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This photograph was published in the Illustrated Chronicle on the 10th of July 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
We hope you enjoy looking through our collection, you are welcome to download and share our images for your own personal use, as they are to our knowledge, in the public domain. If you would like to use the images for commercial purposes, please contact us and we can provide a High Quality Digital Image for a fee. If you are able to use the Low Resolution Image from the website please do, but we would appreciate a credit: Image from the Newcastle City Library Photographic Collection, Thank you.
The Postcard
An early high-definition shot of Berneval in northern France, published by G. Marchaux on a postcard which was sent over a century ago to an address in Chislehurst UK.
The 10c stamp on the other side has a 'Dieppe/Seine Inf.' postmark and bears the same date as the front of the card - 24th. July 1907.
The Photograph
The photograph itself would have been taken some time earlier, so there is a good chance that the boys at bottom left would have served on the Western Front when they were older. One of them is carrying a basket with what look like French loaves poking out from the top.
The photograph has been carefully arranged; the boys are artistically grouped, with the toy boat clearly visible at right angles to the camera. The two men look posed, and the three ladies by the pond look ludicrously overdressed for daytime in a small farming village. Even the cows were probably led to the pond especially for the photograph.
Berneval
Berneval-le-Grand, as it is more formally known, is situated near the cliff-lined coast of the English Channel 5 miles (8 km) northeast of Dieppe.
Oscar Wilde
After his release from Reading Prison, Oscar Wilde came to stay in Berneval in 1897. André Gide met him at the Hôtel du Plage (destroyed during WW2). Here, Wilde wrote 'The Ballad of Reading Gaol'.
Berneval in World War II
On the night of the 19th. August 1942, the beach at Berneval was one of the landing locations of the Anglo-Canadian raid on Dieppe.
The village's Church of Notre-Dame was rebuilt after WW2, along with most of the village.
The Location of the Berneval Pond
I recently drove all round the village looking for this pond and couldn't find it; does anyone know if it has been filled in, grassed over, or built over?
This photograph was published in the Illustrated Chronicle on the 13th of July 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
We hope you enjoy looking through our collection, you are welcome to download and share our images for your own personal use, as they are to our knowledge, in the public domain. If you would like to use the images for commercial purposes, please contact us and we can provide a High Quality Digital Image for a fee. If you are able to use the Low Resolution Image from the website please do, but we would appreciate a credit: Image from the Newcastle City Library Photographic Collection, Thank you.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use this photo without written permission and consent.
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Nei giorni immediatamente successivi agli eventi sismici che a maggio hanno colpito la popolazione dell’Emilia Romagna, 14 big della musica italiana hanno deciso di dare il loro sostegno alla popolazione emiliana con un grande e significativo concerto che si svolgerà il 22 settembre al Campovolo di Reggio Emilia.
BIAGIO ANTONACCI, CLAUDIO BAGLIONI, ELISA, TIZIANO FERRO, GIORGIA, LORENZO JOVANOTTI, LIGABUE, LITFIBA, FIORELLA MANNOIA, NEGRAMARO, NOMADI, LAURA PAUSINI (assente perché in dolce attesa), RENATO ZERO e ZUCCHERO, questi i grandi artisti che hanno deciso di esprimere solidarietà alla popolazione colpita dal sisma e di aiutare la raccolta dei fondi per la ricostruzione.
La musica e i suoi protagonisti, come in passato e come è successo con il concerto degli Artisti Emiliani allo Stadio Dall’Ara di Bologna, possono fare cose importanti, possono smuovere le coscienze e non far dimenticare, possono farci sentire uniti.
Il 22 settembre al Campovolo ci sarà l’Italia tutta, centinaia, migliaia di battiti che attraverso la musica diventeranno un solo grande battito, un battito di solidarietà, pieno di speranza, emozioni e voglia di ricominciare e ricostruire.
L’obiettivo dell’evento, a cui gli artisti parteciperanno senza percepire alcun compenso, è devolvere l’intero incasso a uno degli obiettivi primari che verranno sottoposti dalla Regione Emilia Romagna che, con il suo presidente Vasco Errani (nominato commissario per la ricostruzione), è promotrice dell’iniziativa.
A sostenere i costi e a contribuire con ulteriori fondi, saranno alcune tra le più importanti realtà dell’industria privata italiana.
