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The Postcard
A postcard that was published on behalf of the Reader's Digest Association Ltd. Note how the bits of the Little Mermaid that are easy to reach have been kept free of the green patina.
The postmark on the back of the card is not legible, but the 2½p stamp indicates a posting date between the 15th. February 1971 and the 9th. September 1973.
The card was posted to:
Mrs. H. Hepworth,
16, Woodmere,
Bracknell,
Berks.
The printed message on the divided back of the card was as follows:
"Congratulations!
Lucky numbers in the
Reader's Digest £12,500
Prize Draw will be sent
out next week to selected
people in your area - and
you are among the
lucky ones!
Prizes include £50 a month
for life ... a new Ford
Granada ... a Copenhagen
holiday for two ... and
hundreds of other exciting
prizes.
And there's no catch - you
don't have to buy anything
to win.
Watch out for the postman --
and Good Luck!
Anthony King."
The £1 and £5 Notes
Note the bundles of banknotes in the photograph.
In 1984 it was announced that the English £1 note would be completely phased out. It was gradually replaced by the £1 coin, and fully removed from circulation in 1988.
The Bank of England £5 note, known informally as a fiver, is now the smallest denomination of banknote issued by the Bank of England.
In September 2016, a new polymer note was introduced, featuring the image of Queen Elizabeth II on one side and a portrait of Winston Churchill on the other.
The old paper note, first issued in 2002 and bearing the image of prison reformer Elizabeth Fry on the reverse, was phased out, and ceased to be legal tender after the 5th. May 2017.
The Little Mermaid Statue
The Little Mermaid is a bronze statue by Edvard Eriksen, depicting a mermaid becoming human. The sculpture is displayed on a rock by the waterside at the Langelinie promenade in Copenhagen, Denmark. It is 1.25 metres (4.1 ft) tall, and weighs 175 kilograms (385 lb).
Based on the 1837 fairy tale of the same name by Danish author Hans Christian Andersen, the statue is a Copenhagen icon, and has been a major tourist attraction since its unveiling.
In recent decades it has become a popular target for defacement by vandals and political activists.
-- History of The Little Mermaid
The statue was commissioned in 1909 by Carl Jacobsen, son of the founder of Carlsberg, who had been fascinated by a ballet about the fairytale in Copenhagen's Royal Theatre.
He asked the ballerina, Ellen Price, to model for the statue.
The sculptor Edvard Eriksen created the bronze statue, which was unveiled on the 23rd. August 1913. The statue's head was modelled after Price, but as the ballerina did not agree to model in the nude, the sculptor's wife, Eline Eriksen, was used for the body.
The Copenhagen City Council arranged to move the statue to the Danish Pavilion for Expo 2010 in Shanghai. This was the first time it had been moved from its perch since it was installed almost a century earlier.
While the statue was away in Shanghai, an authorised copy was displayed on a rock in the lake in Copenhagen's nearby Tivoli Gardens. Copenhagen officials have considered moving the statue several meters out into the harbour to discourage vandalism and to prevent tourists from climbing onto it, but as of May 2014 the statue remains on dry land at the water side at Langelinie.
-- Vandalism of The Little Mermaid
The statue has been damaged and defaced many times since the mid-1960's for various reasons, but has been restored each time.
-- On the 24th. April 1964, the statue's head was sawn off and stolen by politically-oriented artists of the Situationist movement, amongst them Jørgen Nash.
The head was never recovered, and a new head was produced and placed on the statue.
-- On the 22nd. July 1984, her right arm was sawn off and returned two days later by two young men.
-- In 1990, an attempt to sever the statue's head left an 18 cm (7 in) deep cut in her neck.
-- On the 6th. January 1998, the statue was decapitated again. The culprits were never found, but the head was returned anonymously to a nearby television station, and re-attached on the 4th. February.
-- On the night of the 10th. September 2003, the statue was knocked off its base with explosives, and later found in the harbour's waters. Holes had been blasted in her wrist and knee.
-- Paint has been poured on the statue several times, including one episode in 1963, and two in March and May 2007.
-- On the 8th. March 2006, a dildo was attached to the statue's hand, green paint was dumped over it, and the date March 8th. was written on it. It is likely that this vandalism was connected to International Women's Day, which is on March 8th.
-- The statue was found drenched in red paint on the 30th. May 2017 with the message:
"Danmark [sic] defend the
whales of the Faroe Islands."
This is a reference to whaling in the Faroe Islands (an autonomous country in the Kingdom of Denmark), written on the ground in front of the statue.
-- Two weeks later, on the 14th. June 2017, the statue was drenched in blue and white paint. "Befri Abdulle" (Free Abdulle) was written in front of the statue, but it was unclear what this referred to at the time.
Later, police said the writing was likely referring to Abdulle Ahmed, a Somalian refugee who has been detained in a high security unit in Denmark since 2001 due to a custody sentence.
-- On the 13th. January 2020, "Free Hong Kong" was painted on the stone on which the statue is mounted by supporters of the 2019–20 Hong Kong protests.
-- On the 3rd. June 2020, in the wake of the George Floyd protests and Black Lives Matter movement, the statue was vandalised with the words "racist fish" scrawled on its stone base.
This attack left observers and specialists puzzled, because nothing related to the statue, H. C. Andersen or his fairy tale could be construed as racist.
-- Dressing of The Little Mermaid
Although not regarded as vandalism since no damage is done to the statue, people have also repeatedly dressed it, either for fun or to make more serious statements.
-- In 2004, the statue was draped in a burqa in a protest against Turkey's application to join the European Union.
-- In May 2007, it was again found draped in Muslim dress and a head scarf.
-- Other examples are times where a Christmas hat has been put on the head, or it has been dressed in the jerseys of the Norwegian or Swedish national football teams (the Danish team has a highly competitive rivalry with the Swedish team).
-- Copies of The Little Mermaid
Aside from the statue on display, which is a replica of the original, more than thirteen undamaged copies of the statue are located around the world, including California, Iowa, Romania, Madrid, Seoul, and a half-sized copy in Calgary, Alberta.
The grave of Danish-American entertainer Victor Borge includes a copy as well. Copenhagen Airport also has a replica of the mermaid, along with a statue of Andersen.
A statue of The Little Mermaid also looks out over Larvotto beach in Monaco. She was created, in 2000, with multiple layers of metal by Kristian Dahlgard, in homage to the Danes who live in Monaco and to the late Prince Rainier III.
A copy of the statue forms the Danish contribution to the International Peace Gardens in Salt Lake City. The half-size replica was stolen on the 26th. February 2010, but was recovered on the 7th. April 2010, abandoned in the park.
A replica of the statue was presented by Denmark to Brazil in 1960, in honour of the construction of Brasília, the country's new capital that was inaugurated in that year. It was installed 5 years later in front of the main building of the Brazilian Navy Command, in Brasília, Federal District, where it remains to this day.
Copyright Issues
The statue is under copyright until 2029, seventy years after the 1959 death of the creator. However as of 2019, replicas can be purchased, authorised for sale by the Eriksen family.
A replica was installed in Greenville, Michigan in 1994 to celebrate the town's Danish heritage, at a cost of $10,000.
However in 2009 the Artists Rights Society asked the town for a $3,800 licensing fee, claiming the work violated Eriksen's copyright. At about 76 cm (30 in) in height, the replica in Greenville is half the size of the original, and has a different face and larger breasts, as well as other distinguishing factors. The copyright claim was later dropped.
The 1972 statue of a female diver (entitled Girl in a Wetsuit by Elek Imredy) in Vancouver, British Columbia, Canada was commissioned when, unable to obtain permission to reproduce the Copenhagen statue, Vancouver authorities selected a modern version.
In 2016, a similar statue was installed at the harbor in Asaa, Denmark, where it is also mounted on the top of a rock. The heirs of the sculptor are (2021) suing, claiming that the Asaa statue bears too close a resemblance to the famous one, and they are demanding damages and the destruction of the Asaa statue.
Censorship
Social Democrat politician Mette Gjerskov tried to post a photo of The Little Mermaid on her Facebook page, but was initially told that it had "Too much bare skin or sexual undertones", and the post was blocked. Facebook however later rescinded the ban, and approved the image for posting.
Some news for you - The Cornwall Tourist Board have chosen two of my photos to use in the 2008 Cornwall Destination Guide.
Got my copy hot of the press yesterday!
This is my picture of Portreath on the front cover.
To be found in TICs all around the country :)
Published: deutsch.radio.cz/tschechien-startet-zentralen-kauf-von-at...
www.psymag.de/14286/die-welt-hustet-psychosomatik-coronav...
www.thenewhumanitarian.org/photo/coronavirus-emergency-ai...
andrewliptak.substack.com/p/reading-list-plague-edition
Frankfurt Hanauer Landstr.
Hornbach construction market
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°°°° 2 immagini all'interno.°°°°°
Tutto il materiale qui pubblicato è proprietà intellettuale dell’autore. Come tale non
può essere riprodotto, tutto o in parte, senza preventivo consenso dell’autore stesso.
The content of these images cannot be copied,distribuited or published for any media,
electronic or otherwise.
The utilization in other web pages without the express written consent of the author is
PROHIBITED.
To enquire about prints, licensing, or blogging, please e-mail me or message me. Thanks!
© De Sario Armando - All Rights Reserved.
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16.08.2011 - Venezia
foto scattata dal campanile di Piazza San Marco
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Nikon D3100 + Nikkor 18-55mm
© TUTTI I DIRITTI RISERVATI © Tutto il materiale nella mia galleria NON PUO' essere riprodotto, copiato, modificato, pubblicato, trasmesso e inserito da nessuna parte senza la mia autorizzazione scritta. © ALL RIGHT RESERVED © All material in my gallery CAN NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission di: "Samantha Carrirolo"
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YuuK | Getty Images | 500px. | Fluidr
Note: this photo was published in an Apr 14, 2010 EveryBlock New York City zipcode block titled "10009." It was also published in a Sep 16, 2010 blog titled "Free Wi-Fi Coming To NYC Parks Is Basically Worthless."
Moving into 2011, the photo was published in an undated (early Jan 2011) "Mr. Blues Guy" blog, as an illustration of a song titled "Slash-fiction blues." It was also published in a Jun 13, 2011 blog titled "Lleva tu oficina siempre contigo." It was also published in a Jul 30, 2011 blog titled "CROWDSOURCING CITIZEN ENGAGEMENT." And it was published in an Aug 27, 2011 blog titled "Is Facebook Bumming You Out?" It was also published in an Oct 11, 2011 blog titled "Creating Secure Passwords That Are Easy to Remember." And it was published in a Dec 20, 2011 blog titled "Facebook's New App Might Help Lower Suicide Rate."
Moving into 2012, the photo was published in a Jun 20, 2012 blog titled "Being the Most." It was also published in a Sep 25, 2012 blog titled "Free Chess Games."
Moving into 2013, the photo was published in a Jul 16, 2013 blog titled "New York City Offers Free Wi-Fi in 32 More Parks With Purpose-Defeating 10-Minute Limit" as well as a Jul 23, 2013 blog titled "وب سایت شما هم تاثیری در کسب و کارتان."
*****************
Ever since I first arrived in New York City in the late 60s, I've known that the "scene" in the East Village was centered in St. Marks Place and Tompkins Square; that's where you went to find the music, the hippies, the drugs, the homeless people, and the excitement ... and, quite often, the cops and the folks that you'd just as soon not encounter after dark. But despite having ridden and driven past the park numerous times, I never actually spent any time there; so, in the spirit of checking out my long list of unexplored spots in the Big Apple, I decided to spend an hour or two in the park this past weekend.
