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Before and After, with a Technical Manual: Chromolithographic Production of a Decorative Trunk-Lid Print by A.Davey

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Technical Manual: Chromolithographic Production of a Decorative Trunk-Lid Print (c. 1880s)

This decorative trunk-lid image was created by chromolithography, the leading high-quality color printing process of the late 19th century. It combined freehand artistry for pictorial elements with precise mechanical drawing for borders and geometric motifs. The process was entirely manual in this period—no photographic separations were used—and required exacting craftsmanship to produce a richly layered, perfectly registered color image.

I. Detailed Process Description

1. The Key Stone

The process began with the “key” or outline stone.

The lithographer drew the full design, in reverse, on a smooth, polished slab of Bavarian limestone using greasy lithographic crayon or tusche (greasy ink).

This stone carried all outlines, contour lines, and key shading cues.

Registration marks—crosses or pinholes in the margins—were incorporated so that every later color impression could be matched precisely to it.

For geometric elements such as borders, frames, corner ornaments, or medallion arcs, the lithographer employed rulers, straightedges, compasses, and French curves. This ensured perfect parallelism, uniform line width, and symmetry. Repeating motifs in borders were often laid out with dividers or spacing marks before being finished by hand.

The key drawing integrated these mechanically precise elements seamlessly with freehand rendering of organic forms such as the woman’s portrait, foliage, and landscape details.

After completion, the stone surface was chemically treated with gum arabic and dilute nitric acid so that greasy image areas would accept oil-based ink while the blank areas repelled it.

2. Creating the Faint Guide Transfers

The key stone was inked in a neutral tone—commonly light grey, sepia, or pale ochre.

Impressions were pulled onto specially prepared transfer paper coated with a thin layer of adhesive such as gelatin.

These impressions, called “transfers” or “pulls”, were strong enough to be visible but pale enough not to interfere with later color drawing.

Each transfer sheet was placed face down on a blank polished stone and run through the press under pressure. The greasy ink transferred into the pores of the new stone’s surface, producing a pale, precise replica of the entire design.

One transfer was made for each color stone planned—often 8–15 for a richly shaded piece like this.

3. Drawing Each Color Stone by Hand

On each transferred stone, the lithographer worked only on the areas to be printed in that stone’s specific color.

Pictorial areas (faces, floral elements, landscape features) were rendered freehand using stipple dots, hatching, and textured crayon marks to create tonal gradations.

Geometric areas (borders, lines, decorative panels) in that color were drawn using rulers, compasses, and templates to maintain straightness, curvature, and even spacing.

The lithographer had to anticipate how transparent inks would overlap with others to form new colors. This required leaving certain areas open, or creating deliberate overlaps to produce secondary hues (e.g., printing blue over yellow to make green).

No photographic separation was used—color interpretation was entirely a matter of artistic judgment.

4. Judgement and Artistry

Transparent inks meant the lithographer had to visualize the cumulative result of multiple layers before printing began.

Overlaps were planned to achieve desired hues without muddying.

In complex areas like the sitter’s complexion, effects were built up by combining a base tone (e.g., pale yellow) with flesh pink and then adding subtle shading through stippling or fine hatching in a darker tint.

5. Proofing and Adjustments

After each stone was drawn, a proof print was pulled.

Registration was checked against the key, and tonal balance was evaluated.

Corrections could be made by grinding down areas of the stone with pumice or adding new greasy drawing where needed.

Proofing and correction cycles continued until every stone printed cleanly and registered perfectly with the others.

6. Sequential Printing

Printing typically began with the lightest colors and progressed to the darkest.

Each sheet of paper was dampened, aligned to the registration marks, and printed one color at a time.

After each pass, the sheet was dried (or re-dampened if needed) before receiving the next color.

Transparent inks allowed optical blending—yellow printed first, blue later, producing green in overlapping areas.

Borders and other critical alignment points were checked with each pass to maintain precision.

II. Probable Color Sequence for This Print

Based on late-19th-century practice and the observed palette of your trunk-lid image:

Light Yellow – Base tone for foliage highlights, ribbon accents, and underpainting for skin tones.

Light Pink / Flesh Tint – Applied over yellow in portrait areas; also in floral details.

Sky Blue – Ribbon background, water, and cool shadows; provides base for greens when overprinted with yellow.

Light Green – Foliage tints achieved by printing over yellow and/or blue.

Warm Ochre / Buff – Mid-tone background fills and ornamental elements.

Mid-Red / Rose – Floral accents, ribbon details, lips and cheeks.

Dark Green – Deep foliage shadows and ornamental border accents.

Dark Blue – Shading in ribbon folds, water, and certain border areas.

Brown – Hair, tree trunks, warm shadow areas.

Black (Key Plate) – Final pass, reinforcing outlines, details, and definition.

Note: Some printers reversed steps 9 and 10, but decorative trunk-lid work typically saved the black for last to achieve maximum crispness in outlines.

III. Size

\Commercial chromolithography in the 19th century had a surprisingly wide size range, and by the 1880s there were presses and stones capable of printing very large sheets—but “routine” sizes were smaller than the record-breakers.

Here’s what the sources indicate:

Typical Commercial Sizes

Most advertising chromos and decorative prints (trade cards, cigar labels, trunk-lid liners, calendars) were under 18 × 24 inches (45 × 60 cm).

This size range kept stone weight manageable (under ~40–50 lbs) and allowed fast presswork without excessive paper costs.

Large-Format Work in Regular Use

By the 1870s–1890s, firms in the U.S., Britain, France, and Germany routinely printed posters, maps, and wall charts up to about 24 × 36 inches (61 × 91 cm) in a single sheet.

Large railroad and theater posters were sometimes printed as multiple sheets to be joined after printing—each sheet a separate lithographic run.

Stones for these larger single sheets could weigh 200–300 lbs, which was about the upper limit for regular commercial handling.

Extra-Large (Occasional, Not Routine)

A few specialized presses and workshops produced single-sheet chromolithographs up to 30 × 40 inches (76 × 102 cm) or even 40 × 60 inches (102 × 152 cm).

These were not everyday jobs—they required special heavy presses and crews to handle the stones. Examples include:

French art publishers like Lemercier producing oversize posters for exhibitions in the 1870s–1880s.

American billboard chromos in the 1890s printed for product advertising; often pasted in sections, but sometimes one monumental sheet if the client paid the premium.

Why “Routine” Stopped Around 24 × 36 inches

Larger stones became exponentially heavier and harder to keep in register.

The risk of breaking a costly Bavarian limestone during handling increased with size.

Press speeds dropped as sheet size increased, making large runs slower and more expensive.

Bottom line:

Routine large commercial chromolithographs: up to about 24 × 36 inches (61 × 91 cm) in a single sheet.

Specialized/occasional work: up to about 40 × 60 inches (102 × 152 cm), but rare and costly.

Anything bigger was usually produced as multiple sheets to be assembled on site.

IV. Estimated Production Time for Initial Creation

Based on period trade manuals and documented work rates in late-19th-century lithographic shops:

Drawing the Key Stone: 2–4 days (18–30 hours)

Printing Key Transfers to Color Stones: 0.5–1 day

Drawing All Color Stones:

Simple stones (flat color fills): ~1 day each

Complex stones (shaded or detailed): 1.5–2 days each

For a 10-color job: ~14–18 days total

Proofing and Corrections: 3–5 days

Total Working Time: ≈ 20–28 working days

Elapsed Time: ≈ 4–6 weeks for one lithographer/artist, supported by press operators.

Large firms with multiple artists could reduce elapsed time, but decorative trunk-lid work was often done at an artisanal pace rather than mass-production speed.

Total direct chromolithographic employment in U.S. ca. 1890–1900: ~10,000–12,000 workers.

(This excludes related trades like engravers, photographers, and bindery workers who might work with litho output.)