This photograph was published in the Illustrated Chronicle on the 26th of July 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
We hope you enjoy looking through our collection, you are welcome to download and share our images for your own personal use, as they are to our knowledge, in the public domain. If you would like to use the images for commercial purposes, please contact us and we can provide a High Quality Digital Image for a fee. If you are able to use the Low Resolution Image from the website please do, but we would appreciate a credit: Image from the Newcastle City Library Photographic Collection, Thank you.
vans trip to austria, slovenia and croatia. published in Thrasher Skateboarding Magazine March, 2010
Published March 1940, second edition (same month as first), by William F. Gericke. Should prove an interesting account of the development of this technique as it began to blossom in the mid-20th century.
The Postcard
A postally unused postcard that was published by the Tate Gallery. The photography was by Roland Federn, and the card was printed in England.
Several other casts, mostly dating from the 1950's, of this work exist.
The Visitation
Jacob Epstein commented on the work:
"In 1926 in Epping Forest I modelled a life-size
figure which I intended for a group to be called
“The Visitation”. I can recall with pleasure how
this figure looked in my little hut which I used
as a studio.
I should have liked it to stand amongst trees on
a knoll overlooking Monk Wood.
This figure stands with folded hands, and
expresses a humility so profound as to shame
the beholder who comes to my sculpture
expecting rhetoric or splendour of gesture....
When I exhibited the work at the Leicester
Galleries, wishing to avoid controversy, I called
it “A Study”.
By this disguise I succeeded for once in evading
the critics, always ready to bay and snap at a work.
A subscription was raised to purchase it, and I
recall that Richard Wyndham gave the proceeds
of an exhibition he was holding of his own work
towards its purchase for the Tate Gallery."
Sir Jacob Epstein
Sir Jacob Epstein KBE, who was born on the 10th. November 1880, was an American-British sculptor who helped pioneer modern sculpture.
He was born in the United States, and moved to Europe in 1902, becoming a British subject in 1910.
Early in his career, in 1912, the Pall Mall Gazette described Epstein as:
"A sculptor in revolt, who is in
deadly conflict with the ideas
of current sculpture."
Revolting against ornate, pretty art, he made bold, often harsh and massive forms of bronze or stone. His sculpture is distinguished by its vigorous rough-hewn realism.
Avant-garde in concept and style, his works often shocked audiences. This was not only a result of their, often explicit, sexual content, but also because they abandoned the conventions of classical Greek sculpture favoured by European academic sculptors.
Jacob instead experimented with the aesthetics of art traditions as diverse as those of India, China, ancient Greece, West Africa and the Pacific Islands.
Such factors may have focused disproportionate attention on certain aspects of Epstein's long and productive career, throughout which he aroused hostility, especially challenging taboos surrounding the depiction of sexuality.
He often produced controversial works which challenged ideas on what was appropriate subject matter for public artworks. Epstein would often sculpt the images of friends, casual acquaintances, and even people dragged from the street into his studio almost at random.
He worked even on his dying day. He also painted; many of his watercolours and gouaches were of Epping Forest, where he lived for a time. These were often exhibited at the Leicester Galleries in London.
Bronze portrait sculpture formed one of Epstein's staple products, and is perhaps the best known. These sculptures were often executed with roughly textured surfaces, expressively manipulating small surface planes and facial details.
His larger sculptures were his most expressive and experimental, but also his most vulnerable.
Epstein was Jewish, and negative reviews of his work sometimes took on an anti-Semitic flavour, although he did not attribute the "average unfavourable criticism" of his work to anti-Semitism.
After Epstein died, Henry Moore wrote a tribute in The Sunday Times which included a recognition of Epstein's central role in the development of modern sculpture in Britain:
"He took the brickbats, he took the insults,
he faced the howls of derision with which
artists since Rembrandt have learned to
become familiar.
And as far as sculpture in this century is
concerned, he took them first.... We have
lost a great sculptor and a great man."
-- Jacob Epstein - The Early Years
Jacob Epstein was born at 102 Hester Street on the Lower East Side of New York City. His parents were Max Epstein, formerly Jarogenski, and Mary Epstein, née Solomon, both of whom were Orthodox Jews and whose families had emigrated from Augustów in Poland.
The family was middle-class, owning a number of businesses and tenements, and Jacob was the third of their eight surviving children.
As a child Jacob suffered from pleurisy, and he left school at the age of thirteen. Between 1893 and 1898 he attended classes at the Art Students League of New York.
In 1898 he organised an exhibition at the Hebrew Institute for a group of local Jewish artists, and in 1899 opted to stay at Hester Street when his family moved to Madison Avenue, supporting himself by working as a tenement inspector and, briefly, as a physical education instructor.
He also began selling his drawings, and provided illustrations for two articles by the journalist Hutchins Hapgood. Epstein spent the winter of 1899 working as an ice-cutter with his friend Bernard Gussrow at Greenwood Lake in New Jersey.