While I knew that Tompkins Square Park had maintained a certain level of notoriety since the 60s, I didn't realize that its "activist" roots went back much further. Opened in 1850 and named after Daniel Tompkins -- a Vice President under James Monroe, and the governor of New York from 1808-1817 -- the park was the scene of the deadly 1863 Draft Riots during the Civil War, and was the scene of attacks, in 1857, by the police on immigrants protesting unemployment and food shortages. It was also the scene of the "Tompkins Square Riot" in 1874, when police crushed a demonstration involving several thousand workers; and the scene of a squabble with the National Guard in 1877 when 5,000 people gathered to hear Communist revolutionary speeches.
Well, all of that is past -- and even the riot of August 1988, when 44 people were injured when police attempted to clear the park of homeless people, seems lost in dim memories. Today, the park is clean and friendly, with lots of children, families, and people with dogs wandering its pathways and stretching out on the large grassy areas. At the same time, I found that it lacked the energy, the vitality, and the hard-to-define "buzz" that I've felt in other parks around the city. There were no musicians, no artists, no jugglers, no mimes, no fountains with children splashing in the water. There was a guy making some kind of religious speech on a loudspeaker, but most people ignored him; the only comment I heard was a loud, grouchy, "Aw, shut up!" from someone passing by. There were a couple of chess games underway at the entrance on 7th Street and Avenue "A," but even those seemed somewhat listless and lackluster...
Maybe I just picked the wrong weekend; it turns out, for example, that the French Embassy and the NYC Department of Parks sponsor a free outdoor French film festival at sunset on Friday nights in June and July. And then there's the Halloween party (in October, obviously, not in April), which boasts an annual attendance of 2,000 spectators and 400 costumed dogs (all of which is part of a fundraiser to maintain the large dog run in one corner of the park).
But while I was here, I wandered around and took a couple hundred photos of the people who seemed most interesting ... from which I chose 20 that seemed worthy of uploading to Flickr. That's what you'll find in this set.
Oor Wullie (English: Our Willie) is a Scottish comic strip published in the D.C. Thomson newspaper The Sunday Post.
It features a character called Wullie Russell .
Wullie is the familiar Scots nickname for boys named William.
His trademarks are spiky hair, dungarees and an upturned bucket, which he uses as a seat - most strips since early 1ii937 begin and end with a single panel of Wullie sitting on his bucket.
The earliest strips, with little dialogue, ended with Wullie complaining ("I nivver get ony fun roond here!").
The artistic style settled down by 1940 and has changed little since. A frequent tagline reads, "Oor Wullie! Your Wullie! A'body's Wullie!" (Our Willie! Your Willie! Everybody's Willie!).
Created by Thomson editor R. D. Low and drawn by cartoonist Dudley D. Watkins, the strip first appeared on 8 March 1936.
Watkins continued to draw Oor Wullie until his death in 1969, after which the Post recycled his work into the 1970s.
New strips were eventually commissioned from Tom Lavery, followed by Peter Davidson and Robert Nixon. Ken H. Harrison drew the strip from 1989 until 1997, when Davidson resumed duties.
Between January 2005 and 2006 storylines were written by broadcaster Tom Morton from his home in Shetland, and subsequently they were written by Dave Donaldson, managing director of Thomson's comics division.
The current writer is former Dandy editor Morris Heggie.
The Oor Wullie bucket Trail begins on the 17th June 2019 and is even bigger than the last one 3 years ago.
In 2016 Dundee held a bucket trail with over 50 sculptures all painted with different designs to celebrate 80 years of Oor Wullie.
This was a huge success with the sculptures raising over £800,000 at auction for the local childrens charity.
They have decided to bring it back this year but on a far bigger scale with 150 sculptures and this time you will be able to find them not only in Dundee, but Edinburgh, Glasgow, Aberdeen, Inverness and a few dotted in other towns and cities across the country.
At the end of the summer these will once again be auctioned off and the money will be split between 3 childrens charities.
Oor Wullie’s BIG Bucket Trail runs for 11 weeks from 17th June 2019 – 30th August 2019, culminating in a series of Farewell Events and nationwide auctions in each of the five host cities, Glasgow, Edinburgh, Dundee, Aberdeen and Inverness.
Scotland’s first ever national public art trail aims to unite the country as it raises awareness and vital funds for Scotland’s children’s hospital charities.
Funds raised through the trail will support Glasgow Children’s Hospital Charity,Edinburgh Children’s Hospital Charity,and the ARCHIE Foundation, helping children in hospital across the country.
Oor Wullie’s BIG Bucket Trail is a Wild in Art event, and would not be possible without the support of DC Thomson Media.
I have taken a keen interest in this event and intend to capture all of the sculptures across the city, posting some of my favourite shots here on Flickr.
Prof. John Pollini working with STUDENTS AT OSTIA
John Pollini in my opinion is the number 1 authority on Julio Claudian Portrait study. I have had much correspondence with Prof. Pollini and he is passionate about Roman Art. Here is his curriculum Vitae:
Education
B.A. Classics, University of Washington, 1/1968
M.A. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1973
Ph.D. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1978
Academic Appointment, Affiliation, and Employment History
Professor, Department of Art History (Adjunct Professor for Department of Classics and Department of History), University of Southern California, 1991-
Dean of the School of Fine Arts, University of Southern California, 1993-1996
Chairman of the Department of Art History, University of Southern California, 1990-1993
Associate Professor, Department of Art History and Department of Classics (adjunct appointment), University of Southern California, 1987-1991
Assistant Professor, Department of Classics, Johns Hopkins University, 1980-1987
Curator, Johns Hopkins University Archaeological Museum, 1980-1987
Visiting Assistant Professor, Department of Classics, Johns Hopkins University, 1979-1980
Mellon Postdoctoral Fellow, Department of Classics, Case Western Reserve University, 1978-1979
Description of Research
Summary Statement of Research Interests
Professor Pollini's research is concerned with methodologies of classical art and archaeology, ancient history, classical philology, epigraphy and numismatics. His other scholarly research interests include ancient religion, mythology, narratology, rhetoric and propaganda. Over the years Professor Pollini has excavated at the Greco-Roman site of Aphrodisias, Turkey, and the Etruscan site of Ghiaccio Forte, Italy, and participated in the underwater survey of the port of Tarquinia (Gravisca), Italy. Trained in the methodologies of classical art & archaeology, ancient history, classical philology, epigraphy, and numismatics, Professor Pollini is committed to interdisciplinary teaching and research. Professor Pollini has lectured widely both in the United States and abroad. He has published numerous articles and authored several books.
Research Specialties
Classical Art and Archaeology
Honors and Awards
Elected Life Member, German Archaeological Association, 2000-
American Council of Learned Societies Fellowship, awarded for second time, 2006-2007
Guggenheim Fellowship, deferred until 2007-2008, 2006-2007
Whitehead Professor at the American School of Classical Studies at Athens (Honorific Appointment), 9/1/2006-6/1/2007
Departmental Nominee for University Associates Award for Excellence in Teaching 2002, 2002-2005
Mellon Foundation Award for Excellence in Mentoring, 2004-2005
Departmental Nominee for University Associates Award for Excellence in Teaching 1998, 1998-2001
National Endowment for the Humanities Fellowship, awarded for second time, 1995-1996
American Council of Learned Societies Fellowship, 1987-1988
National Endowment for the Humanities Fellowship, 1983-1984
Mellon Postdoctoral Fellowship, 1978-1979
Fulbright Award, Fellowship to Italy, 1975-1976
CURRICULUM VITAE
JOHN POLLINI
Department of Art History
Von Kleinsmid Center 351 University of Southern California
Los Angeles, CA 90089-0047
Professor of Classical Art and Archaeology, Department of Art History
Joint Professor, Department of History
Adjunct Professor, Department of Classics
President, Classical Archaeological Association of Southern California (CAASC)
DEGREES
Ph. D. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (1978) (interdisciplinary program involving the Departments of Art History,
Classics, and History; major field: Etruscan and Roman Art and Archaeology; minor
fields: Greek Art and Archaeology and Roman History; Ph.D. equivalency exams in
ancient Greek and Latin) [Diss.: Studies in Augustan “Historical” Reliefs]
M.A. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (l973) [MA Thesis: Two Marble Portrait Statues of Pugilists from Carian
Aphrodisias: Iconography and Third Century A.D. Sculptural Traditions in the Roman
East]
B.A. magna cum laude, Classics, University of Washington (1968)
POSTDOCTORAL ACADEMIC APPOINTMENTS
Dean of the School of Fine Arts, University of Southern California, with administrative,
budgetary, and fund-raising responsibilities (1993-1996)
Chairman of the Department of Art History, University of Southern California
(1990-1993)
Full Professor, University of Southern California, Department of Art History
(1991-present), with joint appointment in the Department of History and adjunct
appointment in the Department of Classics
Associate Professor, University of Southern California, Department of Art History, with
adjunct appointment in the Department of Classics (1987-1991)
Assistant Professor, Johns Hopkins University, Department of Classics (1980-1987) and
Curator of the Johns Hopkins University Archaeological Museum (1980-1987)
Visiting Assistant Professor, Johns Hopkins University, Department of Classics
(1979-1980)
Mellon Postdoctoral Fellow, Case Western Reserve University, Department of Classics
(1978-1979)
INTERNATIONAL AND NATIONAL FELLOWSHIPS, GRANTS,
AWARDS, HONORS
William E. Metcalf Lectureship (2008)
John Simon Guggenheim Memorial Foundation Fellowship (2006-2007, deferred to
2007-2008)
Whitehead Professor of Archaeology, American School of Classical Studies at
Athens (2006-2007)
American Council of Learned Societies Fellowship (2006-2007)
Kress Foundation Travel Grant (Summer 2006)
Mellon Foundation Award for Excellence in Mentoring (2005)
Taggart Foundation Grant: Campus Martius Virtual Reality Project (2005)
Distinguished Lecturer, Biblical Archaeological Society and Center for Classical
Archaeology, University of Oklahoma, Norman (2005): Series of three lectures on
Roman and Christian Religion, Art, and Ideology
Kress Foundation Travel Grant (2003)
Senior Humboldt Research Prize (nominated) to Berlin, Germany, for 2000-2001
Elected Member (for life) of the German Archaeological Institute (Berlin) (2000)
National Endowment for the Humanities Fellowship for Independent Study and
Research (1995-1996)
Kress Foundation Travel Grant (Summer 1988)
American Council of Learned Societies Fellowship (1987-1988)
Kress Foundation Travel Grant (1987)
National Endowment for the Humanities Fellowship for Independent Study and
Research (1983-1984)
Mellon Postdoctoral Fellowship, Case Western Reserve University (1978-1979)
Mabelle McLeod Lewis Memorial Fund Fellowship to Italy (1975-1976)
Fulbright Fellowship, Università di Roma, Rome, Italy (1975-1976)
UNIVERSITY FELLOWSHIPS, GRANTS, AWARDS, HONORS
Departmental Nominee for University Associates Award for Excellence in Teaching
(2002-2005)
College Faculty Research Development Award (consecutive years: 2000-2007)
University of Southern California Grant for Innovative Undergraduate Teaching
(with Lynn Swartz Dodd and Nicholas Cipolla) for a virtual reality project “Imaging
Antiquity: Creating Context through Virtual Reconstructions, Digital Resources, and
Traditional Media” (2003-2004)
Grant for the “College Initiative for the Study of Political Violence” (2002)
University of Southern California Grant for Innovative Undergraduate Teaching
(with Bruce Zuckermann and Lynn Swartz Dodd) to develop a new interdisciplinary and
interdepartmental course entitled “Accessing Antiquity: Actual Objects in Virtual Space”
(2000-2001)
University of Southern California Senior Nominee for National Endowment for the
Humanities Summer Stipend for Faculty Research (1998-1999)
Departmental Nominee for University Associates Award for Excellence in Teaching
(1998-2001)
College Awards and Grants for Research Excellence (consecutive years: 1997-2000)
Hewlett Foundation Award and Grant for General Education Course Development
(1997-1998)
Faculty Research and Innovation Fund Grant, University of Southern California (1988)
University of California Traveling Fellowship (1976-1977)
Dean’s Fellowship, U.C. Berkeley (1973-1975)
Phi Beta Kappa (1968), University of Washington
ADDITIONAL EDUCATIONAL PREPARATION
Field trips sponsored by the American Academy in Rome, German Archaeological
Institute, and Comune di Roma (1975-1978)
Research in Rome, Italy for dissertation (1975-1978), as well as further study of Greek
and Roman art and architecture in Italy and elsewhere in Europe during this period
Supervised study of Greek and Roman sculpture at the J. Paul Getty Museum, with
J. Frel (1973-1975)
Course in Greek art and archaeology at the Universität München, Munich, Germany
with E. Homann-Wedeking (1971)
Study of the German language at the Goethe Institute, Grafing (Munich), Germany (1971)
Course work in Roman, Etruscan, and Italic art and architecture, Università di Roma,
with G. Becatti, M. Pallottino, F. Castagnoli, and M. Squarciapino (1970-1971)
ARCHAEOLOGICAL FIELD WORK
Underwater survey of port of Tarquinia (Gravisca), Italy (1977): Consultant
Excavation of Etruscan site of Ghiaccio Forte, Italy (1973)
Excavation of Greco-Roman site of Aphrodisias, Turkey (1970-1972)
Excavation of Spanish/Indian Mission, Guavave, Arizona (1965-1966)
LANGUAGES
Ancient: Latin and Greek
Modern: German, Italian, French, modern Greek, some Turkish
BOOKS
PUBLISHED:
I) The Portraiture of Gaius and Lucius Caesar (Fordham University Press, New York
1987) (with a book subvention from the National Endowment for the Humanities).