V. Estimated 1880s Production Cost

Using data from American and British lithographic trade catalogs, printers’ journals, and jobbing price lists from the 1870s–1890s:

Artist’s Fee (design and stone drawing): $25–$40

Stone Preparation & Etching: $5–$8

Presswork per Color: $1.50–$3 per 1,000 impressions, per color stone

Materials:

Bavarian limestones (reusable): $3–$5 each (capital cost)

Inks and gum/acid solutions: $2–$4 per job

Transfer paper: ~$1 per job

Overhead (shop labor, utilities, depreciation): $5–$10 per job

For a 10-color image at a run of 500–1,000 prints:

Total Cost to Client (1880s): ≈ $50–$75

Higher runs reduced per-unit cost sharply, but initial image creation (especially artist’s labor) was a fixed, front-loaded expense.

VI Occupational Hazards in 19th-Century Chromolithography

While the 1880s chromolithographic process produced vivid, durable images, it also exposed workers to toxic pigments, solvents, and dusts. These materials posed significant health risks, and historical evidence from trade journals, factory inspection reports, and medical literature of the period confirms that occupational disease was common in the printing trades, including lithography.

1. Pigments

Many of the brilliant, permanent colors relied on heavy-metal compounds. Examples include:

Chrome Yellow – Lead chromate (PbCrO₄). Bright, opaque yellow used for ornaments and underlayers. Risks: lead poisoning (anemia, colic, neurological damage) and chromium-induced skin and respiratory irritation.

Emerald Green / Paris Green – Copper acetoarsenite. Vivid green for foliage and decorative borders. Risks: arsenic poisoning (skin lesions, respiratory illness, systemic toxicity).

Vermilion – Mercuric sulfide (HgS). Rich red for accents. Risks: mercury poisoning (tremors, mood disorders, cognitive decline).

White highlights – Lead carbonate (PbCO₃). Risks: lead poisoning.

Red lead (Pb₃O₄) – Used for some warm red tones. Risks: lead poisoning.

Cobalt pigments – Blues; less toxic than lead or arsenic but hazardous in dust form.

Prussian Blue – Ferric ferrocyanide; relatively low toxicity, but dust inhalation was still discouraged.

Exposure pathways: Pigment dust during grinding/mixing; skin contact; ingestion via contaminated hands or food.

2. Inks and Solvents

Oil-based inks were ground with linseed oil and diluted with turpentine or benzene-type solvents.

Benzene, not yet recognized as a carcinogen, was associated with dizziness, headaches, and chronic neurological symptoms in exposed workers.

Turpentine caused skin irritation and, in high vapor concentrations, respiratory distress.

3. Etching and Stone Preparation

Etching solution: Gum arabic mixed with dilute nitric acid. Nitric acid vapors could irritate eyes, throat, and lungs.

Stone graining/polishing: Pumice and sand were used to prepare stones, generating silica dust, a cause of silicosis with chronic inhalation.

4. Documented Health Effects

Contemporary medical and trade sources document:

Lead poisoning (“painter’s colic,” tremors, muscle weakness, abdominal pain, memory loss).

Arsenic toxicity (skin eruptions, sore throat, chronic cough, systemic symptoms).

Mercury poisoning (tremor, mood instability, cognitive changes).

Chronic bronchitis and eye irritation from acid fumes.

Silicosis in long-serving stone preparers and press workers exposed to fine dust.

5. Workplace Practices

Little or no protective equipment was used.

Workers frequently ate, drank, or smoked at their benches.

Ventilation was often inadequate, especially in winter when windows stayed closed.

Mechanical pigment mixers and enclosed presses, which reduced dust and vapor exposure, only began to appear in larger firms in the late 19th century.

Conclusion:

The production of chromolithographs in the 1880s was not only an artistic and technical achievement but also a process with significant hidden costs to the health of the workers who produced them. The durability and brilliance of these prints often came at the expense of prolonged exposure to lead, arsenic, mercury, acid vapors, and fine dust—a reality rarely acknowledged in decorative trade literature of the period.

VII. Summary

This 1880s trunk-lid chromolithograph was the product of 20–28 working days of skilled labor by a lithographer, supported by a press crew, and costing the client the equivalent of several thousand dollars in today’s money.

It required:

Freehand artistry for portraits, landscapes, and organic elements.

Ruler-and-compass precision for ornamental borders and geometric motifs.

Stone-by-stone planning of transparent color overlaps.

Exact registration across 10 separate printings.

The result was a brilliantly colored, durable image, perfectly suited to enliven the interior of a travel trunk—and to survive for well over a century.

Supplement

i. The development of chromolithography in the Europe and the US.

Europe: Development

Early 19th century – Foundations in Bavaria and France

Senefelder himself experimented with multi-color printing almost from the start (he wrote about “polyautography” in his 1818 treatise), but the technical and economic obstacles kept most lithography single-color for decades.

1830s – Practical multi-color experiments in France

The first systematic attempts to produce full-color lithographs by using separate stones for each color occurred in France. The printer Godefroy Engelmann of Mulhouse and Paris is widely credited with perfecting the process and securing a patent for “chromolithographie” in 1837.

Engelmann’s innovation was to work out methods for precise registration of multiple stones, using transparent inks to blend colors and produce painterly effects.

1840s – Refinement in Paris and Munich

French and Bavarian firms refined techniques for preparing multiple stones, planning color separations, and printing in sequence. Early chromolithographs were often high-art reproductions—costly, with limited runs.

Europe: Commercialization

1850s – Popularization in France, Germany, and Britain

Advances in presses, inks, and stone preparation allowed larger runs at lower cost. In Paris, firms like Lemercier mass-produced decorative prints, maps, and reproductions. In Munich, firms like Strixner & Cie became known for rich color art plates. In Britain, the process was adopted for book illustration and advertising.

1850s–1860s – Introduction to the United States

Chromolithography reached the U.S. in the early 1840s, but true commercial-scale production took off after the Boston lithographer Louis Prang began producing high-quality, multi-color prints in the 1860s.

Prang’s work—especially his Christmas cards and art reproductions—made chromolithography a household term in America.

1870s–1890s – Peak commercial use

By this period, chromolithography had become the dominant method for high-quality color printing in advertising (trade cards, posters, packaging), decorative art prints, maps, and ephemera such as the trunk-lid prints you’re studying. The combination of improved stone-handling, faster presses, and cheaper inks made it possible to produce vivid, durable color images for a mass market.

Timeline: Chromolithography in the United States

1820s – First lithographic presses appear in major U.S. cities; work is monochrome, with color added by hand.

1840s – Small-scale multi-color experiments begin in American shops. Imported European chromolithographs are sold to wealthy buyers but domestic production is limited.

1850s – Chromolithography begins to be practiced in Boston, New York, and Philadelphia, often by immigrant printers trained in Europe. Still mainly used for maps, sheet music covers, and decorative prints.

1860s – Louis Prang of Boston pioneers high-quality American chromolithography. His “Prang’s Chromos” (art reproductions and greeting cards) become nationally known. Multi-stone, transparent-ink printing becomes more common in U.S. advertising and fine-art work.

1870s – Rapid expansion of chromolithography in commercial advertising. Used for trade cards, cigar box labels, and posters. Printing technology improves, allowing finer registration and larger press runs.

1880s–1890s – Chromolithography reaches industrial scale in the U.S. Bright, durable color images appear on everything from product packaging to educational charts and decorative items such as trunk-lid liners. Multi-stone printing (8–12 colors) is standard for high-quality work, with both freehand and ruler-based drafting techniques used in the same design.

ii The End of Commercial Chromolithography

How Rapidly Chromolithography Was Abandoned

1890s: Chromolithography still dominant for posters, packaging, and decorative prints, but halftone work begins to capture advertising and magazine illustration.