In 1900, the Hester Street tenement in which Jacob was living burnt down and, as well as losing all his sketches and drawings, he became homeless.
With the help of the local settlement movement, Epstein took a job as a farmhand in Southboro, Massachusetts.
Returning to Manhattan in June 1901, he worked in a bronze foundry while taking classes for sculptor's assistants at the Art Students League of New York.
Epstein's first major commission was to illustrate Hutchins Hapgood's 1902 book The Spirit of the Ghetto. Epstein used the money from the commission to leave New York City for Paris in September 1902.
-- Jacob Epstein in Paris 1902–1905
On his second full day in Paris, during October 1902, Epstein saw the funeral procession of Emile Zola, and witnessed some of the anti-Semitic abuse directed at the passing cortège.
Epstein studied at the École des Beaux-Arts from October 1902 until March 1903 and then, from April 1903 to 1904, at the Académie Julian where he was taught by Jean-Paul Laurens.
Jacob shared a studio in Montparnasse with Bernard Gussrow, and throughout 1904 and 1905 studied independently in various Paris museums. He regularly visited the Louvre to view its collection of non-European sculpture, studied Indian and Far Eastern art in the Musée Guimet, and artworks from China in the Musée Cernuschi.
Epstein visited Rodin in his studio, and met Margaret Dunlop, known as Peggy (1873-1947), who encouraged him to visit London, which he did in 1904. There he spent some time viewing sculptures from African and Polynesian cultures in the British Museum, all of which were to have a profound influence on his future work.
-- Jacob Epstein in London 1905-1907
After destroying the contents of his Paris studio, Epstein moved to London in 1905 with Dunlop, whom he married in November 1906. The couple lived at Stanhope Street near Regent's Park before moving to the Stamford Street Studios in Fulham.
With a reference from Rodin, Epstein gained access to a number of society figures, notably George Bernard Shaw and Robbie Ross, and to a circle of artists associated with the New English Art Club, NEAC, including Muirhead Bone and Augustus John.
Jacob had a wax model shown in a large exhibition of Jewish art at the Whitechapel Art Gallery during 1906, and an oil painting included in the NEAC's December 1906 show.
In 1907, Epstein moved his studio to 72 Cheyne Walk where he began working on his first major public commission, a series of statues for the new British Medical Association building in London.
-- The Strand sculptures, 1908
Throughout 1907 and 1908, Epstein created eighteen large sculptures for the second-floor façade of Charles Holden's new building for the British Medical Association, BMA, on The Strand (now Zimbabwe House) in central London.
Epstein created models of each figure in his studio, and these were then cast in plaster. The plaster models were taken to the Strand, where they were copied in stone by a firm of commercial architectural carvers, John Drymond of Westminster Bridge Road.
Epstein then made minor adjustments and changes to the stone figures. This process of using models, casts and commercial carvers was the norm for architectural sculpture at the time, and was one Epstein soon came to reject.
Although the six figures representing aspects of medicine and science attracted little attention, the twelve statues representing different stages of life were greatly criticised, notably by the National Vigilance Association, whose offices were opposite the building.
Their view that the figures, particularly that of the heavily pregnant Maternity and the male nudes, were sexually explicit and insulting to Edwardian sensibilities was taken up by various newspapers.
In June 1908 the London Evening Standard described the sculptures as:
"Statuary which no careful father
would wish his daughter, or no
discriminating young man his
fiancée to see."
A police officer was called to climb the scaffolding to inspect the statues as was the Bishop of Stepney, Cosmo Gordon Lang, who approved of them. Several other public figures and artists defended the works and, at a meeting of its governing council in July 1908, the BMA agreed to keep them.
In art-historical terms, the Strand sculptures represented Epstein's first thoroughgoing attempt to break away from traditional European iconography in favour of elements derived from classical Indian sculpture.
The female figures in particular incorporated the posture and hand gestures of Buddhist, Jain and Hindu art from the subcontinent.
While working on the Strand statues, Epstein was asked by Augustus John to create a portrait of his two-year-old son, Romilly. The 1907 bronze Romilly John became the first of a series of such portraits of the child. In 1909, Epstein carved a stone version which he retained for the rest of his life.
The 1908 controversy over the Strand statues left Epstein depressed and short of money. For the rest of 1908 he worked on portraits and small pieces, notably busts of Euphemia Lamb and his first portrait bust of Mary McEvoy.
-- The Tomb of Oscar Wilde, 1908–1912
Near the end of 1908, without any prior discussion or advance warning, Robbie Ross announced that Epstein was the chosen sculptor for a new tomb of Oscar Wilde in the Père Lachaise Cemetery, Paris.