II) Roman Portraiture: Images of Character and Virtue, with graduate student
participation (Fisher Gallery, Los Angeles 1990).
III) Gallo-Roman Bronzes and the Process of Romanization:The Cobannus Hoard
(Monumenta Graeca et Romana IX) (Brill, Leiden 2002).
IV) The de Nion Head: A Masterpiece of Archaic Greek Sculpture (Philipp von
Zabern, Mainz 2003).
V) Terra Marique: Studies in Art History and Marine Archaeology in Honor of Anna
Marguerite McCann on the Receipt of the Gold Medal of the Archaeological Institute
of America (editor, designer, and contributor of introduction, publication list, and
one of 19 essays) (Oxbow Publications, Oxford 2005).
SUBMITTED:
VI) From Republic to Empire: Rhetoric, Religion, and Power in the Visual Culture of
Ancient Rome (University of Oklahoma Press), comprising eight chapters:
CHAPTER I: The Leader and the Divine: Diverse Modes of Representation in Roman Numismatics
CHAPTER II: The Cult Image of Julius Caesar: Conflicts in Religious Theology and Ideology in
Augustus’ Representational Program
CHAPTER III: From Warrior to Statesman in Augustan Art and Ideology: Augustus and the Image of
Alexander
CHAPTER IV: The Ideology of “Peace through Victory” and the Ara Pacis: Visual Rhetoric and the
Creation of a Dynastic Narrative [revised and updated essay originally published in
German]
CHAPTER V: The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of
Anamorphosis, Anakyklosis and Numen Mixtum [revised and updated publication].
CHAPTER VI: Divine Providence in Early Imperial Ideology: The Smaller Cancelleria Relief and
the Ara Providentiae Augustae
CHAPTER VII: The “Insanity” of Caligula or the “Insanity” of the Jews? Differences in Perception
and Religious Beliefs
CHAPTER VIII: “Star Power” in Imperial Rome: Astral Theology, Castorian Imagery, and the Dual
Heirs in the Transmission of the Leadership of the State
IN PROGRESS:
VII) Christian Destruction and Desecration of Images of Classical Antiquity: A Study
in Religious Intolerance in the Ancient World
VIII) Dynastic Narratives in Augustan Art and Thought: The Rhetoric and Poetry of
Visual Imagery [with DVD Virtual Reality Program of the Monuments]
IX) The Image of Augustus: Art, Ideology, and the Rhetoric of Leadership
X) Social, Sexual, and Religious Intercourse: Sacrificial Ministrants and Sex-Slaves
in Roman Art -- 3rd Century B.C. - 4th Century A.D.
ARTICLES
PUBLISHED:
1) “A Flavian Relief Portrait in the J. Paul Getty Museum,” in Getty Museum Journal
5 (1977) 63-66.
2) “Gnaeus Domitius Ahenobarbus and the Ravenna Relief,” in Römische Mitteilungen
88 (1981) 117-40.
3) “A Pre-Principate Portrait of Gaius (Caligula)?” in Journal of the Walters Art
Gallery 40 (1982) 1-12.
4) “Damnatio Memoriae in Stone: Two Portraits of Nero Recut to Vespasian in
American Museums,” in American Journal of Archaeology 88 (1984) 547-55.
5) “The Meaning and Date of the Reverse Type of Gaius Caesar on Horseback,” in
American Numismatic Society Museum Notes 30 (1985) 113-17.
6) “Response to E. Judge’s ‘On Judging the Merits of Augustus,’” in Center for
Hermeneutical Studies: Colloquy 49 (1985) 44-46.
7) “Ahenobarbi, Appuleii and Some Others on the Ara Pacis,” in American Journal of
Archaeology 90 (1986) 453-60.
8) “The Findspot of the Statue of Augustus from Prima Porta,” in Bullettino della
Commissione Archeologica Comunale di Roma 92 (1987/88) 103-108.
9) “Two Acrolithic or Pseudo-Acrolithic Sculptures of the Mature Classical Period in
the Archaeological Museum of the Johns Hopkins University,” in Classical Marble:
Geochemistry,Technology, Trade (NATO ASI Series E vol. 153), edd. N. Herz and
M. Waelkens (Dordrecht 1988) 207-17.
10) “Man or God: Divine Assimilation and Imitation in the Late Republic and Early
Principate,” in Between Republic and Empire: Interpretations of Augustus and His
Principate, edd. K.A. Raaflaub and M. Toher (Berkeley 1990) 333-63.
11) “The Marble Type of the Augustus from Prima Porta: An Isotopic Analysis,” in
Journal of Roman Archaeology 5 (1992) 203-208.
12) “The Tazza Farnese: Principe Augusto ‘Redeunt Saturnia Regna’!” in American
Journal of Archaeology 96 (1992) 249-55, 283-300.
13) “The Cartoceto Bronzes: Portraits of a Roman Aristocratic Family of the Late First
Century B.C.,” in American Journal of Archaeology 97 (1993) 423-46.
14) “The Gemma Augustea: Ideology, Rhetorical Imagery, and the Construction of a
Dynastic Narrative,” in Narrative and Event in Ancient Art, ed. P. Holliday
(Cambridge 1993) 258-98.
15) “The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of
Anamorphosis, Anakyklosis and Numen Mixtum,” in Von der Bauforschung zur
Denkmalpflege, Festschrift für Alois Machatschek (Vienna 1993) 181-217.
16) “The ‘Trojan Column’ at USC: Reality or Myth?” in Trojan Family (May, 1994)
30-31.
17) “The Augustus from Prima Porta and the Transformation of the Polykleitan Heroic
Ideal,” in Polykleitos, the Doryphoros, and Tradition, ed. W. Moon (Madison 1995)
262-82.
18) “The ‘Dart Aphrodite’: A New Replica of the ‘Arles Aphrodite Type,’ the Cult Image
of Venus Victrix in Pompey’s Theater at Rome, and Venusian Ideology and Politics
in the Late Republic - Early Principate,” in Latomus 55 (1997) 757-85.
19) “Parian Lychnites and the Prima Porta Statue: New Scientific Tests and the Symbolic
Value of the Marble” (with N. Herz, K. Polikreti, and Y. Maniatis), in Journal of
Roman Archaeology 11 (1998) 275-84.
20) “The Warren Cup: Homoerotic Love and Symposial Rhetoric in Silver,” in The Art
Bulletin 81 (1999) 21-52.
21) “Ein mit Inschriften versehener Legionärshelm von der pannonisch-dakischen Grenze
des römischen Reiches: Besitzverhältnisse an Waffen in der römischen Armee,” in
M. Junkelmann, Römische Helme VIII Sammlung Axel Guttmann, ed. H. Born
(Mainz 2000) 169-88.
22) “The Marble Type of the Statue of Augustus from Prima Porta: Facts and Fallacies,
Lithic Power and Ideology, and Color Symbolism in Roman Art,” in Paria Lithos:
Parian Quarries, Marble and Workshops of Sculpture (Proceedings of the First
International Conference on the Archaeology of Paros and the Cyclades, Paros, 2-5
October 1997), edd. D.U. Schilardi and D. Katsonopoulou (Athens 2000) 237-52.
23) “The Riace Bronzes: New Observations,” in Acten des 14. Internationalen
Kongresses für Antike Bronzen, Kölner Jahrbuch 33 (2000) 37-56.
24) “Two Bronze Portrait Busts of Slave-Boys from a Shrine of Cobannus in Roman
Gaul,” in Studia Varia II: Occasional Papers on Antiquities of The J. Paul Getty
Museum 10 (2001) 115-52.
25) “A New Portrait of Octavian/Augustus Caesar,” in Roman Sculpture in the
Art Museum, Princeton University (Princeton 2001) 6-11.
26) “Two Gallo-Roman Bronze Portraits of Sacrificial Ministrants in the J. Paul Getty
Museum,” in From the Parts to the Whole 2: Acta of the 13th International Bronze
Congress, Cambridge, Massachusetts, May 28 - June 1, 1996, edd. C.C.
Mattusch, A. Brauer, and S.E. Knudsen (Portsmouth, Rhode Island 2002) 89-91.
27) “‘Frieden-durch-Sieg’ Ideologie und die Ara Pacis Augustae: Bildrhetorik und
die Schöpfung einer dynastischen Erzählweise,” in Krieg und Sieg: Narrative
Wanddarstellungen von Altägypten bis ins Mittelalter (Internationales
Kolloquium 23. - 30. Juli 1997 im Schloss Heindorf, Langenlois; Österreichischen
Akademie der Wissenschaften XXIV), edd. M. Bietak und M. Schwarz (Vienna
2002) 137-59.
28) “A New Portrait of Octavia and the Iconography of Octavia Minor and Julia Maior,”
Römische Mitteilungen 109 (2002) 11-42.
29) “Slave-Boys for Sexual and Religious Service: Images of Pleasure and Devotion,” in
Flavian Rome: Culture, Image, Text, edd. A.J. Boyle and W.J. Dominik (Leiden
2003) 149-66.
30) “The Caelian Hill Sacrificial Minister: A Marble Head of an Imperial Slave-Boy from
the Antiquarium Comunale on the Caelian Hill in Rome,” in Römische Mitteilungen
111 (2004) 1-28.
31) “A New Head of Augustus from Herculaneum: A Marble Survivor of a Pyroclastic
Surge,” in Römische Mitteilungen 111 (2004) 283-98.
32) “The Armstrong and Nuffler Heads and the Portraiture of Julius Caesar, Livia, and
Antonia Minor in Terra Marique: Studies in Honor of Anna Marguerite McCann
on the Receipt of the Gold Medal of the Archaeological Institute of America, ed.