1900–1910: Offset lithography and letterpress with color halftones begin to outcompete chromolithography for most commercial uses.

1910s–1920s: The shift accelerates — offset can print faster, at lower cost, with acceptable color fidelity.

Chromolithography survives mainly in high-art reproductions and specialty decorative work.

1930s: In the U.S. and Europe, chromolithography is effectively obsolete for mass-market commercial jobs. The skill of hand-drawing multi-stone separations becomes rare.

Post-1930s: Only a few fine-art printers and specialty houses continue using chromolithography, often as a deliberate artisanal choice rather than a commercial necessity.

This text is a collaboration with Chat GPT.

The Cornell Farm in American Naïve Paintings and George Catlin by Alec Frazier

The Cornell Farm

West Building, Main Floor—Gallery 63

•Date: 1848

•Medium: Oil on Canvas

•Dimensions:

oOverall: 93.3 × 124.4 cm (36¾ × 49 in.)

oFramed: 119.1 × 149.9 × 6 cm (46⅞ × 59 × 2⅜ in.)

•Credit Line: Gift of Edgar William and Bernice Chrysler Garbisch

•Accession Number: 1964.23.4

•Artists/Makers:

oArtist: Edward Hicks, American, 1780-1849

Overview

Edward Hicks, having apprenticed to a Pennsylvania coachmaker at thirteen, became a minister in 1811. He was torn between his calling as a Quaker minister and his love of painting, worrying that his art kept him from “the Lord’s work.”

Hicks precisely identified this subject with a long inscription along the bottom of the canvas: “An Indian summer view of the Farm & Stock OF JAMES C. CORNELL of Northampton Bucks county Pennsylvania. That took the Premium in the Agricultural society, October the 12, 1848 Painted by E. Hicks in the 69th year of his age.” Though the punctuation and capitalization are inconsistent, the quality of the lettering proves that Edward Hicks was schooled in sign painting.

Having no background in academic art, Hicks employed the direct approach of a primitive or folk painter. The horizontal band of livestock across the foreground, although childlike in its simplicity, clearly presents each prize-winning animal as an individual portrait. Hicks’ delight in creating ornamental pattern is evident in the arrangement of fences, while the rich red and bright white of the house and barn symmetrically flank this central landscape. Although the stark silhouettes of figures and buildings seem naive, Hicks softly blended his paints over the orchard to give the impression of space existing well beyond what the eye can see.

Inscription

•Across Bottom: An Indian summer view of the Farm & Stock of JAMES C. CORNELL of Northampton Bucks county Pennsylvania. That took the Premium in the Agricultural society, october the 12, 1848 / Painted by E. Hicks in the 69th year of his age.

Provenance

Painted for James C. Cornell, Northampton, Bucks County, Pennsylvania; to Theodore Cornell, his son; to Russell Cornell, his son; to Mr. and Mrs. J. Stanley Lee (Mrs. Lee is Hick’s great-granddaughter), Newtown, Pennsylvania, by whom sold in 1954 to Edgar William and Bernice Chrysler Garbisch; gift to NGA, 1964.

Associated Names

•Cornell, James C.

•Cornell, Russell

•Cornell, Theodore

•Garbisch, Edgar William, Mr. and Mrs.

•Lee, J. Stanley, Mr. and Mrs.

Exhibition History

•1882—Bucks County Bi-Centennial Celebration, Doylestown, Pennsylvania, 1882.

•1957—American Primitive Paintings from the Collection of Edgar William and Bernice Chrysler Garbisch, Part II, National Gallery of Art, Washington, 1957, no. 81.

•1957—Art Our Children Live With, Downtown Gallery, New York, 1957, no cat.

•1958—American Folk Art. Part of American Art. Four Exhibitions, Brussels Universal and International Exhibition, Belgium, 1958, no. 84, 45, repro. 51.

•1960—Edward Hicks, 1780-1849, Abby Aldrich Rockefeller Folk Art Center, Williamsburg, Virginia, 1960, no. 37.

•1961—101 Masterpieces of American Primitive Painting from the Collection of E.W. and B.C. Garbisch, traveling exh. by the Amer. Fed. of Arts, New York, 1961-1964, no. 75, color repro. First venue, The Metropolitan Museum of Art, New York.

•1966—Three Self-Taught Pennsylvania Artist: Hicks, Kane and Pippin, Carnegie Institute of Art, Pittsburgh; Corcoran Gallery of Art, Washington, 1966-1967, no. 33, color repro.

•1968—American Naive Painting of the 18th and 19th Centuries: 111 Masterpieces from the Collection of E.W. and B.C. Garbisch, traveling exh. by Amer. Fed. of Arts, N.Y., 1968-1970, no. 73, repro. First venue: Grand Palais, Paris.

•1970—American Naive Painting of the 18th and 19th Centuries: Masterpieces from the Collection of E.W. and B.C. Garbisch, organized by the Amer. Fed. of Arts, N.Y., and Mainichi News., Nihobashi Mitsukoshi, Tokyo, 1970, no cat.

•1970—The New World: 1620-1970, Chrysler Museum of Art, Provincetown, Massachusetts, 1970, no. 15.

•1971—What is American in American Art, M. Knoedler and Co. [benefit exhibition for the Museum of American Folk Art], New York, 1971, no. 46, color repro.

•1974—Our Land, Our Sky, Our Water, organized for International Exposition, Spokane, Washington, 1974, no. 15.

•1978—The American Folk Art Tradition: Paintings from the Garbisch Collection, National Gallery of Art, Washington, D.C., 1978.

•1980—American Folk Painters of Three Centuries, Whitney Museum of American Art, New York, 1980, 96, color repro. (cat. edited by Jean Lipman and Thomas Armstrong).

•1981—American Naive Paintings from the National Gallery of Art, Terra Museum of American Art, Evanston, Illinois, 1981-1982, no. 26, color repro. (cat. by Ronald McKnight Melvin).

•1985—American Naive Paintings from the National Gallery of Art, Exh. cat. Traveling exh. by the International Exhibitions Foundation, Washington, 1985-1987, no. 36, color repro. First venue: Museum of American Folk Art, New York.

•1988—La Nascita di Una Nazione: Pittori americani dalla National Gallery of Art di Washington 1730-1880, Palazzo Pepoli Campogrande, Bologna; Galleria Internazionale d’Arte Moderna di Ca’Pesaro, Venice, 1988-1989, no. 36, repro.

•1996—1846: Portrait of the Nation, National Portrait Gallery, Washington, D.C., 1996, unnumbered catalogue, repro.

•1997—Charles Sheeler in Doylestown: American Modernism and the Pennsylvania Tradition, Allentown Art Museum; Amon Carter Museum, Fort Worth; Cincinnati Art Museum, 1997-1998, no. 40, repro.

•1999—The Kingdoms of Edward Hicks, 5 venues, shown only at the first two, The Abby Aldrich Rockefeller Folk Art Center, Williamsburg; Philadelphia Museum of Art, 1999-2000, no. 82, fig. 171.

•2018—Outliers and American Vanguard Art, National Gallery of Art, Washington; High Museum of Art, Atlanta; Los Angeles County Museum of Art, 2018-2019, no. 35.

Bibliography

•1947—Editorial, Antiques, 52 (October 1947): 252-253.

•1950—Lipman, Jean, and Alice Winchester. Primitive Painters in America 1750-1950. New York, 1950: 46-47.

•1952—Ford, Alice. Edward Hicks, Painter of the Peaceable Kingdom. Philadelphia, 1952: 97, 107, 108, 121, color repro. opp. 108.

•1966—Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 2:480, color repro.

•1970—American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 68, repro.

•1971—Campbell, William P. “The American Heritage at the National Gallery of Art.” Connoisseur 178 (December 1971): 270, 272.

•1974—Lipman, Jean, and Alice Winchester. The Flowering of American Folk Art. New York, 1974: color pl. 70.