After a period spent studying Wilde's writings, Epstein designed a monument featuring a large statue of Narcissus. After several months, he changed his mind and destroyed that, almost-complete, monument in favour of a new design carved directly in stone.
The decision to carve directly in stone, then a new and radical departure for contemporary sculptors, may reflect the influence of Epstein's then friend and collaborator Eric Gill.
Throughout the second half of 1910, Epstein and Gill met on an almost daily basis, but eventually they fell out. Earlier that year they had held long discussions with other artists, including Augustus John and Ambrose McEvoy, about the formation of a religious brotherhood.
They also planned the construction on the Sussex Downs of a colossal monument to art, which Gill referred to "as a sort of twentieth-century Stonehenge."
During the time they worked together, both Epstein and Gill produced significant works on similar themes, notably Epstein's Sun God and Gill's Cocky Kid, and they both carved portrait heads of Romilly John.
Epstein's third Romilly John head, entitled Rom, was carved from a rectangular limestone block which he retained, complete with chisel-marks, as a base for the child's head, so that it appeared as if the figure had emerged from the rock.
Both Rom, and another carving called Sun Goddess, show the influence of oriental and Egyptian art on Epstein, and how far he was moving away from more classical and accepted traditions of sculpture.
Epstein spent nine months in Gill's studio at Ditchling carving, from a block of Hopton Wood stone, the new design for Wilde's tomb and for which Gill designed the inscription. This design was clearly influenced by the massive Assyrian sculptures Epstein knew from the British Museum and featured, in his words "a vast, winged figure ... the conception of poet as messenger" with smaller figures representing Fame, Intellectual Pride and Luxury.
In June 1912, Epstein had the completed tomb displayed in his London studio for public viewing. The work received positive reviews, and was highly praised in the British press, including by publications that had been critical of the Strand statues.
Following an introduction from Augustus John in 1910, John Quinn, a wealthy American collector and patron to the modernists, visited Epstein's studio to view the Wilde tomb, and quickly became the artist's major patron and collector of his work.
After his death in 1924, several of Quinn's Epsteins were acquired by public collections in the United States.
By September 1912, after a prolonged dispute with the French customs authorities over the import duty payable, Wilde's tomb was installed in the Père Lachaise Cemetery.
The Paris authorities deemed the monument offensive due to the flying creature's testicles, and had it covered with a tarpaulin. They demanded that Epstein remove the offending parts or cover them up. He refused, and on several occasions visited the cemetery and, with the help of friends, removed the tarpaulin only for the cemetery authorities to replace it later.
This standoff, with Epstein travelling between London and Paris on a frequent basis, continued until August 1914 when Robbie Ross, against Epstein's wishes, had a butterfly-shaped plaque made as a fig-leaf to cover the creature's testicles.
Epstein refused to attend the official unveiling which was performed by Aleister Crowley. Crowley subsequently presented Epstein with the fig-leaf from the tomb one evening at the Café Royal in London.
During his time in Paris defending the Wilde tomb, Epstein met and befriended Modigliani and Picasso, each of whom influenced his future work.
In May and June 1912, Epstein was among the artists hired to produce artworks for a new London nightclub, The Cave of the Golden Calf, which brought him into contact with a number of younger artists, notably Wyndham Lewis and the poet T. E. Hulme.
This led to Epstein becoming associated with the short-lived Vorticism movement and contributing two illustrations to the first edition of the Vorticist magazine BLAST.
-- Pett Level 1913–1916
Early in 1913, after living in rented rooms in Montparnasse for three months, the Epsteins moved to a secluded bungalow in the village of Pett Level in East Sussex. Using the garden shed there as a studio, over the next three years Epstein produced a number of notable works.
At Pett Level, Epstein became aware of the dark green mineral Serpentinite, which he called Flenite, and used it for sculptures, including Flenite Women and Flenite Relief which showed an infant emerging from the womb.
He carved two figures of pregnant women, one of which was eventually acquired by the Tate.
Cursed Be the Day wherein I was Born was a plaster figure of a child, painted red, apparently crying or screaming.
Jacob also created three marble sculptures of pairs of doves mating, the first two of which were shown in group exhibitions during 1913 and at his solo exhibition at the Twenty-One Gallery in December 1913. The reviews of all these works, in both the popular press and the art journals, were almost universally hostile and insulting to Epstein.
In London, Epstein rented a room above a bookshop in Devonshire Street and used a garage in the adjacent mews to began work on Rock Drill, which was too large for the Pett Level shed. By the summer of 1914 he was close to completing the work, but could not afford to have it cast in steel so he made the upper figure in plaster instead.