J. Pollini (Oxbow Publications, Oxford 2005) 89-122.
33) “A New Marble Portrait of Tiberius: Portrait Typology and Ideology,” in Antike Kunst
48 (2005) 57-72.
34) “A North African Portrait of Caracalla from the Mellerio Collection and the
Iconography of Caracalla and Geta,” in Revue Archéologique (2005) 55-77.
35) “A Bronze Gorgon Handle Ornament of the Ripe Archaic Greek Period,” in Annuario
della Scuola Archeologica Italiana di Atene e delle Missioni Italiani in Oriente 83
(2005) 235-47.
36) “Ritualizing Death in Republican Rome: Memory, Religion, Class Struggle, and the
Wax Ancestral Mask Tradition’s Origin and Influence on Veristic Portraiture” in
Performing Death: Social Analyses of Funerary Ritual in the Ancient Near East
and Mediterranean (Oriental Institute Seminars 3, University of
Chicago), ed. N. Laneri (Chicago 2007) 237-85.
37) “A New Bronze Portrait Bust of Augustus,” in Latomus 66 (2007) 270-73.
FORTHCOMING:
38) “Gods and Emperors in the East: Images of Power and the Power of Intolerance,”
in the proceedings of an international conference on “‘Sculptural Environment’ of the
Roman Near East: Reflections on Culture, Ideology, and Power” (University of
Michigan), in Interdisciplinary Studies in Ancient Culture and Religion,
edd. E.A. Friedland, S.C. Herbert, and Y.Z. Eliav (Peeters Publ.: Leuven).
39) “A New Portrait Bust of Tiberius in the Collection of Michael Bianco,” in Bulletin
Antieke Beschaving 83 (2008) 133-38.
40) “The Desecration and Mutilation of the Parthenon Frieze by Christians and Others,” in
Athenische Mitteilungen 122 (2007).
41) “Problematics of Making Ambiguity Explicit in Virtual Reconstructions:
A Case Study of the Mausoleum of Augustus,” for the proceedings of an international
conference, “Computer Technology and the Arts: Theory and Practice,” sponsored by
the British Academy and the University of London.
42) “A Winged Goat Table Leg Support from the House of Numerius Popidius Priscus at
Pompeii,” in Pompei, Regio VII, Insula 2, pars occidentalis. Indagini, Studi,
Materiali (la Soprintendenza Archeologica di Pompei), ed. L. Pedroni.
43) “Augustus: Portraits of Augustus,” in Oxford Encyclopedia of Ancient Greece and
Rome (2008).
44) “A New Bronze Lar and the Role of the Lares in the Domestic and Civic Religion of the Romans,” in Latomus (2008).
IN PROGRESS:
45) “The ‘Colville Athena’ Head and Its Typology.”
46) “Idealplastik and Idealtheorie: Paradeigmatic Systems, Homosexual Desire, and the
Rhetoric of Identity in Polykleitos’ Doryphoros and Diadoumenos.”
REVIEW ARTICLES
PUBLISHED:
D. Boschung, Die Bildnisse des Augustus (Das römische Herrscherbild I.2) (Berlin 1993),
in Art Bulletin 81 (1999) 723-35.
E. Varner, Mutilation and Transformation: Damnatio Memoriae and Roman Imperial
Portraiture (Monumenta Graeca et Romana 10) (Leiden 2004), in Art Bulletin 88
(2006) 591-98.
BOOK REVIEWS
PUBLISHED:
M. Torelli, Typology and Structure of Roman Historical Reliefs, in American Journal of
Archaeology 87 (1983) 572-73.
J. Ganzert, Das Kenotaph für Gaius Caesar in Limyra, in American Journal of
Archaeology 90 (1986) 134-36.
R. Brilliant, Visual Narratives. Storytelling in Etruscan and Roman Art in American
Journal of Philology 107 (1986) 523-27.
PUBLISHED IN CHOICE:
E. Bartman, Portraits of Livia: Imaging the Imperial Woman in Augustan Rome, in
vol. 37 (1999) 126.
B.S. Ridgway, Prayers in Stone: Greek Architectural Sculpture (Ca. 600 - 100 B.C.),
in vol. 37 (2000) 1095.
W.E. Mierse, Temples and Towns in Roman Iberia: The Social and Architectural
Dynamics of Sanctuary Designs from the Third Century B.C. to the Third Century A.D.
in vol. 37 (2000) 1458.
V. Karageorgis, Ancient Art from Cyprus: The Cesnola Collection in The Metropolitan
Museum of Art (New York 2000)in vol. 38 (2000) 1953.
Z. Hawass, Valley of the Golden Mummies (New York 2000) in vol. 38 (2001)
4036.
M.W. Jones, Principles of Roman Architecture (New Haven 2000) in vol. 38 (2001)
5409.
F. Salmon, Building on Ruins: The Rediscovery of Rome and English Architecture
(Ashgate 2000) in vol. 39 (2001) 106.
J. Boardman, The History of Greek Vases: Potters, Painters and Pictures (New York
2001) in vol. 39 (2002) 3755.
Roman Sculpture in the Art Museum, Princeton University, ed. J. M. Padgett (Princeton
2001) in vol. 39 (2002) 6218.
G. Hedreen, Capturing Troy: The Narrative Function of Landscape in Archaic and Early
Classical Greek Art (Ann Arbor, 2001) in vol. 40 (2002) 73.
A. J. Clark, M. Elston, and M.L. Hart, Understanding Greek Vases: A Guide to Terms,
Styles, and Techniques (Los Angeles 2002) in vol. 40 (2003) 3185.
S. Woodford, Images of Myths in Classical Antiquity (Cambridge 2003) in vol. 41
(2003) 89.
J. Aruz with R. Wallenfels (edd.), Art of the First Cities: The Third Millennium B.C. from
the Mediterranean to the Indus (The Metropolitan Museum of Art, New York) (New
Haven 2003) in vol. 41 (2004) 2584.
G. Curtis, Disarmed: The Story of the Venus de Milo (New York 2003) in vol. 41 (2004)
5083.
Games for the Gods: The Greek Athlete and the Olympic Spirit, edd. J.J. Herrmann and C.
Kondoleon (Boston Museum of Fine Arts) in vol. 42 (2004) 646.
E.W. Leach, The Social Life of Painting in Ancient Rome and on the Bay of Naples
(Cambridge 2004) in vol. 42 (2004) 1215-16.
D. Mazzoleni, Domus: Wall Painting in the Roman House (Los Angeles 2004) in vol. 42
(2005) 1809.
S. Fine, Art and Judaism in the Greco-Roman World: Toward a New Jewish Archaeology
(Cambridge 2005) in vol. 43 (2006) 1586-87.
C.H. Hallett, The Roman Nude: Heroic Portrait Statuary 200 B.C. -- A.D. 300 (Oxford
2005) in vol. 44 (2006).
Constantine the Great: York’s Roman Emperor, edd. E. Hartley, J. Hawkes, M. Henig, and
F. Mee (York 2006) in vol. 44 (2006).
M.D. Stansbury-O’Donnell, Vase Painting, Gender, and Social Identity in Archaic Athens
(Cambridge 2006) in vol. 44 (2006).
PRINCIPAL INSTRUCTIONAL MATERIALS (Hard Copy and Online):
Greek Art and Archaeology: Course Manual (113 pages, 23 plates) and online version of
this Course Manual with digitized images
Roman Art and Archaeology: Course Manual (158 pages, 58 plates) and online version
of this Course Manual with digitized images
Digging into the Past: Material Culture and the Civilizations of the Ancient
Mediterranean: Course Manual (43 pages)
Proseminar Guide to General and Specific Works on Greek and Roman Art and
Archaeology and Related Disciplines (50 pages) and online version
Website for AHIS 425, “Introduction to Interdisciplinary Research and Methodology
in Classical Art and Archaeology and Related Disciplines” with links to other important
websites in the fields of Art, Archaeology, Classics, and Ancient History
Website for AHIS 201g: “Digging into the Past: Material Culture and the
Civilizations of the Ancient Mediterranean” (with digitized images)
PAPERS GIVEN AT INTERNATIONAL AND NATIONAL
CONFERENCES AND SYMPOSIA
On Judging the Merits of Augustus: Center for Hermeneutical Studies: Colloquy,
Berkeley (April, 1985)
Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,
National Gallery of Art (October, 1986)
Augustus: Monuments, Arts, and Religion: Brown University (March, 1987)
Aspects of Ancient Religion: University of California at Berkeley (April, 1987)
Marble and Ancient Greece and Rome: International conference sponsored by
NATO at Il Ciocco (Tuscany), Italy (May, 1988)
Polykleitos, the Doryphoros and Its Influence: University of Wisconsin, Madison
(October, 1989)
UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (December, 1992)
XIIIth International Bronze Congress: Harvard University (May 28 - June 1, 1996)
UCLA-USC Seminar in Roman Studies: Roman Representations: Subjectivity, Power
and Space: USC, Los Angeles (March, 1997)
International Symposium at Cuma (Naples): Flavian Poets, Artists, Architects and
Engineers in the Campi Flegrei (July, 1997)
International Symposium at the University of Vienna: Interdisziplinäres Kolloquium
Historische Architekturreliefs vom Alten Ägypten bis zum Mittelalter (July, 1997)
First International Conference on the Archaeology of Paros and the Cyclades: Paros,
Greece (October, 1997)
Getty Research Institute Colloquium: Work in Progress (November, 1997)
Annual Meetings of the Art Historians of Southern California at California State
University, Northridge, California (November, 1998)
XIV. Internationaler Kongress für Antike Bronzen: Werkstattkreise, Figuren und Geräte
(Sponsored by Das Römisch-Germanisches Museum der Stadt Köln und das
Archäologisches Institut der Universität zu Köln [September 1999]): Besides giving paper,
chaired the session “Bronzestatuen und -statuetten: Fundkomplexen, Fundgruppen,
Einzelstücke, und Typen”
First International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and chaired
session on “Ideology, Historiography, and the Imperial Family” (May, 2000)
International Symposium at Emory University, Atlanta: Tyranny and Transformation
(October, 2000)
Annual Meeting of the Art Historians of Southern California at the Getty Center,
Los Angeles, California (November, 2000)
Getty Research Institute Colloquium: Work in Progress (December, 2000)
Second International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “The Image of
the Princeps and the Ruler Cult” (May, 2001)
UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (April, 2002)
Third International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “Roman History
and Ideology” (May, 2002)
Symposium on the Age of Augustus at UCLA -- (Feb., 2003)
Fourth International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and
chaired session (May, 2003)
International Archaeological Congress, Harvard University (Aug. 2003): Besides giving a
paper, chaired session on “Ancient Society”
VIIth International ASMOSIA Conference, Thasos, Greece (Sept. 2003)
International Conference in the Arts and the Humanities, Honolulu, Hawaii (Jan. 2004)
Symposium on Roman Sculpture, Minneapolis Museum of Art (organized by Richard
Brilliant) (April, 2004)
International Symposium on Interaction of Indigenous and Foreign Cults in Italy at Cuma
(Naples) (May, 2004): Besides giving a paper, chaired session
International Conference at University of Michigan: “‘Sculptural Environment’ of the
Roman Near East: Reflections on Culture, Ideology, and Power (November 2004)
International Conference at Stanford University: “Seeing the Past” (February 2005)
International Conference at the University of London: “Computer Technology and the Arts:
Theory and Practice” (November 2005)
International Conference at the University of Chicago: “Performing Death: Social Analyses
of Funerary Ritual in the Mediterranean” (February 2006)
VIIIth International ASMOSIA Conference, Aix-en-Provence, France (June 2006)
Symposium “Art of Warfare”: Michael C. Carlos Museum, Emory University (January
2007)
PAPERS PRESENTED AT ANNUAL CONVENTIONS OF THE
ARCHAEOLOGICAL INSTITUTE OF ARCHAEOLOGY AND THE
COLLEGE ART ASSOCIATION
Boston (AIA, December, 1979)
New Orleans (AIA, December, 1980)
San Francisco (AIA, December, 1981)
Philadelphia (AIA, December, 1982)
Cincinnati (AIA, December, 1983)
Toronto (AIA, December, 1984)
Washington, D.C. (AIA, December, 1985) -- invited paper, “The Promulgation of the
Image of the Leader in Roman Art,” in a special AIA plenary session on Politics and
Art
San Antonio (AIA, December, 1986) -- invited paper, “Time, Narrativity, and Dynastic
Constructs in Augustan Art and Thought,” at a joint AIA-APA session on topics
illustrating connections between Roman art and philology
Houston (CAA, February, 1988) -- invited paper, “The Gemma Augustea and the
Construction of a Dynastic Narrative,” for a CAA session on Narrative and Event in
Greek and Roman Art
Atlanta (AIA, December, 1994) -- discussant for a joint AIA-APA session on “Rethinking
Nero’s Legacy: New Perspectives on Neronian Art, Literature, and History”
New York (AIA, December, 1996) -- special poster session: “The Marble Type of the
Statue of Augustus from Prima Porta: New Scientific Tests” (prepared in collaboration
with Norman Herz, Director of Programs, Center for Archaeological Sciences, University
of Georgia)
Chicago (AIA, December, 1997)
Washington, D.C. (AIA, December, 1998) -- invited paper, “A Portrait of a Sex-Slave
‘Stud’ (?) in the Metropolitan Museum of Art in New York,” for a special colloquium in
honor of Anna Marguerite McCann on the receipt of the “Gold Medal” of the
Archaeological Institute of America
San Francisco (AIA, January, 2004) -- joint paper with N.Cipolla and L. Swartz Dodd
OTHER ACADEMIC AND PUBLIC LECTURES/TALKS
American Academy, Rome, Italy (March, 1976)
Cleveland Society AIA, Cleveland, Ohio (April, 1979)
Johns Hopkins University, Baltimore, Md. (September, 1980)
Institute of Fine Arts, New York, N.Y. (October, 1980)
Metropolitan Museum of Art, New York, N.Y. (January, 1983)
New York Society AIA, New York, N.Y. (January, 1983)
Baltimore Society AIA, Baltimore, Md. (February, 1983)
University of Toronto, Toronto, Canada (March, 1987)
University of Southern California, Los Angeles, Ca. (March, 1987)
Columbia University, New York, N.Y. (April, 1987)
Classical Archaeological Society of Southern California, UCLA, Ca. (November 1989)
Tulane University, New Orleans, La. (February, 1990)
Classical Archaeological Society of Southern California, USC, Ca. (February 1990)
Los Angeles Society AIA, Los Angeles, Ca. (March, 1990)
Fisher Gallery and School of Fine Arts, University of Southern California, Los Angeles,
Ca. (March, 1990)
Institute of Fine Arts, New York, N.Y. (April, 1990)
American Academy, Rome, Italy (May, 1990)
University of Vienna and Kunsthistorisches Museum, Vienna, Austria (June, 1990)
San Diego Society AIA, San Diego, Ca. (September, 1990)
Classical Archaeological Society of Southern California, Getty Museum, Malibu, Ca.