•1975—Parry, Ellwood. “Edward Hicks and A Quaker Iconography.” Arts Magazine 49 (June 1975): 94.

•1976—Lipman, Jean, and Helen M. Franc. Bright Stars: American Painting and Sculpture Since 1776. New York, 1976: color repro., 60.

•1978—King, Marian. Adventures in Art: National Gallery of Art, Washington, D.C. New York, 1978: 100, pl. 63.

•1979—Haverstock, Mary Sayre. An American Bestiary. New York, 1979: color repro., 146.

•1980—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 175, repro.

•1980—Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 10, no. 19, color repro.

•1983—Mather, Eleanore Price. Edward Hicks: His Peaceable Kingdoms and Other Paintings. Newark, Delaware, 1983: 85, 195, no. 106, color pl. 8.

•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 543, no. 820, color repro.

•1985—Ford, Alice. Edward Hicks, His Life and Art. New York, 1985: 234-236, color repro.

•1988—Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 90, no. 22, color repro.

•1992—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 202, repro.

•1992—Chotner, Deborah, with contributions by Julie Aronson, Sarah D. Cash, and Laurie Weitzenkorn. American Naive Paintings. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 194-196, color repro. 195.

•1992—National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 226, repro.

•1998—Ford, Alice. Edward Hicks, Painter of the Peaceable Kingdom. Philadelphia, 1998: 97, 108, 120, repro.

•2001—Southgate, M. Therese. The Art of JAMA II: Covers and Essays from The Journal of the American Medical Association. Chicago, 2001: 178-179, 216, color repro.

•2004—Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 300, no. 242, color repro.

From American Naïve Paintings:

1964.23.4 (1936)

The Cornell Farm

•1848

•Oil on Canvas, 93.3 × 114.4 (36¼ × 49)

•Gift of Edgar William and Bernice Chrysler Garbisch

Inscriptions

•Across Bottom: An Indian summer view of the Farm & Stock of JAMES c. CORNELL of Northampton Bucks county Pennsylvania. That took the Premium in the Agricultural society, October the 12., 1848 / Painted by E. Hicks in the 69th year of his age.

Technical Notes

The tacking margins on the fine support are intact, although unusually narrow (1 cm). The off-white ground is smoothly applied. The darker and cooler colors were applied first in relatively thin layers. The lighter colors were placed over them in heavier application. Low impasto is evident in the highlights and details. There is no visible underdrawing in natural light or infrared reflectography, and no design changes are apparent. Vertical streaks in the sky appear to originate beneath the paint film. The picture is in excellent condition with only a few tiny losses scattered in the sky and foreground.

Provenance

James C. Cornell, Northampton, Bucks County, Pennsylvania; to Theodore Cornell, his son; to Russell Cornell, his son; to Mr. and Mrs. J. Stanley Lee (Mrs. Lee is Hicks’ great-granddaughter), Newtown, Pennsylvania, by whom sold in 1954 to Edgar William and Bernice Chrysler Garbisch.

Exhibitions

Bucks County Bi-Centennial Celebration, Doylestown, Pennsylvania, 1881. // NGA, 1957, no. 81. // Art Our Children Live With, Downtown Gallery, New York, 1957, no cat. // American Art, Brussels Universal and International Exhibition, Belgium, 1958, no. 84. / / Edward Hicks, 1/80-1849, AARFAC, 1960, no. 37. / / 101 Masterpieces, 1961-1964, no. 75, color repro. // Three Self-taught Pennsylvania Artists: Hicks, Kane and Pippin, Carnegie Institute of Art, Pittsburgh; Corcoran Gallery of Art, Washington, 1966-1967, no. 33, color repro. // in Masterpieces, 1968-1970, no. 73, color repro. // Tokyo, 1970. / / The New World: 162.0-19/0, Chrysler Museum of Art, Provincetown, Massachusetts, 1970, no. 15. // What is American in American Art, M. Knoedler and Co., New York, 1971, catalogue by Mary C. Black, no. 46, color repro. / / Twenty-five Polk Artists: Their Lives and Work, AARFAC, 1971, no cat. / / Our Land, Our Sky, Our Water, organized for International Exposition, Spokane, Washington, 1974, no. 15. // Whitney, 1980, 96, color repro. / / Terra, 1981-1981, no. 26, color repro. / / American Naïve Paintings, (IEF) 1985-1987, no. 36, color repro. // Italy, 1988-1989, no. 36, color repro.

Toward the end of his life Edward Hicks created four farmscapes of the Pennsylvania countryside.1 These late paintings, which feature calm, harmonious views of Bucks County farms, are considered to be his finest works. Hicks’ granddaughter reported that the artist “always considered the Cornell picture his masterpiece.”2

In this resplendent panoramic view of his friend’s neatly cultivated property Hicks presents convincing atmospheric perspective and suffuses the landscape with the golden light of Indian summer. Against this naturalistic background, however, Hicks parades Cornell’s prizewinning livestock across the foreground in an unnaturalistic way, their flat, sharply delineated shapes reminiscent of the crowded collages of animals in some of his peaceable kingdom pictures. Most of the figures populating the middle ground have one arm extended, appearing to call attention proudly to outstanding features of the bountiful farm. Descendants have identified the belted figure as the farm owner, James Cornell, in conversation with his friend William Janney. Their inspection of the farm may represent a real scene, since Cornell was awarded several prizes at the 1848 Newtown Exhibition and Janney apparently was on the committee of judges. In addition to honors for his horses, swine, sheep, poultry, and native stock, Cornell was presented with “the first premium of $5 for the best cultivated Farm over 100 acres, regard being had to the quality of produce, mode of cultivation, and general appearance.”3

Although Hicks relied on his observations of nature, another source of inspiration for The Cornell Farm may have been The Country Fair, 182.5 (private collection) by John A. Woodside (1781-1851).4 Both paintings depict houses and barns perched on gently rolling hills with a variety of animals arranged in profile across the foreground. Although Woodside distributes his animals and figures more evenly throughout the landscape, both artists include men with stiff, outstretched arms pointing to features of the farm and conversing with each other. Hicks’ farmer with a plow, on the right, also seems to derive from two plowing farmers on the left of Woodside’s canvas. The animals in both paintings may ultimately derive from British livestock and sporting prints of the late eighteenth and nineteenth centuries, which frequently depicted animals in profile or aligned horizontally across the composition. These prints were extremely popular, serving as wall decorations and advertisements for stockbreeders.5

Hicks’ farm scenes may also reflect his own reverence for farming. He tried his hand at it briefly in 1813 and later remarked, “[I] verily thought then and still think farming more consistent with the Christian, and was willing to sacrifice all my fondness for painting.”6 Hicks’ farmscapes present this ideal Christian way of life; they are secular peaceable kingdoms occupied by men and animals in complete harmony with each other.

America’s earliest landscapes, like those painted by Winthrop Chandler (q.v.) in the eighteenth century or Ralph Wheelock’s Farm (1965.15.13) of c. 1814 by Francis Alexander (q.v.), were often “portraits” of a landowner’s property and possessions, and The Cornell Farm falls within this tradition. Some writers, recognizing the relationship of Hicks’ farmscapes to these early landscapes, have concluded that they have “no historical or religious connotation,”7 but it would seem incongruous for the deeply religious Hicks to paint a scene without some allusion to his strong Quaker ideals. Although The Cornell Farm and the other farmscapes relate to the topographical tradition, they are “profoundly Quaker pictures.”8 Their harmony, serenity, and richness prove that industry and Quaker piety can result in an earthly perfection.9

The Cornell Farm was painted for James Cornell himself, who must have been pleased with the portrait of his prize bull which he had commissioned from Hicks two years earlier in 1846.10 Slides taken at the farm’s site reveal that Hicks attempted to portray its actual topography and appearance. The landscape today remains similar to Hicks’ depiction; two wagon houses still stand, although the original house was replaced and the barn burned down in the 1960$.