-- Jacob Epstein and The Great War
The start of World War I in 1914 saw the closure of a number of London art galleries and this left Epstein in financial difficulties, unable to sell any work and with a large number of unfinished pieces.
In March 1915, at a London Group exhibition at the Goupil Gallery, Epstein exhibited several works, including the Flenite pieces and Doves, plus, for the first and only time in public, Rock Drill.
By making an actual, unaltered, industrial drill an integral part of the sculpture, Epstein must have expected criticism. The menacing body mounted on the drill appeared to be assembled from machine parts, including a head on a shaft with the only organic feature the foetus within the creature's open rib-cage.
The critic's response was almost universally hostile and abusive. P. G. Konody described Rock Drill as "unutterably loathsome," and Augustus John persuaded John Quinn not to buy it.
Even the supportive reviewer for The Guardian concluded that the 'incongruity' of the work was 'too difficult for the mind to grasp'.
In May 1916, Epstein, apparently mortified at the continuing slaughter of the war, made the decision to break up the sculpture. He removed the drill entirely and reduced the upper figure to a legless one-armed torso, which he had cast in gunmetal. When shown at the London Group in the summer of 1916, the torso appeared more of a victim than the menacing figure of the original sculpture.
At this point Epstein began to concentrate less on avant-garde sculpture and embrace more figurative forms of working.
Later in 1915 Epstein showed a number of portrait busts, including those of Iris Beerbohm-Tree and Lilian Shelley, at a National Portrait Society exhibition, all of which received positive reviews and sold well.
Jacob subsequently produced a notable portrait bust of Admiral Lord Fisher.
During 1916, the Epsteins left Pett Level and moved to Guildford Street in the Bloomsbury area of central London.
As Epstein had become a naturalized British subject in December 1910, he was eligible for conscription into the British armed forces. After lobbying by Margaret Epstein, John Quinn and others, a three-month exemption from conscription was granted which allowed Epstein to prepare for a major solo exhibition at the Leicester Galleries in February and March 1917.
The exhibition drew large crowds, and was a critical and commercial success. A further three-month exemption from conscription was granted, but after a press campaign, featuring objections from, among others, G. K. Chesterton and the sculptor Adrian Jones, plus a question in the House of Commons, the concession was withdrawn.
By September 1917 Epstein was a private in the 38th. Battalion of the Royal Fusiliers, known as the Jewish Legion, stationed at the Crownhill barracks, Plymouth.
Several attempts were made to have Epstein created an official war artist. His release from active service and secondment to the newly formed Imperial War Museum was approved by Field Marshal Haig in December 1917, but promptly withdrawn after the sculptor George Frampton raised objections.
The scheduled departure of his regiment to the Middle East precipitated a breakdown in Epstein. After he was found wandering on Dartmoor, and had spent a period in hospital, he was discharged from the army in July 1918 without having left England.
After the war ended, Muirhead Bone purchased, for the Imperial War Museum, three portrait busts of military subjects by Epstein including The Tin Hat and Sergeant D. F. Hunter, VC.
-- The Risen Christ
Epstein spent most of 1919 making portrait sculptures, but also returned to work on a large bronze, The Risen Christ, which he had abandoned when called up.
When exhibited at the Leicester Galleries in February 1920, the seven-foot figure of a gaunt, accusing Christ figure provoked a torrent of abuse towards Epstein, some of which was racist in nature.
The controversy brought over a thousand people a day through the turnstiles of the Leicester Galleries for the exhibition. The Risen Christ was bought by the explorer Apsley Cherry-Garrard, and was eventually acquired by the National Galleries of Scotland.
-- The Hudson Memorial
In 1922, Epstein secured a commission from the Royal Society for the Protection of Birds, RSPB, for a memorial in Hyde Park, London to the author and naturalist W. H. Hudson.
By early 1923, he had produced a model of Hudson beside a tree, looking at a bird. The RSPB approved the design, but the park authorities objected, and requested a new design.
Epstein's new design focused on the character, Rima, from Hudson's novel Green Mansions and, after submitting numerous treatments of the figure, a final design was approved in February 1924.
When Prime Minister Stanley Baldwin unveiled the memorial on the 19th. May 1925, there were gasps of horror at the sight of the bare-breasted figure Epstein had created.
Arthur Conan Doyle organised a petition to have the memorial removed. The Daily Mail ran the headline:
"Take this horror
out of the Park."
The Morning Post described Rima as:
"Hideous, unnatural, un-English."
A question was even asked in the House of Commons about:
"This specimen of Bolshevik art".
The abuse aimed at Rima and Epstein lasted for years. The memorial was vandalised with paint in November 1925 and during the 1930's was defaced with swastikas and fascist slogans.