(November, 1990).
University of Pennsylvania, Philadelphia, Pa. (December, 1990)
Classical Archaeological Society of Southern California, Gamble House, Pasadena, Ca.
(March 1991)
Henry T. Rowell Lecturer: Baltimore Society AIA, Baltimore, Md. (November, 1991)
Villanova University, Villanova, Pa. (November, 1991)
Royal-Athena Galleries, Los Angeles, Ca. (October, 1992)
Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art,
Washington D.C. (November, 1992)
University of North Carolina, Chapel Hill, N.C. (November, 1992)
Duke University, Durham, N.C. (November, 1992)
University of California, Los Angeles: UCLA/USC Seminar in Roman Studies, Los
Angeles, Ca. (December, 1992)
University of Southern California, Los Angeles, Ca. (January, 1993)
J. Paul Getty Museum and Center for the History of Art and the Humanities, Malibu,
Ca. (February, 1993)
Classical Archaeological Society of Southern California, UCLA, Ca. (March 1993)
California State University, Long Beach, Ca. (March, 1993)
Stanford University, Palo Alto, Ca. (April, 1993)
University of California, Berkeley, Ca. (April, 1993)
California State University, Northridge, Ca. (April, 1993)
University of Arizona, Tucson, Az. (April, 1993)
American Academy, Rome, Italy (June, 1994)
Getty Center for the History of Art and the Humanities (Director’s Series) (Dec., 1994)
University of California, Irvine (May, 1997)
American Academy, Rome, Italy (July, 1997)
American School of Classical Studies, Athens (October, 1997)
Los Angeles County Museum of Art, Los Angeles (March, 1998)
British School at Rome (June, 1998)
University of California, Berkeley (November, 1998)
Classical Archaeological Society of Southern California, University of California,
Santa Barbara (March, 1999)
Work in Progress: Getty Research Institute, Brentwood, California (December, 2000)
Classical Archaeological Society of Southern California, Getty Research Institute,
Brentwood, Ca. (April, 2001)
American Academy, Rome, Italy (May, 2001)
Loyola Marymount, Los Angeles (March, 2002)
Southern California Institute of Architecture (February, 2003)
Columbia University, New York (April, 2003)
University of Amsterdam, the Netherlands (May, 2003)
University of Nijmegen, the Netherlands (May, 2003)
American School of Classical Studies, Athens (September, 2003)
University of Oklahoma, Norman (March, 2005)
Cambridge University, Cambridge, England (November, 2005)
American School of Classical Studies at Athens, Greece (March, 2007)
University of Athens, Greece (May, 2007)
Los Angeles Society of the AIA, Los Angeles (December, 2007)
College of William and Mary (January, 2008)
Duke University, Durham (February, 2008)
Dickinson College, Carlisle, PA (March, 2008)
University of Nebraska, Lincoln (April, 2008)
AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS as Whitehead Professor of Archaeology (2006-2007)
Participated in all Fall trips of the School to various parts of Greece, giving
presentations on each of the trips.
Participated in the School’s Spring trip to Central Anatolia, giving several presentations.
Offered a seminar in the Winter Quarter: “Christian Destruction and Desecration of
Images and Shrines of Classical Antiquity.”
MISCELLANEOUS TALKS AND PRESENTATIONS
Lectures and talks on site regarding the architecture and topography of Rome, Ostia,
and Hadrian’s Villa for members of the Technische Universität für Architektur und
Denkmalpflege, Vienna, Austria; the Summer School of the American Academy in
Rome; St. Olaf College’s Junior Year Abroad Program; and M.A. students of
architecture in a joint summer program of the University of Southern California and the
University of Illinois; and the Intercollegiate Center for Classical Studies in Rome.
Talks on various aspects of Classical art and archaeology at meetings of the
Archaeological Society of the Mid-Atlantic States (1980-1987)
Gallery talks on the ancient collections of the Archaeological Museum of the Johns
Hopkins University (in capacity as curator) and of the Walters Art Gallery (1979-1987)
Gallery talks on the ancient collections of the J. Paul Getty Museum and the Los Angeles
County Museum of Art (1987-present)
Talk for USC graduate students in the Dept. of Classics at the Ara Pacis and Mausoleum of
Augustus in Rome (May 26, 2006), organized by Prof. Claudia Moatti, Dept. of Classics
SPECIAL TALKS AND LECTURES AT USC
Seminar for Professor Claudia Moatti, Department of Classics: “Problems in Ancient Art”
(March, 2005)
Seminar for Dr. Daniela Bleichmar, Department of Art History: Rediscovering the
Classical Past: The Relationship of Art History, Archaeology, and Visual Culture (March,
2005)
University of Southern California’s 125th Celebration: For Symposium on “Trojan
Legends” presented paper: “USC's Trojan Column: An Ancient and Modern Myth”
(October, 2005)
MEDIA INTERVIEWS AND CONSULTATION
New York Times, International Herald Tribune, Los Angeles Times, The New Yorker, The
History Channel, Arts and Entertainment Channel, KPCC Radio Los Angeles, NBC, Fox
Featured piece on my innovative work on the marble type of the statue of Augustus from
Prima Porta: A. Elders, “Tracing the Stones of Classical Brilliance,” in Hermes -- Greece
Today 35 (1999) 20-24.