LW

Notes

1.Hicks’ other farmscapes are The Residence of Thomas Hillhorn, 1845 (AARFAC; Mather 1983, cat. no. 101), his earliest farm scene; The Residence of David Twining in 178 5, c. 1845-1846 (four versions; Mather 1983, cat. nos. 101-105) and The Leedom Farm, 1849 (AARFAC; Mather 1983, cat. no. 107). The latter, like The Cornell Farm, shows expansive, panoramic views, while the other two focus on only a segment of the farm. It is generally assumed that Hicks was inspired by his actual Pennsylvania surroundings. The Residence of David Twining 1785, however, is based on Hicks’ memories of his childhood rather than on a contemporary scene.

2.A 1954 letter,}. Stanley Lee to Colonel Garbisch, records Edward Hicks’ granddaughter quoting the painter to Lee.

3.The Doylestown Democrat and Bucks County Republican, 17 October 1848.

4.Reproduced in Virgil Barker, American Painting (New York, 1950), 373.

5.While Ford 1951, 97, mentions the possibility that Hicks may have seen Woodside’s painting, she believes it unlikely. However, Woodside was a contemporary of Hicks and a leading sign painter in nearby Philadelphia, and the possibility should not be discounted. Since Hicks was concerned first and foremost with religious pursuits, his Memoirs contain little information to assist historians in pinning down his artistic influences. On Woodside, see Stuart P. Feld and Albert Ten Eyck Gardner, American Paintings: A Catalogue of the Collection of the Metropolitan Museum of Art (Greenwich, 1965), 151.

6.Louisa Dresser, “The Peaceable Kingdom,” Bulletin of the Worcester Art Museum 2.5 (Spring 1934), 17.

7.Three Self-Taught Pennsylvania Artists: Hicks, Kane and Pippin [exh. cat., Carnegie Institute of Art] (Pittsburgh, 1966), unpaginated.

8.Parry 1975, 94.

9.It is worth noting that Hicks painted this scene at the same time the Hudson River School artists were creating their tributes to God’s nature. The Cornell Farm seems to relate philosophically, as well as in subject matter, to this academic landscape tradition. Hicks, in this peaceful scene with its warm, glowing light, shares the Hudson River painters’ belief in the manifestation of God’s presence in nature and light. Like the academic landscape painters, he considered man in harmony with the landscape or as “part and parcel of God” (Ralph Waldo Emerson as quoted in Barbara Novak, American Painting of the Nineteenth Century: Realism, Idealism and the American Experience, id ed. [New York, 1979], no). In fact, the Quaker belief that all men possess a portion of the Spirit (Eleanore Price Mather, “A Quaker Icon: The Inner Kingdom of Edward Hicks,” Art Quarterly 36 [Spring/Summer 1973], 85) resembles the Emersonian belief in physical facts as “the end or last issue of spirit” (Emerson as quoted in Novak 1979, in).

10.James Cornell’s Prize BU//ÍS at AARFAC and reproduced in Mather 1983 (see Bibliography), cat. no. 108. A receipt which was removed from the reverse reads: “James Cornell / To Edward Hicks Do / To painting his prize bull. $15.00 / Rec 5th mo 16th 1846 the above in full / of all demands by me / Edward Hicks.” As Mather explains, this work has its precedents in Dutch pastoral lithographs (81-86).

References

•1947—Antiques, 51 (October): 151-153 (untitled editorial).

•1950—Lipman and Winchester: 46-47.

•1951—Ford (see Bibliography): 97, 107, 108, in, color repro. opp. 108.

•1971—Campbell, William P. “The American Heritage at the National Gallery of Art.” Connoisseur 178 (December):

•2-70, 2.72-

•1974—Lipman, Jean, and Alice Winchester. The Flowering of American Folk Art. New York: color pi. 70.

•1975—Parry, Ellwood. “Edward Hicks and a Quaker Iconography.” Arts Magazine 49 (June): 94.

•1976—Lipman, Jean, and Helen M. Franc. Bright Stars: American Painting and Sculpture Since 1776. New York: color repro. p. 60.

•1979—Haverstock, Mary Sayre. An American Bestiary. New York: color repro. p. 146.

•1983—Mather (see Bibliography): 85, 195, cat. no. 106, color pi. 8.

•1985—Ford (see Bibliography): 134-136, color repro.

Day 75 - Dillon Reservoir by John Tikka

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“You do not need to know precisely what is happening, or exactly where it is all going. What you need is to recognize the possibilities and challenges offered by the present moment, and to embrace them with courage, faith and hope.”

― Thomas Merton

Back from the quick weekend ski trip. What a horrible drive from the airport last night. A normal 2 hour trip took 6 hours because of the snow.

This picture was taken from a hiking trail overlooking the Dillon Reservoir in Colorado. There were snow squalls all day and this captures some receding storm clouds as well as another storm coming in from the left. I also like the picnic tables in the low foreground.

A flight by kō-ō’mah’ kool-shän’ by DESPITE STRAIGHT LINES (Paul Williams)

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Photograph taken at an altitude of Nine metres, in the magic of the Golden hour around sunrise at 05:41am, (sunrise was at precisely 06.15am) on Saturday 6th September 2014 off the Patricia Bay Highway 17, on Lochside Drive close to Frost Avenue and the Lochside Waterfront Park, in beautiful Sidney by the sea on Vancouver Island, British Columbia, Canada.

Here, we are looking over towards Mt Baker in Washington State, USA from beautiful Sidney by the sea on Vancouver Island, British Columbia, Canada. Also known as Koma Kulshan, (pronounced kō-ō’mah’ kool-shän’),she is an active glaciated andesitic stratovolcano in the Cascade Volcanic Arc and the North Cascades of Washington State in the United States, standing 3,286 metres tall and was first ascended in 1868, her last eruption recorded in 1880.

The name Mount Baker first appeared in print in Captain Vancouver’s 1798 narrative of his voyage around Vancouver Island. Legend has it that his third-lieutenant, Joseph Baker, was the first to spot the mountain while they sailed into Dungeness Bay on April 30th, 1792. Also known by the Lummi as Kwud-Shad, and Koba (meaning 'high mountain always covered with snow', was the Skagit name.

Every morning around sunrise, the gathering of Canada Geese resting upon the water, take to the wing and fly East to West across the Bay. Each squadron of V formation Geese is known as a Skein, and the flight is reversed around the same time each eavening around sunset. An absolute joy to behold.

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Nikon D800 70mm 1/1000s f/2.8 iso100 RAW (14 bit) Size L (7360 x 4912) FX. Manual focus single point mode. Manual exposure. Matrix metering. Auto white balance. Auto Active D-lighting. Distortion control on. Adobe RGB.

Nikkor AF-S 70-200mm f/2.8G ED IF VRII. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Manfrotto MT057C3 057 Carbon Fiber Tripod 3 Sections (Payload 18kgs). Manfrotto MH057M0-RC4 057 Magnesium Ball Head with RC4 Quick Release (Payload 15kgs). Manfrotto quick release plate 410PL-14.Jessops Tripod bag. Optech Tripod Strap.Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon MC-DC2 remote shutter release. Nikon GP-1 GPS unit.

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LATITUDE: N 48d 38m 15.77s

LONGITUDE: W 123d 24m 12.783s

ALTITUDE: 9.0m

RAW (TIFF) FILE SIZE: 103.00MB

PROCESSED (JPeg) SIZE: 22.79MB

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PROCESSING POWER:

Nikon D800 Firmware versions A 1.10 B 1.10 L 2.009 (Lens distortion control version 2)

HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU processor. AMD Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.2.4 24/11/2016). Adobe photoshop Elements 8 Version 8.0 64bit.