In January 1924 the Leicester Galleries held their third exhibition of Epstein's works. The exhibition attracted few sales, but did elicit a critical and damaging review in the New Statesman by Roger Fry, as well as an unsigned and overtly racist article in The New Age.
Through Muirhead Bone, Epstein was commissioned by the government of Poland to create a portrait bust of Joseph Conrad.
Conrad wrote:
"Epstein has produced a wonderful
piece of work of a somewhat
monumental dignity, and yet —
everybody agrees—the likeness is
striking."
The Polish government however refused to accept the work, completed a few months before Conrad died, and it was eventually, in 1960, acquired by the National Portrait Gallery in London.
-- Jacob Epstein in America 1927
In 1927 Epstein agreed to hold an exhibition in New York at the Ferargil Gallery on West 47th. Street, and spent most of that year preparing fifty works for the show. The exhibition was a success, with several pieces selling, including two bought by public collections.
During his four months in America, Epstein made three portrait busts, most notably one of the singer Paul Robeson.
-- The Move to Hyde Park Gate, 1928
In early 1928 the Epstein family moved to 18, Hyde Park Gate, a five-storey house with a ballroom that became Epstein's studio, and allowed him to start gathering together his unsold and unfinished works from various sheds and garages around London.
He also retained Deerhurst, a cottage and studio at Loughton in Epping Forest.
-- Day and Night, 1929
A commission from Charles Holden for two sculptures for the new headquarters building of the London Electric Railway generated further controversy in 1929.
Epstein's sculptures Day and Night above the entrances of 55 Broadway were criticised as indecent, ugly and primitive, although some critics, notably R. H. Wilenski, regarded them as a major achievement.
Starting in October 1928, Epstein carved the two figures in-situ as the upper floors of the building were being built above him. Aware of the potential for controversy, he was not identified, in public at least, as the sculptor until May 1929 when Night was completed to a storm of criticism.
A debate raged for some time over demands to remove the statues. To placate the railway board, Holden persuaded Epstein to modify the penis of the smaller of the two figures represented on Day.
An attempt to vandalise Night was made in October 1929, a few days before the Hudson memorial was defaced. The controversy affected Epstein's ability to gain commissions for large public works which largely dried up for twenty years.
-- Jacob Epstein in the Early 1930's
Without any commissions for large public monuments throughout the 1930's, Epstein worked on a number of large sculptures on religious subjects of personal significance to himself, while supporting himself and his family with commissions for portrait busts and by selling paintings of flowers and landscapes.
In 1929, Epstein carved Genesis, a massive, marble, three-ton figure of a pregnant women with a swollen belly and a face based on an African mask.
When shown as part of Epstein's February 1930 exhibition at the Leicester Galleries, the response to Genesis was vicious, not just from the popular press, but also from more serious journals.
Epstein took particular exception to an insulting review by the artist Paul Nash. After a break of almost twenty years, Epstein returned to the sculpture Sun God. He began, in 1932, to carve a new relief on the rear side of the block, a hunched male figure with two infant forms across his body, titled Primeval Gods.
Epstein spent the summer of 1933 at his cottage in Epping Forest and, in the space of two months, painted over a hundred landscapes and flower compositions. These were shown at Tooth's Gallery that Christmas, and his Christmas exhibition of paintings became a popular annual event.
During September 1933, on his way to America, Albert Einstein spent some weeks at Roughton Heath, Norfolk, and agreed to sit for Epstein over seven days. Epstein remembered his meeting with Einstein as follows:
"His glance contained a mixture of
the humane, the humorous and the
profound. This was a combination
which delighted me. He resembled
the ageing Rembrandt."
-- Ecce Homo, 1935
Throughout 1934 Epstein struggled with carving a huge block of marble that proved so tough it regularly broke his tools until he had a new set of instruments made for the work.
Behold the Man (Ecce Homo) depicted a squat Christ with a huge head that, in Epstein's words, was:
"A symbol of man, bound, crowned
with thorns and facing with a relentless
and over-mastering gaze of pity and
prescience of our unhappy world'.
First shown, unfinished, at the Leicester Galleries in March 1935, Ecce Homo led to a storm of criticism, including accusations of blasphemy.
Some newspapers considered the work so grotesque that they refused to publish photographs of it.
Anthony Blunt however wrote a positive review for The Spectator, stating that the scale of the work was more suitable for a large church rather than an art gallery.
Epstein never sold the work, and it remained in his studio throughout his life. In 1958 he was approached by the rector of Selby Abbey in Yorkshire, who asked if Epstein would leave Ecce Homo to the abbey in his will.