ORGANIZER AND LEADER OF TOURS OF MUSEUMS AND SITES
Turkey (for Board of Councilors and donors of the School of Fine Arts, USC, 1995; for
university students and the general public, 1998)
Greece (Attica and the Peloponnese) (for university students and the general public, 1999)
Central Italy (for university students and the general public, 2000, 2002, 2003)
PARTICIPATION IN OTHER COLLOQUIA AND SYMPOSIA
Roman Sculpture and Architecture: German Archaeological Institute, Rome
(January, 1978)
Roman Architecture: Center for Advanced Study in the Visual Arts, National Gallery
of Art (January, 1981)
The Age of Augustus. The Rise of Imperial Ideology: Brown University (April, 1982)
Pictorial Narratives in Antiquity and the Middle Ages: The Johns Hopkins University and
the Center for Advanced Study in the Visual Arts, National Gallery of Art (March, 1984)
Villa Gardens of the Roman Empire: Dumbarton Oaks (May, 1984)
Retaining the Original -- Multiple Originals, Copies, and Reproductions: Center for
Advanced Study in the Visual Arts, National Gallery of Art (March, 1985)
Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,
National Gallery of Art (October, 1986)
Marble -- Art Historical and Sculptural Perspectives on Ancient Sculpture: J. Paul Getty
Museum (April, 1988)
International Conference on Roman Archaeology and Latin Epigraphy: University of
Rome and the French School of Rome (May, 1988)
Roman Portraits in Context: Emory University (January, 1989)
Small Bronze Sculpture from the Ancient World: J. Paul Getty Museum (March, 1989)
Alexandria and Alexandrianism: J. Paul Getty Museum (April, 1993)
International Symposium: “Rome Reborn” Visual Reality Program at UCLA (December,
1996)
History of Restoration of Ancient Stone Sculptures, J. Paul Getty Museum (October, 2001)
Re-Restoring Ancient Stone Sculpture, J. Paul Getty Museum (March, 2003)
Marble Conference on Thasos, Liman, Thasos (Sept. 2003)
OTHER PROFESSIONAL ACTIVITIES
Editorial Assistant (1968-1969) and Associate Editor (1969-1970), AGON: Journal of
Classical Studies
Editorial Board, American Journal of Philology (January, 1982-January, 1987)
Delegate from Baltimore Society AIA to National Convention (1984-1986)
Vice-President, Baltimore Society of the AIA (1985-1987)
Co-Director, Exhibition on Roman Portraiture, Fisher Gallery (1989)
Co-Founder (with Dr. Diana Buitron) of the Classical Archaeological Society of the Mid-
Atlantic States (1978-87)
Founder and President of the Classical Archaeological Society of Southern California
(1987-present)
Member of the Ancient Art Council of the Los Angeles County Museum of Art (1987-
present)
Oversaw the publication and helped edit the newsletter “ARTFACTS” of the
School of Fine Arts (1993-1996) during my tenure as Dean of the School of Fine Arts
USC Representative to Advisory Council of the American Academy in Rome
(1993-present)
Comitato di Collaborazione Culturale to the Consul General of Italy at Los Angeles
(1995-1998)
Advisory Committee for the Virtual Reality Project for Ancient Rome (“Rome Reborn”)
(1996-1998)
Delegate from Los Angeles Society AIA to National Convention (Chicago, Dec., 1997)
Reviewer for the Getty Grant Program (1999)
Reviewer for the MacArthur Foundation Grant (2000, 2003)
Planning Committee for a Four-Year International Conference on “Roman Imperial
Ideology” at the Villa Vergiliana at Cuma (Naples), organized by J. Rufus Fears (2000-
2003)
Consultant for the Forum of Augustus Project: Sovrintendenza Archeologica Comunale,
Direzione al Foro di Augusto (2004-present)
Editor of the newsletter “Musings” for the Department of Art History, USC (2005)
Planning Committee for the Internation Bronze Congress in Athens, Greece (2006-2007)
Chaired two sessions -- “Roman Sculpture” and “Augustan Art” -- at the Annual Meeting
of the Archaeological Institute of America (San Diego 2007)
UNIVERSITY COMMITTEES AND OTHER SERVICE
Faculty Senate (1988-1991)
Advisory Committee to the Dean of the School of Fine Arts (1990-1991, 1992-1993)
Chairman, Personnel Committee of the School of Fine Arts (1988-1990)
Library Liaison Officer for Art and Architecture Library (1987-present)
Search Committee for Reference Librarian of the Art and Architecture Library
(1989-1990 and 2000)
University Library Committee (1989-1990, 1998-2001)
Recruitment Committee for the School of Fine Arts (1989-1995)
Space Allocation Committee, School of Fine Arts (1989-1990)
University Research Committee (1990-1991)
Promotion Committee, School of Fine Arts (1990-1995)
University Ad Hoc Committee on Revenue Center Management (1990-1995)
Committee for University Development, School of Fine Arts (1993-1995)
Development Task Force, the School of Fine Arts (1993-1995)
Consultative Committee to the Provost (Spring 1993-1995)
University Galleries Advisory Committee (1993-1995)
University Committee on Transnational and Multicultural Affairs (1993-1995)
Provost’s Council at USC (formerly Council of Deans) (1993-1995)
USC Representative to the Advisory Council of the American Academy in Rome
(1993-present)
Founder and Member of the Board of Councilors for the School of Fine Arts (1994-1995)
Consortium Council of Deans for Development at USC (1995)
Tenure and Promotion Committee, Department of Art History (1995-to present)
Recruitment Committee for Department of Art History in the College of
Letters, Arts, and Sciences (1996-2005)
Program Proposer for the Establishment of an Interdepartmental and Interdisciplinary
Ancient Mediterranean Studies Program (1997-1999)
Chinese Search Committee, Department of Art History (1998-1999)
Japanese Search Committee, Department of Art History (1998-1999)
Professor-In-Charge, USC-Getty Lecture Series, Seminar, and Faculty Dinner (honoring
Salvatore Settis) (1998-1999)
Curriculum Committee (Co-Chair) (1998-1999)
Chair, Committee for Selection of Departmental Chair (1999-2000)
Chair, Merit Review Committee (1999-2000)
Committee for the Establishment of an Undergraduate Major in Archaeology
(2002-present)
Greek Art Search Committee, Department of Art History and Classics (2001-2004)
Faculty Search Committee, Department of Art History: Senior Hiring Initiative (2003-
present)
Junior Faculty Review Committee, Department of Art History (2003)
USC’s Arts and Humanities Committee (2003-2004)
Chair of Oversight Committee for the Interdisciplinary Archaeology Major (Spring 2006)
MEMBERSHIPS IN NATIONAL AND INTERNATIONAL PROFESSIONAL ORGANIZATIONS
NATIONAL:
Archaeological Institute of America
College Art Association
American Philological Association
Association of Ancient Historians
Vergilian Society
INTERNATIONAL:
Deutsches Archäologisches Institut
Associazione Internazionale di Archeologia Classica
Association for the Study of Marble and Other Stones in Antiquity (AMOSIA)
Society for the Promotion of Roman Studies
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
portraitsofcaligula.com/
Both are non-profit sites and for educational use only.
ニチニチソウ ‘フェアリー・スター・ホワイト’
(サントリー・フェアリー・スター・シリーズ)
Catharanthus roseus (L.) G.Don, 1837 ‘Fairy Star White’
(Suntory Fairy Star Series)
This name is accepted. 06/11, 2022.
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Family: Apocynaceae (APG IV)
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Authors:
Carl von Linnaeus (1707-1778)
George Don (1798-1856)
------------------------------------
Published In:
A General History of the Dichlamydeous Plants 4(1): 95. 1838[1837]. (Gen. Hist.)
Name publication detailView in BotanicusView in Biodiversity Heritage Library
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Basionym:
Vinca rosea L., Syst. Nat., ed. 10. 2: 944 (1759).
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Synonyms:
Ammocallis rosea (L.) Small, Fl. S.E. U.S. [Small]. 936, 1336 (1903).
Catharanthus roseus var. albus G. Don
Catharanthus roseus var. roseus
Hottonia littoralis Lour., Fl. Cochinch. 1: 105 (1790).
Lachnea rosea (L.) Rchb.
Lochnera rosea (L.) Rchb. ex Endl., Gen. Pl. [Endlicher] 8: 583 (1838), nom. inval.
Lochnera rosea var. alba (G. Don) Hubbard
Lochnera rosea forma alba (Sweet) Woodson, N. Amer. Fl. 29(2): 124 (1938).
Lochnera rosea var. flava Tsiang, Sunyatsenia 2: 103 (1934).
Pervinca rosea (L.) Gaterau, Descr. Pl. Montauban 52 (1789); vide Raynal in Taxon, xvii. 516 (1968).
Pervinca rosea (L.) Moench, Methodus (Moench) 463 (1794), isonym.
Vinca gulielmi-waldemarii Klotzsch, Bot. Ergebn. Reise Waldemar [Klotzsch & Garcke] 89 (1862).
Vinca rosea L., Syst. Nat., ed. 10. 2: 944 (1759).
Vinca rosea var. alba (G. Don) Sweet
Vinca rosea var. albiflora Bertol., Nuovi Ann. Sci. Nat. 4: 411 (1840).
Vinca speciosa Salisb., Prodr. Stirp. Chap. Allerton 147 (1796), nom. illeg.
------------------------------------
Accepted By:
AFPD. 2008. African Flowering Plants Database - Base de Donnees des Plantes a Fleurs D'Afrique.
CONABIO. 2009. Catálogo taxonómico de especies de México. 1:. In Capital Nat. México. CONABIO, Mexico City. download by taxa
Carnevali, G., J. L. Tapia Muñoz, R. Duno de Stefano & I. M. Ramírez-Morillo. 2010. Fl. Ilustr. Peníns. Yucatán 1–326. Centro de Investigación Científica de Yucatán, A.C., Mérida.
Correa A., M. D., C. Galdames & M. Stapf. 2004. Cat. Pl. Vasc. Panamá 1–599. Smithsonian Tropical Research Institute, Panamá.
Davidse, G., M. Sousa Sánchez, S. Knapp & F. Chiang Cabrera. 2009. Cucurbitaceae a Polemoniaceae. 4(1): i–xvi, 1–855. In G. Davidse, M. Sousa Sánchez, S. Knapp & F. Chiang Cabrera (eds.) Fl. Mesoamer.. Missouri Botanical Garden, St. Louis.
De la Torre, H. Navarrete, P. Muriel, M. J. Macía & H. Balslev. 2008. Enciclopedia Pl. Utiles Ecuador
Flora of China Editorial Committee. 1995. Flora of China (Gentianaceae through Boraginaceae). 16: 1–479. In C. Y. Wu, P. H. Raven & D. Y. Hong (eds.) Fl. China. Science Press & Missouri Botanical Garden Press, Beijing & St. Louis.
Funk, V. A., T. H. Hollowell, P. E. Berry, C. L. Kelloff & S. Alexander. 2007. Checklist of the plants of the Guiana Shield (Venezuela: Amazonas, Bolivar, Delta Amacuro; Guyana, Surinam, French Guiana). Contr. U.S. Natl. Herb. 55: 1–584. View in Biodiversity Heritage Library
Gentry, A.H. 2001. Apocynaceae. In: W.D. Stevens, C. Ulloa Ulloa, A. Pool & O.M. Montiel (eds.). Fl. Nicaragua. Monogr. Syst. Bot. Missouri Bot. Gard. 85(1): 116–132.
Idárraga-Piedrahita, A., R. D. C. Ortiz, R. Callejas Posada & M. Merello. 2011. Listado de las plantas vasculares del departamento de Antioquia. 2: 9–939. In A. Idárraga-Piedrahita, R. D. C. Ortiz, R. Callejas Posada & M. Merello Fl. Antioquia: Cat.. Universidad de Antioquia, Medellín.
Jørgensen, P. M., M. H. Nee & S. G. Beck. 2014. Catálogo de las plantas vasculares de Bolivia. 127(1–2): i–viii, 1–1744. In P. M. Jørgensen, M. H. Nee & S. G. Beck (eds.) Cat. Pl. Vasc. Bolivia, Monogr. Syst. Bot. Missouri Bot. Gard.. Missouri Botanical Garden Press, St. Louis.
Jørgensen, P. M., M. H. Nee, S. G. Beck & A. F. Fuentes. 2015 en adelante. Catalogo de las plantas vasculares de Bolivia (adiciones).
Killeen, T. J. & T. S. Schulenberg. 1998. A biological assessment of Parque Nacional Noel Kempff Mercado, Bolivia. RAP Working Papers 10: 1–372.
Madsen, J. E., R. Mix & H. Balslev. 2001. Fl. Puná Isl. 1–289. Aarhus University Press, Aarhus.
Morales Quirós, J. F. 2005. Estudios en las Apocynaceae neotropicales XIX: La familia Apocynaceae s. str. (Apocynoideae, Rauvolfioideae) de Costa Rica. Darwiniana 43(1–4): 90–191.
Morales Quirós, J. F. 2006. Estudios en las Apocynaceae Neotropicales XXVIII: La familia Apocynaceae (Apocynoideae, Rauvolfioideae) de El Salvador, Centroamérica. Darwiniana 44(2): 453–489.
Morales Quirós, J. F. 2009. La familia Apocynaceae (Apocynoideae, Rauvolfioideae) en Guatemala. Darwiniana 47(1): 140–184.
Nasir, E. & S. I. Ali (eds). 1980-2005. Fl. Pakistan Univ. of Karachi, Karachi.
Nelson, C. H. 2008. Cat. Pl. Vasc. Honduras i–xxix, 31–1576. Secretaría de Recursos Naturales y Ambiente, Tegucigalpa.
Novelo Retana, A. & L. Ramos Ventura. 2005. Vegetación acuática. (Cap. 5): 111–144. In J. Bueno, F Álvarez & S. Santiago (eds.) Biodivers. Tabasco. CONABIO-UNAM, México.
Pérez J., L. A., M. Sousa Sánchez, A. M. Hanan-Alipi, F. Chiang Cabrera & P. Tenorio L. 2005. Vegetación terrestre. Cap. 4: 65–110. In J. Bueno, F Álvarez & S. Santiago (eds.) Biodivers. Tabasco. CONABIO-UNAM, México.
Schatz, G. E. , S. Andriambololonera , P.P. Lowry II , P.B. Phillipson , M. Rabarimanarivo , J. I. Raharilala , F. A. Rajaonary , N. Rakotonirina , R. H. Ramananjanahary , B. Ramandimbisoa , A. Randrianasolo , N. Ravololomanana & C. M. Taylor & J. C. Brinda. 2021. Catalogue of the Plants of Madagascar.