Webb Shows Many Early Galaxies Looked Like Pool Noodles, Surfboards by NASA's James Webb Space Telescope

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This image: For more than a century, astronomers have categorized galaxies near and far, both by comparing their shapes by eye and precisely measuring their properties with data known as spectra. For example, Edwin Hubble created the Hubble Tuning Fork in 1926 to begin to sort the shapes and sizes of nearby galaxies, showing that many are spirals and ellipticals.

As telescopes’ instruments have become increasingly more sensitive, it is easier to more accurately classify their shapes. New data from the James Webb Space Telescope have added nuances to astronomers’ classifications. Since Webb observes in infrared light, many more extremely distant galaxies appear in its images. Plus, the images are finely detailed, allowing researchers to identify if there are additional areas of star formation – or confirm they aren’t present.

A team led by Viraj Pandya, a NASA Hubble Fellow at Columbia University in New York, recently analyzed hundreds of distant galaxies in Webb’s Cosmic Evolution Early Release Science (CEERS) Survey. CEERS intentionally covers much of the same area as the Hubble Space Telescope’s Extended Groth Strip, which was one of the five fields used to create the Cosmic Assembly Near-infrared Deep Extragalactic Legacy Survey (CANDELS). This allowed them to double-check Webb’s results where the telescopes’ observations overlap.

“Our analysis of Webb’s galaxies was very consistent with galaxies in the Hubble Space Telescope catalog,” Pandya confirmed. “Two sets of data allowed us to fully vet our models as we ran our analysis, and better understand and categorize galaxies that only Webb detected.” The team began their analysis by sorting the galaxies into broad classes based on similar characteristics. (They did not classify each galaxy’s individual appearance since that would require detailed information from data known as spectra.)

They found an array of odd shapes when the universe was 600 million to 6 billion years old. The galaxy shapes that dominate look flat and elongated, like pool noodles or surfboards. These two galaxy types make up approximately 50 to 80% of all the distant galaxies they studied – a surprise, since these shapes are rare closer to home.

Other galaxies Webb detected appear round but also flattened, like frisbees. The least populated category is made up of galaxies that are shaped like spheres or volleyballs.

Webb’s data also resolved a riddle that was introduced by the Hubble Space Telescope’s observations decades ago. Why do so many distant galaxies appear like long lines? Was there more to the galaxies that didn’t appear in its images? Webb answered this in short order: Hubble hasn’t missed anything.

“Webb confirmed what Hubble has long shown us, but in greater detail in infrared light,” Pandya said. “Their combined observations show that in the early universe, many more galaxies appear flat and elongated. This has profound implications, since we usually assume that galaxies like our own Milky Way started out as disks, but that may not be the case.”

Why do galaxies have such different shapes early in the history of the universe? This question remains unanswered for now, but research is underway to better understand how galaxies evolved over all of cosmic time.

Credits: NASA, ESA, CSA, STScI, Steve Finkelstein (UT Austin), Micaela Bagley (UT Austin), Rebecca Larson (UT Austin)

Image description: In the far-left column are two galaxies that have been magnified. The top left galaxy appears circular and light pink with a slightly whiter central region, taking up less than one-sixth of the box. The bottom galaxy is elongated, stretching almost from top left to bottom right. It has a white line at the center that has a pink outline that transitions into bluish edges at far left and right. Thin lines from each magnified galaxy point to their appearances in the broader field. The top galaxy appears as a tiny dot at the upper center, and the bottom galaxy toward the left. Thousands of galaxies appear across most of this view, which is set against the black background of space. There are many overlapping objects at various distances. They include large, blue foreground stars, with Webb’s signature eight-pointed diffraction spikes, and white and pink spiral and elliptical galaxies. Numerous tiny red dots appear throughout the scene. This is a portion of a vast survey known as CEERS.

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Heinsberg, BAP Das volle Programm Tour 2012, 42 by Andy von der Wurm

www.bap.de/start/musik/songtexte/titel/verdamp-lang-her --- www.youtube.com/watch?v=Ghi2xReyFYA&feature=related --- www.worldvision.de/unsere-arbeit-wie-wir-arbeiten-entwick... ---

Bap Colognian (Kölsch) pronunciation: [/bap/] is a German rock group. With ten albums reaching the number one in the German record charts, Bap is one of the most successful rock acts in their home country.

Nearly all of Bap's lyrics are written in Kölsch, the dialect of Cologne, or more precisely in a Kölsch-influenced derivation of Eifelplatt, a regional variant of the Ripuarian language spoken in the nearby rural Eifel. Niedecken's most prominent musical influences, especially early in his career, were Bob Dylan, the Kinks, Bruce Springsteen, the Rolling Stones, and Wolfgang Ambros.

The group was founded in 1976 under the name Wolfgang Niedecken's Bap in Cologne, Germany by Wolfgang Niedecken and Hans Heres. In 1981 they released their most famous song "Verdamp lang her" (English: Damn long time ago), in which Niedecken describes regrets he has about his relationship with his then recently deceased father. The band's name "BAP" derived from "BAPP", both, a play-on-words on the Kölsch word "Papp" (related to the German word Papa for dad), but pronounced differently, and Niedecken's then-times nickname. BAP ist eine Kölschrockband um den Frontmann Wolfgang Niedecken und gilt als eine der erfolgreichsten Rockbands deutscher Sprache. Von den 23 BAP-Alben erreichten 19 die Top 10, zehn wurden sogar Nummer 1 der Charts.Die Gruppe um Sänger und Songschreiber Wolfgang Niedecken besteht seit 1976. Die Band traf sich zu Beginn in wechselnder Besetzung, um „einen Kasten Bier leerzuproben“.[1] Der erste Auftritt erfolgte 1977 im Mariensaal in Köln-Nippes mit zwei akustischen Gitarren (Wolfgang Niedecken, Hans Heres) und Perkussion (Afro Bauermann). Das erste Album, Wolfgang Niedecken's BAP rockt andere kölsche Leeder. erschien 1979, die Band bestand zu dieser Zeit aus Wolfgang Niedecken, Hans „Honçe“ Heres, Wolfgang „Gröön“ Klever, Manfred „Schmal“ Boecker, Wolfgang „Wolli“ Boecker und Bernd Odenthal. Die zweite LP Affjetaut folgte 1980, wie die Debüt-Platte noch unter der Bezeichnung „Wolfgang Niedeckens BAP“, da Niedecken sich bereits als Solo-Künstler mit Gitarre und Mundharmonika als „Bob Dylan der Südstadt“ einen Namen gemacht hatte; beide Platten wurden noch beim Kölner Independent-Label Eigelstein Musikproduktion veröffentlicht.

Der Bandname BAP entstand aus Niedeckens Spitzname, der seinen Vater so nannte. Diese Aussprache entstammt der Herkunft der Familie aus Rheinland-Pfalz, und weil sie vom kölschen „Pap“ abwich, entstand so Niedeckens Spitzname.[2] Als ein erster Auftritt geplant wurde, für den mit einem Plakat geworben werden sollte, musste ein Bandname erdacht werden. Hans Heres schlug dem Veranstalter vor, „BAPP“ zu nehmen.[3] Da sich die Bandmitglieder aber einig waren, dass „BAPP“ – mit zwei „P“ geschrieben – auf der Bassdrum nicht gut aussah, wurde einfach ein „P“ gestrichen.[4]

Der musikalische und inhaltliche Stil der BAP-Songs wird wesentlich von Bob Dylan, den Kinks und den Rolling Stones geprägt. Auch Bruce Springsteen, mit dem Sänger Wolfgang Niedecken eine persönliche Freundschaft verbindet, gilt als wichtiger Orientierungspunkt für BAP. Verschiedene BAP-Lieder, vor allem melancholische (z. B. Helfe kann dir keiner, Paar Daach fröher) zeigen in den Arrangements und der Stimmung deutliche Ähnlichkeiten mit Stücken von Wolfgang Ambros, etwa von dessen Album 19 Class A Numbers. Die Texte beschäftigen sich oft mit gesellschaftlichen oder persönlichen Problemen.1979 fanden unter dem Bandnamen "Wolfgang Niedeckens BAP" erste Auftritte außerhalb von Köln und der näheren Umgebung statt; so zum Beispiel auch anlässlich der Bundesgartenschau 1979 in der Bonner Rheinaue.[5] Im Mai 1982 machte BAP ihre erste professionell organisierte Deutschlandtournee. Im Mittelpunkt standen Songs des aktuellen Albums Für Usszeschnigge, das 1981 als erstes beim Major-Label EMI-Electrola erschienen war. Für den Wechsel von Eigelstein zur EMI mussten BAP in der lokalen Kultur-Szene viel Kritik einstecken, wurden jedoch mit Platz 1 in den deutschen Album-Charts prompt belohnt.

