitz in 1907. It has been hailed as one of the greatest photographs of all time because it captures in a single image both a formative document of its time and one of the first works of artistic modernism.
Description
The scene depicts a variety of men and women traveling in the lower-class section of a steamer going from New York to Bremen, Germany. Many years after taking the photograph Stieglitz described what he saw when he took it:
"There were men and women and children on the lower deck of the steerage. There was a narrow stairway leading to the upper deck of the steerage, a small deck right on the bow of the steamer.
To the left was an inclining funnel and from the upper steerage deck there was fastened a gangway bridge that was glistening in its freshly painted state. It was rather long, white, and during the trip remained untouched by anyone.
On the upper deck, looking over the railing, there was a young man with a straw hat. The shape of the hat was round. He was watching the men and women and children on the lower steerage deck…A round straw hat, the funnel leaning left, the stairway leaning right, the white drawbridge with its railing made of circular chains – white suspenders crossing on the back of a man in the steerage below, round shapes of iron machinery, a mast cutting into the sky, making a triangular shape…I saw shapes related to each other. I saw a picture of shapes and underlying that the feeling I had about life."
Although Stieglitz described "an inclining funnel" in the scene photographs and models of the ship (see below) show that this object was actually a large mast to which booms were fastened for loading and unloading cargo. One of the booms is shown at the very top of the picture.
Much has been written about scene as a cultural document of an important period when many immigrants were coming to America. In fact, the picture was taken on a cruise to Europe from America, and for that reason some critics have interpreted it as recording people who were turned away by U.S. Immigration officials and were forced to go back home. Although some of the passengers might have been turned back because of failure to meet financial or health requirements for entrance, it is more likely that most of them were various artisans who worked in the booming construction trade of the time. Workers who were highly skilled in crafts such as cabinet-making, woodworking and marble laying were granted two-year temporary visas to complete their jobs and then returned to their homelands when the work was complete.
Taking the photograph
In June 1907 Stieglitz and his family sailed to Europe to visit relatives and friends. They booked passage on the SS Kaiser Wilhelm II, one of the largest and fastest ships in the world at that time. Stieglitz's wife Emmy insisted on first class accommodations, and the family had a fine stateroom on the upper decks. According to Stieglitz, sometime after their third day of travel he went for a walk around the ship and came upon a viewpoint that looked down toward the lower class passengers area, known on most ships as the steerage. Photography historian Beaumont Newhall wrote that it is likely the photo was taken while the ship was anchored at Plymouth, England, because the angle of the shadows indicates it was facing west, not east as it would have been while crossing the ocean. In addition there does not seem to be any sign of wind in the scene, which would have been ever present while the ship was moving.
The scene Stieglitz saw is described above. He did not have his camera with him, and he raced back to his cabin to get it. At that time he was using a hand-held 4×5 Auto-Graflex that used glass plate negatives. Stieglitz found he had only one glass plate prepared at the time, and he quickly returned to the viewpoint and captured the one and only picture of the scene.
He was not able to develop the plate until he arrived in Paris nearly a week later. He reported he went to the Eastman Kodak Company in Paris to use their darkroom but was referred to a local photographer instead. He went to the photographer's home and developed the plate there. The name of the photographer who lent his facility is unknown. Stieglitz offered to pay the photographer for the use of his darkroom and materials but he photographer told him, "I know who you are and it's an honor to have you in my darkroom." Stieglitz kept the developed image in its original plate holder to protect it until he returned to New York several weeks later.
Stieglitz later said he immediately recognized this image as "another milestone in photography…a step in my own evolution, a spontaneous discovery", but this claim is challenged by several of his biographers who have pointed out that although he had many opportunities to do so he didn't publish it until 1911 and didn't exhibit it until 1913. In addition, biographer Richard Whelan states, "If he really had known that he had just produced a masterpiece, he probably would not have been so depressed during his European vacation that summer [as he indicated in several letters to friends]".
Whelan theorizes that when Stieglitz first looked at the negative he did not see the stylistic qualities he was then championing, and he set the negative aside while dealing with more pressing issues. In the period directly before and after taking The Steerage Stieglitz was still producing photos that were primarily pictorialist in style, and it would be several more years before he began to break with this tradition. The Steerage represents a "fundamental shift in Stieglitz's thinking", and, critics have said that while his mind had visualized the image when he took it he was not able to articulate his reasons for taking it until later. Also, painter Max Weber claims to have discovered the image while looking through Stieglitz's photos in 1910, and he took credit for first pointing out the aesthetic importance of the image. Whether that is true or not, it was only after Stieglitz began to seriously consider the works of modern American artists like John Marin, Arthur Dove and Weber that he finally published the image. Like the works of those artists, The Steerage is "divided, fragmented and flattened into an abstract, nearly cubistic design" and it has been cited as one of the first proto-Cubist works of art.
One other distraction could have been a reason why Stieglitz did not immediately publish The Steerage. While he was still in Paris on the same trip he saw for the first time and experimented with the new Autochrome Lumière process, the first commercially viable means of capturing images in color. For the next two years he was captivated by color photography, and he did not return to The Steerage and other black-and-white photos until he learned to photograph using this new process.
First appearances
Stieglitz first published The Steerage in the October 1911 issue of Camera Work, which he had devoted to his own photography. It appeared the following year on the cover of the magazine section of the Saturday Evening Mail (20 April 1912), a New York weekly magazine.
It was first exhibited in a show of Stieglitz's photographs at "291" in 1913.
In 1915 Stieglitz devoted the entire No 7-8 issue of 291 to The Steerage. The only text in the issue were comments on the photo by Paul Haviland and Marius de Zayas.
Versions
According to the Key Set published by the National Gallery of Art there are five known versions of The Steerage.
Several copies are known to exist of each version. Most are in major museums. Other prints with slightly different measurements are likely to be one of the five versions listed above. Image sizes may vary slightly from one copy to another due to paper shrinkage.
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Source of this text
This is an edited extract of an article found at Wikipedia. en.wikipedia.org/wiki/The_Steerage
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A bearbed man wearing a withe cloth is standing over a chariot drawn by four horses; the reins and the whip are in his hands, he is ready to go. On both sides of the quadriga there are a woman and a warrior with shield and spear. Probably it’s a scene of farewell.
Attic black-figured kantharos
Made Athens
Attributed to “The Bareiss Painter”
About 530-520 BC
Florence, Museo Archeologico Etrusco