Standley, P. C. & L. O. Williams. 1969. Apocynaceae. In Standley, P.C. & Williams, L.O. (eds.), Flora of Guatemala - Part VIII, Number 4. Fieldiana, Bot. 24(8/4): 334–407. View in Biodiversity Heritage Library
Stevens, W. D., C. Ulloa Ulloa, A. Pool & O. M. Montiel Jarquín. 2001. Flora de Nicaragua. Monogr. Syst. Bot. Missouri Bot. Gard. 85: i–xlii,.
Trusty, J. L., H. C. Kesler & G. Haug Delgado. 2006. Vascular Flora of Isla del Coco, Costa Rica. Proc. Calif. Acad. Sci., ser. 4, 57(7): 247–355. View in Biodiversity Heritage Library
Zuloaga, F. O., O. Morrone, M. J. Belgrano, C. F. S. Marticorena & E. Marchesi. (eds.) 2008. Catálogo de las plantas vasculares del Cono Sur. Monogr. Syst. Bot. Missouri Bot. Gard. 107(1–3): i–xcvi, 1–3348.
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Nikon D800E
SIGMA MACRO 70mm F2.8 EX DG for Nikon AF Mount
Publish Janu,18/01/ 2017 BD LIVE HITS is a YouTube Chanel that presents all Hit Model, , Videos, News, , Live Performance, Juicy jokes etc ! ** Sonam's going to Hollywood!** Priyanka Chopra and Deepika Padukone, Sonam Kapoor, after traveling to Hollywood. Huma kuresirao international film debut. Britain, however, the film is not Hollywood. Sonam's father Anil Kapoor has already recovered Hollywood debut. Mission impossible: Ghost Protocol, and he acted in Slumdog Millionaire. Now Hollywood is Sonam. Ease of coffee with Sonam has acknowledged. Huma Qureshi international film debut. He is working with the director, Gurinder cadda his name. Bend It Like Beckham director Gurinder's film. Huma Qureshi is going to release the film in the UK on March 3 this year. Subscribe our channel : goo.gl/FD2h1b Share the video youtu.be/5D2hCeYZPOI Facebook fun page : ift.tt/2gF3THr Twitter : twitter.com/anis01713734673 *****KEYWORD****** ** Sonam's going to Hollywood**
Photograph published in Souciant.com to illustrate an article about Seymour Hersh "Bin Laden Was Here" by Magadh. The article was published April 22, 2016.
Article link: souciant.com/2016/04/bin-laden-was-here/
Also published in Life Russia on July 27th, 2018
Also published in Common Space on December19th, 2018 to illustrate an article by Angela Haggerty "Why Your Fear of Going Crazy May Mean You Are the Most Sane person in the World"
commonspace.scot/articles/13691/angela-haggerty-why-your-...
Also published on September 11th, 2018 in Spanish publication El Salto.
www.elsaltodiario.com/regimen-del-78/cuando-osama-bin-lad...
Photograph also published on 8/22/2021 to illustrate the following article { link bellow }
newsjunkiepost.com/2021/08/22/forget-wars-on-covid-and-te...
Published by O Globo, Brazil april, 1940
Cover art: Bill Everett Marvel Mystery Comics No. 3/1940 - Timely Publications from page #1.
The Dawn of Timely Comics in Brazil.
First appearance of characters in this issue: Atlantes, Red Mask, Namor: The Sub-Mariner Prince.
Story's Included in this edition are:
a.) Characters:
Namor, The Submarine Prince
Screenplay: Bill Everett
Drawing: Bill Everett
Original editor: Martin Goodman
Originally published in Marvel Mystery Comics (1939) n ° 2/1939 - Timely Publications
b.)Characters:
Red Mask
Screenplay: Will Harr
Design: Maurice Gutwirth
Originally published in Daring Mystery Comics (1940) n ° 2/1940 - Timely Publications
c.) Characters:
Gong (The Clock)
Screenplay: George Brenner
Design: George Brenner
Original editor: Ed Cronin
Originally published in Feature Funnies (1937) n ° 14/1938 - Quality Comics
Historically important the very first Timely Comic in Brazilian History.
Thought to be the first complete International Edition of Timely Comics Globally outside the US.
Cover art and Interior complete story by Bill Everett.
Cover art: Bill Everett Marvel Mystery Comics No. 3/1940 - Timely Publications from page #1.
The beginning Internationally of the of Marvel Comics in the Foreign Comic market.
O Globo the single most important publisher in Brazilian history, and when is all said and done I feel the historians will state the obvious.
They were the Pioneers that brought history to the International market, with complete stories and original art of the Grand Masters.
Bill Everett and Carl Burgos among others.
This woman was crossing from the south side of 96th Street to the north side, on the west side of Broadway...
Note: this photo was published as an illustration in an undated (Jan 2010) Squidoo blog titled Fishing Boots." It was also published as an illustration in an undated (Jan 2010) Squidoo blogtitled "Funky Welly Boots." It was also published in a Feb 5, 2010 blog titled "Rain Boots to Brighten Your Cloudy Day." And it was published in a Jun 7, 2010 blog titled "Retirement income planning is tough when the economy is bad," as well as a Jun 9, 2010 Income Record blog, with the same title as the caption that I used on this Flickr page. It was also published in a Jul 13, 2010 blog titled "Retirement Planning Hints and Tips." And it was published in an Aug 24, 2010 blog titled "Late Retirement – Irish Pension Plans."
Moving into 2012, the photo was published in a Feb 1, 2012 blog titled "schraegsicht." It was also published in an Apr 3, 2012 blog title " Is there still hope to have a decent life without fighting?" And it was published in a Nov 24, 2012 blog titled "I want to make a list for someone of things to be thankful for what ya got?"
**************************************
Months from now, if people stumble onto this set of Flickr photos, they won't know or care when the photos were actually taken. After all, rain is a fairly universal phenomenon, and it can happen in any of the four seasons of the year.
Still, it's an odd experience to be writing these notes a week after the photographs were taken -- at an altitude of 35,000 feet, on a flight to Miami that lifted off from JFK airport just as the first snow flurries hit the runway at the beginning of what promises to be the first major snowfall of the 2009 season. Twelve inches of snow are expected by the time the storm stops, which makes this collection of water-soaked individuals seem like they got stuck in the wrong place and the wrong time.
But a week ago, the temperature was about ten degrees warmer -- and what could easily have been a foot or two of snow was instead just a couple of inches of cold rain. Rain, of course, brings out the umbrellas; and on a couple of earlier occasions this year (which you can see here and here on Flickr), I began to see that -- notwithstanding the typical stories about New York fashions -- people were not restricting themselves to black raincoats and black umbrellas. My winter coat (courtesy of North Face) is black, and just about every umbrella I've ever owned has been black; my suitcases are black, my backpacks and briefcases have always been black, and even my camera bag is black. Since it's promising to be a cold winter, I just bought a new pair of gloves and a new woolen cap ... in black.
But that's apparently not true for many other New Yorkers. While you'll see a few black outfits in the photos collected here, the range of vivid colors continues to surprise me. Somehow, it's something you would expect to see at the beginning of the spring season -- signifying the rejection of the dark gloom of clouds and rain, and celebrating the imminent arrival of flowers and blossoms, of emerald-colored trees and thick green grass and the chirping of birds. But this collection of photos was taken in mid-December, only a week before the official beginning of winter. You'd think that people would be carrying black umbrellas and somber raincoats that marked the season of death and darkness, but I guess that's just not the way things are here in New York City.
On the previous occasions when I've photographed umbrellas in the rain, I've deliberately used a "pocket camera," albeit a fairly sophisticated one such as the Canon G-10. I wanted something that would be compact enough that I could stick into my jacket pocket if the rain got heavy, and I didn't want to risk damaging the electronic components a really expensive, sophisticated camera by getting it wet. The results were usually fairly good, but I always wondered if I could do a better job with one of my high-end DSLR cameras...
... so that's what I used for this collection of photos: my Nikon D700 camera, with a big, heavy 70-300mm zoom lens. I attached a lens hood to the lens, to minimize the chances of raindrops falling directly onto the lens itself; and I stood beneath the awning and overhang of various storefronts and buildings along Broadway as the rain poured down steadily all around me. Next time, I might be even more adventurous, since I've got a professional waterproof bag-thingy that should keep the camera dry even if I'm standing out in the middle of a torrential downpour. But for now, this was a good start.
Because of the rain, most of the people I photographed paid no attention to me at all; they were too busy concentrating on where they were walking, where the puddles were deepest, and whose umbrellas were about to poke them in the face. On the rare occasions when they did see a crazy guy standing under an awning, pointing a camera in their general direction, they frowned or gave me a quizzical look, and just kept going...
So that's the way it was, on this rainy Sunday afternoon. At this point, I'm going to assume that winter has officially arrived, and that the precipitation during the next few months will take the form of snow, not rain. I don't know how well it will turn out, but one of my future projects will be a series of photos during a blizzard. Stay tuned ... and in the meantime, stay dry.
I'm a little late to the party, have any of you guys seen this one yet?
Well after a little mix up with the contributer copies I finally received the August/September issue today that scored my second cover shot with R.M.Williams OUTBACK magazine!
I'm always super pumped when I see my shots in print with these guys :)
For all the Lincoln crew out there, the cover shot was taken in Boston Bay while doing my PADI dive course.
Cheers n beers,
Rob
To coin a phrase, mission accomplished!
I've been trying on and off for a good long while now to get a picture published in print. Several rejection e-mails and worse still, many no reply at all's.
Today is the day that I can stop bouncing my head off a brick wall, not only have I got a good sized pic into a magazine, I also was lucky enough for the shot to be featured in the banner headline on the cover!!!
10 trillion thanks to the editor of Rail Express, Paul Bickerdyke, for giving me a shot, it really is appreciated.
Now to go get that next one...
If you'd like to see the original, you'll find it here
www.flickr.com/photos/darkprince66/14152906472/in/album-7...
20 August 2015
Now go buy a copy goddamit... :)
2018 Mermaid Parade
Saturday June 16th 2018
Coney Island, Brooklyn (NY)
© 2018 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Courageous Creativity - Flying Chicadee
PRETTY EXCITING!! I was just published as the featured photographer in this ezine.
issuu.com/flyingchickadee/docs/march_2015_print Every full-page photograph is one of mine, including the front and back covers.
Published articles about the project:
petapixel.com/2022/08/24/photographer-spends-four-years-d...
The Postcard
A postally unused postcard that was published by M. Rieder of Los Angeles. The card, which has an undivided back, was printed in Germany.
Riverside, California
Riverside is a city in and the county seat of Riverside County, California, in the Inland Empire metropolitan area. It is named for its location beside the Santa Ana River.
It is the most populous city in the Inland Empire, and is about 50 miles (80 km) southeast of downtown Los Angeles. It is also part of the Greater Los Angeles area.
Riverside is the 61st.-most-populous city in the United States, and the 12th.-most-populous city in California. As of the 2020 census, it had a population of 314,998.
Riverside was founded in the early 1870's. It is the birthplace of the California citrus industry, and home of the Mission Inn, the nation's largest Mission Revival Style building.
The University of California, Riverside, is in the northeastern part of the city. The university hosts the Riverside Sports Complex.
Other attractions in Riverside include the Fox Performing Arts Center, Museum of Riverside, which houses exhibits and artifacts of local history, the California Museum of Photography, the California Citrus State Historic Park, and Castle Park.
Riverside also features the Parent Washington Navel Orange Tree, the last of California's two original navel orange trees.
The elevation of downtown Riverside is 860 feet (260 m). Hills within the city limits include Mount Rubidoux, a city landmark and tourist attraction. Riverside is surrounded by small and large mountains, some of which get a dusting of winter snow. Riverside is about a 47-mile (76 km) drive to the Pacific Ocean.