Im Sommer 1982 folgten verschiedene Auftritte im Rahmen von Großveranstaltungen und Fernsehproduktionen: Rockpop In Concert für das ZDF in der Dortmunder Westfalenhalle 1, Demonstration gegen die Nachrüstung der NATO am 10. Juni 1982 (Zehnter Juni) auf den Bonner Rheinwiesen, Vorprogramm der Rolling Stones am 4. und 5. Juli 1982 im Müngersdorfer Stadion in Köln und als erste deutsche Band bei einem Festival des WDR-Rockpalast am 28. August 1982 auf der Loreley-Freilichtbühne.

Nach Erscheinen des vierten Albums Vun drinne noh drusse war die Band zwischen Oktober 1982 und Oktober 1983 sieben Monate lang unterwegs. Neben Deutschland standen auch Konzerte in Österreich, der Schweiz und den Benelux-Ländern auf dem Programm. Insgesamt wurden etwa 130 Auftritte gespielt. Die Tournee endete mit einem Konzert im Kölner „Stollwerck“. Das vom Abriss bedrohte Bürgerhaus Stollwerck erhielt die Einnahmen dieses Konzerts zur Finanzierung seiner weiteren Arbeit. Am 28. Mai 1983 spielte BAP auf einem Festival im niedersächsischen Schüttorf im Vorprogramm von Rod Stewart und am 22. Oktober 1983 auf einer weiteren Großdemonstration gegen die NATO-Nachrüstung im Bonner Hofgarten.

Für den Januar 1984 war – nach langen Verhandlungen mit der staatlichen Künstleragentur – eine Tournee mit 14 Konzerten in 13 Städten der DDR geplant. Im Vorfeld der Tour zeichnete das DDR-Fernsehen ein Interview mit Wolfgang Niedecken inklusive zweier Unplugged-Versionen von BAP-Liedern auf. Dieses wurde später jedoch sinnentstellend verkürzt gesendet. So entschloss sich Niedecken, einige politische Statements, die der Band wichtig waren, in einem eigenen Lied darzustellen. Es wurde als Deshalv spill’ mer he betitelt und erstmals auf dem letzten „West-Konzert“ vor der Tour in Wolfsburg gespielt. Als die Band bereits in Ost-Berlin im Hotel Unter den Linden war, gab es am Vorabend des ersten Konzerts heftige Auseinandersetzungen über dieses Lied mit der DDR-Seite. Als die Band sich weigerte, es von der Setlist zu nehmen, kam es zum Eklat. Die Tournee wurde abgebrochen, bevor das erste Konzert auf dem Boden der DDR gespielt werden konnte. In einer Sendung des DDR-Fernsehens war die Ansage eines Moderators während eines Konzerts im Berliner Palast der Republik zu sehen, zu dem BAP geladen war. Er nannte als Begründung ihrer Absage, die Band wolle „nicht unter dem Symbol der weißen Taube auf blauem Grund auftreten“.[6]

Die Tournee zum Album Zwesche Salzjebäck un Bier begann am 15. und 16. Juni 1984 mit zwei Konzerten im Archäologischen Park in Xanten. Sie wurden vom ZDF aufgezeichnet und später in einer Zusammenfassung gesendet. Die Tour dauerte bis zum Februar 1985 und übertraf von der Zuschauerresonanz her noch die von 1982/83.

Am 2. März 1986 begann in Lohmar bei Köln die Tournee Ahl Männer, aalglatt. BAP spielte zunächst einige Konzerte im ländlichen Raum, bevor die Band am 15. März 1986 in der Essener Grugahalle bei der 17. und letzten Rocknacht des WDR-Rockpalast auftrat. Die Rocknacht, bei der auch Jackson Browne und Big Country auftraten, wurde wie schon das Festival auf der Loreley 1982 via Eurovision von vielen europäischen Radio- und Fernsehstationen ausgestrahlt.

Von April bis Juli folgten zahlreiche weitere Konzerte. Wegen der anhaltenden Popularität wurden teilweise auch größere Hallen ausgewählt. So fanden die „Heimspiele“ der Kölner Band erstmals in der bis zu 8000 Zuschauer fassenden Kölner Sporthalle, der damals größten Veranstaltungshalle der Domstadt, statt. Bei dieser Tournee gab es mit Christian Schneider erstmals auf einer Tournee einen Gastmusiker, weil die zum Teil sehr komplexen Keyboard-Arrangements des neuen Albums live mit nur einem Keyboarder nicht zu realisieren gewesen wären. Schneider spielte neben Keyboards bei einigen Stücken auch Saxophon. Den letzten Auftritt der Tour absolvierte die Band am 26. Juli 1986; genau drei Monate nach der Atomreaktor-Katastrophe von Tschernobyl auf dem legendären Anti-WAAhnsinns-Festival gegen die Wiederaufbereitungsanlage von Wackersdorf in Burglengenfeld.

Nach Ende der Tournee 1986 legte BAP eine kreative Pause ein (u. a. bedingt durch bandinterne, künstlerische Meinungsverschiedenheiten), die Wolfgang Niedecken zur Veröffentlichung seines Albums Schlagzeiten und zu einigen Solo-Konzerten nutzte. BAP stand erst im September 1987 bei zwei Festivals wieder auf der Bühne, um sich auf eine Tournee durch China vorzubereiten. Diese Tournee ist im Buch BAP övver China dokumentiert.

Das Album Da Capo wurde von Oktober bis Dezember 1988 zunächst bei einer ausgedehnten Hallentournee präsentiert. Bei dieser Tournee legte BAP die Scheu vor den ganz großen Konzertarenen endgültig ab. So standen auch die Frankfurter Festhalle und die Münchener Olympiahalle auf dem Programm. Im Sommer 1989 folgten weitere Konzerte, teilweise auch im Rahmen von Festivals gemeinsam mit Joe Cocker. Eines dieser Events fand in der Berliner Waldbühne statt.

Auch die Tournee 1991 wurde in mehreren Teilen durchgeführt. Kurz nach der Vollendung der deutschen Einheit standen im Januar 1991 zunächst die ersten Konzerte der Band auf dem Gebiet der ehemaligen DDR auf dem Programm. Anschließend ging BAP in Westdeutschland auf Club-Tour und absolvierte eine Reihe von Auftritten in beschaulichem Rahmen, zumeist in kleinen Hallen. Das Konzert im Kölner E-Werk wurde aufgezeichnet und später auf dem Album Live – Affrocke veröffentlicht.

Im Mai und Juni 1991 folgte eine Tournee ausschließlich durch die größten deutschen Konzerthallen und bei verschiedenen Open-Air-Festivals. Als Gast bei den Konzerten trat Julian Dawson auf. Am 26. Januar 1994 startete die Tournee zum im August 1993 erschienenen Album Pik Sibbe. Nach wie vor war die Nachfrage in der BAP-Hochburg Köln groß, in einigen anderen Städten blieben die Zuschauerzahlen etwas hinter den Erwartungen zurück. Die folgende Tournee zum Album Amerika begann im November 1996. Der Tourneestart in Koblenz wurde für den WDR-Rockpalast mitgeschnitten und später im Fernsehen ausgestrahlt.