Jacob agreed, but local church members raised a petition that persuaded the church authorities to overrule the rector and refuse the gift.
It was not until 1969, that Ecce Homo, donated by Epstein's widow, was finally installed in the ruins of Coventry Cathedral.
-- The Strand sculptures, 1935–1937
By 1926, the British Medical Association had vacated their Strand headquarters, and the building was sold to the government of New Zealand which, in 1928, commissioned a structural survey of Epstein's 1908 statues.
The survey found extensive signs of erosion, weathering and other damage. No further action was taken at that time, but in 1935 the building was sold to the government of Southern Rhodesia, and the new owners soon announced their intention to remove Epstein's statues from the building.
A vigorous campaign was again launched to preserve the figures. The leaders of nine of Britain's leading art organisations, but notably not the Royal Academy, signed a letter supporting the preservation of the statues.
The campaign was a success until 1937 when, as some bunting, erected for the coronation of George VI, was being removed from the building, a piece of one figure was knocked off and fell to the pavement below.
The London County Council instructed the owners to make the building safe. The owners declared all the projecting features of the statues to be unsafe, and were to be removed.
Attempts to find an alternative solution, such as removing and re-carving elements of the statues, were hindered when Epstein insulted the Southern Rhodesian High Commissioner in a press interview.
The parts hacked off included the heads and hands of all eighteen figures, the feet of most of them and other key defining elements, such as the foetus from the Matter statue and the figure of a new-born baby from Infancy.
Several of these pieces were eventually acquired by the National Gallery of Canada, and one of the heads was later found at a school in Bulawayo.
-- Jacob Epstein in the Late 1930's
In the second half of the 1930's, alongside his sculpture work, Epstein took on other projects in different media. With the artist Bernard Meninsky, he designed and painted the stage curtain for the ballet David at the Duke of York's Theatre in central London. The curtain, now lost, was considered a great success.
Considerably less appreciated was Epstein's illustrations for an edition of Les Fleurs du Mal by Baudelaire. Commissioned to produce twenty drawings, Epstein created sixty illustrations which he considered among his best work in any medium but, when shown at Tooth's Gallery in December 1936, met with near universal disapproval.
During 1936, Epstein started carving a large block of alabaster in his Hyde Park Gate studio. Inspired by Bach's Mass in B minor, he carved Consummatum Est, a horizontal figure of the crucified Christ with the stigmata wounds on his hands and feet visible.
Epstein began, in 1938, to sculpt Adam, a seven foot high figure carved from a three-ton block of alabaster. The directors of the Leicester Galleries were reluctant to include the naked giant figure with his oversized genitals and muscles in Epstein's June 1939 exhibition, but feared he would withdraw all his work from the gallery if they didn't accept it.
Adam was of great personal significance to Epstein who had, throughout the first half of 1939, worked day and night on the figure. Alongside the usual outrage that greeted much of Epstein's work, Oswald Mosley's fascist group threatened to attack it.
A photograph of the unfinished Adam formed the frontispiece of the first edition of Epstein's autobiography Let There Be Sculpture which was published in 1940.
Forty pages, a fifth of the book, was devoted to Epstein's account of the Strand sculptures controversy.
-- Jacob Epstein in World War II
During the Second World War, Epstein was asked to undertake six commissions for the War Artists' Advisory Committee. After completing bronze busts of Admiral of the Fleet Sir Andrew Cunningham, General Sir Alan Cunningham, Air Marshal Sir Charles Portal and Ernest Bevin, Epstein accepted a commission to create busts of John Anderson and Winston Churchill.
Jacob completed a bust of Winston Churchill in early 1947. By then, Churchill was living in Hyde Park Gate across the road from Epstein and the two became friendly. Epstein had numerous casts of the Churchill bust made, and it was among his most popular works.
-- Jacob and the Angel, 1942
Throughout the war, Epstein continued to paint flowers and woodland scenes of Epping Forest and hold commercially successful Christmas exhibitions of those works.
Jacob also worked on two large private projects, Jacob and the Angel, and Lucifer. First exhibited in February 1942, Jacob and the Angel, based on a Bible story, depicts two figures, one winged, locked in an embrace carved from a four-ton block of alabaster, streaked with veins of pink and brown.
Epstein imagined the fallen angel Lucifer as a tall, winged, androgynous figure with male genitals and a female face, that of the Kashmiri model Sunita Devi, all cast in a golden patinated bronze.
The front of the Leicester Galleries had to be removed in order to get the statue inside for its first public showing in October 1945. Despite positive reviews, Lucifer remained unsold until 1946 when A. W. Lawrence, the brother of T. E. Lawrence, and the Seven Pillars of Wisdom Trust purchased it with the intention of donating it to the Fitzwilliam Museum in Cambridge.