History of Riverside
In the late 18th. century and the early 19th. century, the area was inhabited by Cahuilla and the Serrano people. Californios such as Bernardo Yorba and Juan Bandini established ranches during the first half of the 19th. century.
In the 1860's, Louis Prevost launched the California Silk Center Association, a short-lived experiment in sericulture. In the wake of its failure, John W. North purchased some of its land and formed the Southern California Colony Association to promote the area's development.
In March 1870, North distributed posters announcing the formation of a colony in California. North, a staunch temperance-minded abolitionist from New York State, had formerly founded Northfield, Minnesota. Riverside was temperance-minded, and Republican.
There were four saloons in Riverside when it was founded. The license fees were raised until the saloons moved out of Riverside. Investors from England and Canada transplanted traditions and activities adopted by prosperous citizens. As a result, the first golf course and polo field in southern California were built in Riverside.
The Citrus-Growing Industry
The first orange trees were planted in 1871, with the citrus industry that Riverside is famous for beginning three years later in 1874 when Eliza Tibbets received three Brazilian navel orange trees sent to her by a personal friend, William Saunders, a horticulturist at the United States Department of Agriculture in Washington, D.C.
The trees came from Bahia, Brazil. The Bahia orange did not thrive in Florida, but its success in southern California was phenomenal.
The three trees were planted on the Tibbets' property. One of them died after it was trampled by a cow during the first year it was planted. After the trampling, the two remaining trees were transplanted to property belonging to Sam McCoy to receive better care than L. C. Tibbets, Eliza's husband, could provide.
Later, the trees were again transplanted, one at the Mission Inn property in 1903 by President Theodore Roosevelt (this tree died in 1922), and the other at the intersection of Magnolia and Arlington avenues.
Eliza Tibbets was honored with a stone marker placed with the last tree. That tree still stands to this day inside a protective fence abutting what is now a major intersection.
The trees thrived in the southern California climate and the navel orange industry grew rapidly. Many growers purchased bud wood and then grafted the cuttings to root stock.
Within a few years, the successful cultivation of many thousands of the newly discovered Brazilian navel orange trees led to a California Gold Rush of a different kind: the establishment of the citrus industry. This is commemorated in the landscapes and exhibits of the California Citrus State Historic Park and the restored packing houses in the downtown's Marketplace district.
By 1882, there were more than 500,000 citrus trees in California, almost half of which were in Riverside. The development of refrigerated railroad cars and innovative irrigation systems established Riverside as the richest city in the United States (in terms of income per capita) by 1895.
As the city grew, a small guest hotel designed in the popular Mission Revival style, known as the Glenwood Tavern, eventually grew to become the Mission Inn, favored by presidents, royalty and movie stars.
Inside was housed a special chair made for the sizable President William Howard Taft. The hotel was modeled after the missions built along the California coast by Franciscan friars in the 18th. and 19th. centuries.
Postcards of lush orange groves, swimming pools and magnificent homes have attracted vacationers and entrepreneurs throughout the years. Many relocated to the warm, dry climate for reasons of health and to escape Eastern winters.
Victoria Avenue, with its scattering of elegant turn-of-the-century homes, and citrus-lined paseo, serves as a reminder of European investors who settled here.
Riverside Landmarks
Landmarks include:
-- The Mission Inn, the Beaux-Arts style Riverside County Historic Courthouse (based on the Petit Palais in Paris, France).
-- The Riverside Fox Theater, where the first showing of the 1939 film Gone with the Wind took place. It is the most successful film in box-office history when adjusted for inflation. The theater was purchased by the city and refurbished as part of the Riverside Renaissance Initiative. The Fox Theater underwent extensive renovation and restoration, which was completed in 2009, to turn the old cinema into a performing arts theater.
The building was expanded to hold 1,600 seats, and the stage was enlarged to accommodate Broadway-style performances. In January 2010, singer Sheryl Crow opened the newly remodeled Fox Theater in a nearly sold-out show.
-- The Riverside Paper Cup. Riverside is home to the "World's Largest Paper Cup" (actually made of concrete), which is over three stories (68.10 ft; 20.76 m) tall. The "Dixie Cup" landmark is on Iowa Street just north of Palmyrita, in front of what was once the Dixie Corporation's manufacturing plant (now closed down).
-- Three notable hills are in Riverside's scenic landscape: Box Springs Mountain, Evans (Jurupa) Hill, and Tecolote Hill; all of which are preserved open spaces. South of Riverside is Lake Mathews.
There is also the well-known landmark/foothill Mount Rubidoux, which is next to the Santa Ana River and one of the most noticeable landmarks in the downtown area. This foothill is the dividing line between the town of Rubidoux and the city of Riverside.
In 2012, a controversy erupted regarding the cross atop Mount Rubidoux, which was on city-owned land and maintained by the city. Due to constitutional issues regarding separation of church and state, the Riverside City Council sold the cross and the land under it (0.43 acres; 1740.15 sq m) to a private entity for $10,500.
-- March Joint Air Reserve Base borders Riverside on the east, serving as a divider between the city and Moreno Valley. March ARB, founded in 1918, is the oldest operating Air Force base west of the Mississippi River.
-- At the entrance to Riverside from the 60 freeway sits Fairmount Park. This extensive urban oasis was designed by the firm founded by Frederick Law Olmsted, which designed New York's Central Park. It includes a stocked pond that is home to many species of birds.
-- On nearby private land is the former site of Spring Rancheria, a Cahuilla village.
-- Riverside is home to the University of California, Riverside. The UCR Botanical Gardens contain 40 acres (16 ha) of unusual plants, with four miles (6 km) of walking trails.
Riverside Cemeteries
Cemeteries in Riverside include:
-- Crestlawn Memorial Park; notable burials include Medal of Honor recipient George Alan Ingalls, baseball player Mike Darr, actor Roland Harrah III, and actor Darwood Kaye.
-- Evergreen Cemetery; notable burials include Marcella Craft, Frank Augustus Miller, John W. North, Eliza Tibbets, and Al Wilson.
-- Olivewood Memorial Park; notable burials include Medal of Honor recipient Jesus S. Duran, Travis Alexander, Dorothy Burgess, Mayor Ben H. Lewis, Del Lord, Gloria Ramirez, and Eric Show.
-- Riverside National Cemetery, established in 1976, is the largest cemetery managed by the National Cemetery Administration, and since 2000 has been the most active in the system based on the number of interments.
Environment
The Riverside area faces issues of smog and above-average levels of air pollution. In a comparison by the National Campaign Against Dirty Air Power (2003), the Riverside-San Bernardino-Ontario area was found to be one of the most polluted regions based on year-round particle measurements when compared to other U.S. cities.
The city made efforts to reduce pollution by incorporating additional means of mass transit (Metrolink) and equipping its entire fleet of buses with natural gas. Smog decreased considerably over the next few years as local municipalities and counties worked with the South Coast Air Quality Management District to implement measures to improve regional air quality.
Nevertheless, in 2020, the American Lung Association rated Riverside County one of the nation's worst counties for smog. Most of Riverside's smog problems are the result of the prevailing wind that blows the smog from the Los Angeles Basin and particulates generated by southern California's multitude of vehicles.
Riverside in the Media
Riverside's close proximity to Hollywood, combined with its many unique architectural features, has made it a frequent filming choice by film studios, starting with the 1919 film Boots, which starred Dorothy Gish and was filmed at the Mission Inn.
Episodes of the 2013 television celebrity diving program Splash are taped at Riverside Community College's aquatics complex, and a local gay bar named V.I.P. was the setting for the second episode of Season Five of the Bravo TV reality show Tabatha Takes Over. The HBO show Enlightened (2011–2013), which starred Laura Dern, was also set in Riverside.
Riverside Museums
Riverside museums include:
-- California Citrus State Historic Park Museum
-- The Cheech Marin Center for Chicano Art, Culture & Industry
-- Entomology Research Museum at the University of California, Riverside (not open to the public).
-- Heritage House Museum
-- March Field Air Museum
-- Mission Inn Museum
-- Riverside Art Museum
-- Museum of Riverside
-- Sherman Indian Museum at the Sherman Indian High School
-- Sweeney Art Gallery, an extension of the University of California, Riverside
-- The Stahl Center Museum of Culture at the La Sierra University
-- University of California, Riverside California Museum of Photography
-- World Museum of Natural History at the La Sierra University
-- Southern California Railway Museum
Riverside Festivals and Events
Several festivals occur throughout the year in Riverside, many focused on the downtown area:
-- Each year in February The Riverside Dickens Festival is held to "enhance a sense of community among citizens of Riverside County and Southern California by creating a series of literary events and to provide educational, family-oriented, literary entertainment and activities such as plays, musical performances, pageants, living history presentations, workshops, lectures, classroom study, exhibits and a street bazaar with free entertainment, vendors and costumed characters."
-- The Riverside Airshow takes place in March at the Riverside Municipal Airport. The event attracts around 70,000 people and includes aerial performers, over 200 acres (0.81 km2) of aircraft displays, a car show and military vehicle display, children's activities, food and refreshments, helicopter displays and community group exhibits.
-- The March Field Airfest, also known as Thunder Over the Empire, is a biennial air show held at March Air Reserve Base. The show has featured such performers as the United States Air Force Thunderbirds, the Air Combat Command demonstrations teams and many other military and civilian demonstrations. 2010 saw the Patriots Jet Team as the highlight demonstration team of the show. Attendance for the 2010 show was estimated at over 150,000.
-- The Riverside International Film Festival (RIFF) takes place in April and features films from around the world. Sponsored by the city of Riverside, local universities, and many businesses, past festivals have featured over 175 films.
-- Old Riverside Foundation, a local nonprofit organisation focused on historic preservation of the built environment, hosts an annual Vintage Home Tour in May that showcases private historic homes, open to the public for one day only.
-- In October, the California Riverside Ballet sponsors the Ghost Walk, which in 2013 celebrated its 22nd. year. The event is a walk around some of the city's oldest and most historic buildings, with volunteers leading tours and telling ghost stories.
-- Also, in October, for one evening, from late afternoon until midnight, the Long Night of Arts & Innovation is held in Downtown Riverside. This event is designed to showcase the area's talent in the visual and performing arts, science and technology from its universities, community college, school districts, and innovative companies and arts organizations.
It is also designed to encourage school children to seek careers in the arts and STEM fields (science, technology, engineering, mathematics) by connecting them to professors, artists, professionals and performers from these institutions.
-- The Riverside Festival of Lights centers around The Mission Inn Hotel & Spa, located downtown. Decoration of the Inn begins in October and a lighting ceremony that includes speakers, fireworks, and live musicians takes place the day after Thanksgiving Day.
Carolers, horse-drawn carriage rides, and ice skating all color the festival. Restaurants, cafes, and community groups all contribute to the festival. The festival runs through New Year's Day.
-- Also during the week of Thanksgiving, the Festival of Trees is held at the Riverside Convention Center. Held since 1990, the event seeks to raise money for the Riverside County Regional Medical Center children's units, including the Neonatal Intensive Care Unit, the Child Abuse and Neglect Unit, and the Pediatric Intensive Care Unit.
Attracting 25,000 people per year, the event has raised over $5 million since its inception. At the Festival of Trees, many professionally decorated Christmas trees are judged, auctioned, and then displayed for public viewing.
Riverside Crime
Riverside's crime rate has shown a drop over the past several years. From 2002 to 2014, violent crime fell to 1,384 from 2,026 events, and property crime to 9,864 from 13,135 events.
During this time, the population of the city rose by 21%. To help reduce gang-related crime, the city developed Project Bridge, an anti-gang program under the city of Riverside's Park and Recreation Department.
Of the 60 largest U.S. police departments in 2015, the Riverside Police Department was the only department whose police did not kill anyone that year.