Mit dem Ausstieg von Bassist Steve Borg und von Gründungsmitglied Manfred „Schmal“ Boecker verließen zwei Musiker die Band, die BAP über viele Jahre mitgeprägt haben. 1999 stieg auch Gitarrist Klaus „Major“ Heuser aus, der während 19 Jahren Bandmitgliedschaft die überwiegende Zahl der Lieder komponierte. Außerdem verließ Keyboarder Alexander „Effendi“ Büchel die Firma BAP. Diese Abgänge und die darauf folgenden Neubesetzungen veränderten den musikalischen Ausdruck von BAP nachhaltig.

Zu den Gründen für den Ausstieg von Major sagt Wolfgang Niedecken rückblickend im März 2011:

„Der Major ist ein toller Gitarrist. Aber er wollte, dass BAP international ausgerichteten Radio-Pop spielt. Ich wollte beim Kölsch-Rock bleiben. Beide Positionen waren nicht vereinbar. Ich bin ihm dankbar, dass er selbst gegangen ist. Ich hätte ihn nämlich nie rausgeschmissen.[7]“

Als Neuzugang an den Keyboards stieg Michael Nass bei BAP ein, der zuvor in den 1980er Jahren in der DDR-Musikszene musikalisch sehr aktiv war, u. a. bei P 16 und später in Liselotte Rezniceks Frauenband Mona Lise. Gitarrist wurde Helmut Krumminga. Im Sommer 2001 gab BAP vor der eigentlichen Aff un zo-Tour ab Herbst 2001 zwei Vorabkonzerte, darunter das „Konzert an der toten Brücke“ (Soda-Brücke) in Euskirchen, das auch vom WDR aufgezeichnet und wenige Tage später in der Sendung Rockpalast gesendet wurde. Das Album selbst stieg wie der Vorgänger Tonfilm auf Platz 1 in die deutschen Charts ein.

Im Januar 2006 war die Kölnarena zwar anlässlich des Starts der Jubiläumskonzerte zum 30-jährigen Bestehen der Band mit 25.000 Zuschauern an zwei aufeinander folgenden Tagen fast ausverkauft. Bei anderen Auftritten hatte man sich von vorneherein durch die Wahl kleinerer Konzertorte angepasst.

Auch das im Mai 2008 erschienene Album Radio Pandora stieg auf Platz 1 in die deutschen Charts ein. Im Winter 2008 startete die Tournee dazu, am 2. Weihnachtstag gab es das Heimspiel in der Köln-Arena (Lanxess-Arena); sie dauerte (mit Unterbrechungen) bis zum Sommer 2009, wobei die Band von Anne de Wolff (Violine, Bratsche, Gesang) und teilweise von Rhani Krija (Percussion) begleitet wurde.

Für November 2011 war der Start der aktuellsten Tournee geplant. Aufgrund einer schweren Erkrankung Wolfgang Niedeckens wurde der Start der Tour auf Anfang Mai 2012 verschoben.[8][9][10]

Auslandsauftritte [Bearbeiten]

BAP ist im Laufe der bisher 35-jährigen Bandgeschichte in vielen Ländern der Welt aufgetreten. Nachdem sich die Bandmitglieder anfangs kaum vorstellen konnten, dass ihre kölschen Texte außerhalb des Rheinlandes verstanden würden, durften sie erleben, dass ihre Platten weit darüber hinaus gekauft wurden. Tourneen waren dadurch auch im Ausland möglich.

Die ersten Auftritte außerhalb Deutschlands waren im Dezember 1982 in der Schweiz (Basel und St.Gallen)[11] und bis Mitte der 1980er Jahre in Österreich, Luxemburg, Belgien und Dänemark (Roskilde-Festival). Seitdem gehören Auftritte in diesen Nachbarländern zum Bestandteil jeder Tournee.

Spätere Fernreisen wurden zumeist als Begleitung zu künstlerischen oder politischen Themen organisiert; häufig war nicht die komplette Gruppe unterwegs; manchmal auch nur Wolfgang Niedecken alleine oder in Begleitung von Musikern seiner Solo-Projekte:

Mit einigen Gästen tourte BAP im Oktober 1987 vier Wochen durch China. Acht Auftritte wurden in Peking, Shanghai und Kanton absolviert.[12]

Wolfgang Niedecken spielte 1987 auf Einladung der Kulturstiftung Casa de los tres Mundos (ein Projekt des Schauspielers Dietmar Schönherr, des Produzenten Peter Reichelt und des Kulturministers Ernesto Cardenal) mit seiner Complizen-Band in Nicaragua.

In ähnlicher Zusammensetzung spielten Wolfgang Niedecken & Complizen 1988 in Mosambik eine kleine Tour.

Die politischen Veränderungen in der Sowjetunion unter Gorbatschow machten es möglich, dass BAP im Mai 1989 je drei Konzerte in Moskau und Wolgograd gab.[13] Dort kamen die Musiker auch mit Fans aus der DDR ins Gespräch. Nachdem die BAP-Tour durch Ostdeutschland 1984 abgesagt wurde, war der Umweg über die UdSSR die einzige Möglichkeit, als DDR-Bürger mit der Band zu sprechen.

More info and other languages available at:

de.wikipedia.org/wiki/BAP

Meandering river by Stratman2

2 2

I'm not certain where the plane was precisely flying over at the time I took this shot, but it appears that the flight had just crossed the muddy Selangor River, which flows into the Straits of Malacca (top right in this frame).

The swathes of green vegetation that you can see in this picture are mostly palm oil trees that are cultivated by either small scale land owners or mega estate corporations like Sime Darby Public Limited.

This is a very tough image to post process as the original shot lacked in contrast and definition. The small turboprop ATR 72-600's perspex windows, in my opinion, seem to have a somewhat inferior optical clarity compared to the windows on a Boeing 737-400 or 747-400 jet.

JSP Visual Week In Review ~ 06.21.25 by Mark Krajnak

4

This is precisely the time artists go to work – not when everything is fine, but in times of dread. I know the world is bruised and bleeding, and though it is important not to ignore its pain, it is also critical to refuse to succumb to its malevolence. Like failure, chaos contains information that can lead to knowledge — even wisdom. Like art.

So wrote Toni Morrison in an essay in the 150th Anniversary edition of The Nation.

And I'm trying to stay positive in these dark times, times I feel like I've seen in 1992 and 2001.

In a week that saw me incredibly proud of one of my own...it ended last evening with a declaration of another needless war.

But, as Ms. Morrison says...now more than ever, keep making art. I write about as such in my latest newsletter, now at the link below.

Also in the newsletter, links to good stuff like, speaking of war, an engaging video on the @monroegallery's YouTube channel, WWII At 80; A look at how David Goldblatt's apartheid-era photos mirror present day, via @newhavenindy; what Cindy Sherman plans to to do with her photos, and why, via @theartnewspaper.official; photographer John Smith reflects on his powerful images and how Hollywood can be more inclusive, via @gettyimages; and looking back sadly at a number of photographers that passed away in the last week or so: Beauford Smith, @marcia.resnick; @nickhedgesphotography and Vicki Goldberg. RIP.

Also at the link, some visual inspiration I gained, this week from @timothywhite and his @officialspikelee photos; my favorite image that I flipped for, via @aacostaa, why @seantuck is going with LED lights now, and what I read and watched to keep the inspo pump primed.

All this at the link in my bio!

And hey, be a good human this week.

We need it.

Week 25/52

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Heinsberg, BAP Das volle Programm Tour 2012, 48 by Andy von der Wurm