The Fitzwilliam refused the donation, as did both the Victoria and Albert Museum and the Tate, but several other museums did show interest, and Epstein was pleased when the statue entered the collection of the Birmingham Museum and Art Gallery.
Jacob and the Angel was bought by a businessman, Charles Stafford, who already owned Epstein's Adam which he had been exhibiting in local fairs and fetes for its shock value.
In Blackpool, he installed Jacob and the Angel in an old song booth on the promenade behind an 'Adults Only' sign.
Eventually Stafford sold both Jacob and the Angel and Adam, plus Consummatum Est which he also owned, to Louis Tussaud.
Tussaud returned the works to Blackpool where, along with Genesis, they were exhibited in the anatomical curiosities section of his waxworks.
The works were displayed alongside dancing marionettes, diseased body parts, and conjoined twin babies in jars. Placing Epstein within the context of freakish curiosity was a constant source of anguish to him.
-- Jacob Epstein in the 1950's
After the Second World War there was a notable change in attitudes to Epstein and, nearing seventy, he was about to enjoy a sustained period of recognition and one of the busiest periods of his artistic life.
Early in 1950, he received his first commission in twenty years for a public monument, the statue Youth Advancing, for the 1951 Festival of Britain.
Epstein's 1947 carving of Lazarus was bought by New College, Oxford and installed in the chapel there in January 1952.
In 1947, the architect Louis Osman was employed by the nuns of the Convent of the Holy Child to rebuild their bomb-damaged buildings on Cavendish Square in central London. Osman's design featured a bridge that linked two parts of the complex and would support a large sculpture.
The nuns were keen to have a sculpture of the Madonna and Child and planned to employ a Catholic sculptor for the work. Osman was determined to have a work by Epstein and, without consulting the nuns, had him produce a maquette.
When the convent rejected Epstein's design on cost grounds, he and Osman, with help from Kenneth Clark and the Arts Council, agreed to cover the cost themselves. The convent agreed to Epstein's design, provided that he would listen to any suggestions they made.
After Epstein accepted their concerns about the face of the Madonna and changed the head, from one based on Kathleen Garman to one modelled on her friend Marcella Bazrtti, the convent began working hard to raise funds for the sculpture to be cast in lead.
Unveiled on the 14th. May 1953 by Rab Butler, the Chancellor of the Exchequer, the Cavendish Square Madonna and Child met with near universal praise.
While working on Madonna and Child during 1951 and 1952, Epstein undertook other major projects. In August 1951 he travelled to the United States to view the site in Fairmount Park, Philadelphia where the Philadelphia Museum of Art had commissioned him to create a large sculpture group, Social Consciousness.
Jacob was one of 250 sculptors who exhibited in the 3rd. Sculpture International held there in the summer of 1949. In London, the Tate hosted a large retrospective exhibition of his work in September 1952, with fifty-nine sculptures and twenty drawings.
-- Jacob Epstein's Final Works
The success of Madonna and Child in 1953 led to a dramatic reappraisal of Epstein's work in general, and to more public commissions.
That year he received commissions, from Llandaff Cathedral and from the British Government, which was for a statue of Field Marshall Jan Smuts to be placed in Parliament Square.
Such was the scale and quantity of work that Epstein took on, he was given the use of an extra large studio in the Royal College of Art. There he worked on the three large figure groups comprising Social Consciousness during 1953, the Liverpool Resurgent figure and parts of the giant Christ in Majesty for Llandaff Cathedral in Cardiff.
The cathedral had originally commissioned the figure to be made in gilded plaster but, after Epstein offered to pay for it to be cast in metal, the church authorities agreed to cover the cost of an aluminium casting.
It was not until April 1957 that Christ in Majesty was unveiled, suspended above the nave of the cathedral on a concrete arch designed by George Pace.
Epstein was knighted in the 1954 New Year Honours. Epstein strongly suspected that Winston Churchill had nominated him for the honour.
In 1955, he received a request from Basil Spence, the architect building the new Coventry Cathedral, to produce a small maquette for a giant sculpture of St Michael's Victory over the Devil.
Jacob also received a commission from the Trade Union Congress, for a war memorial for their new headquarters building.
The following year, Westminster Abbey commissioned a memorial to William Blake for Poet's Corner.
As soon as he finished the maquette for Coventry Cathedral, Epstein began making the head and wings of the full-size figure without waiting for the cathedral authorities to approve the project.
When reports of the work appeared in the press, Spence made it clear to Epstein that the cathedral was under no obligation to accept it. Epstein said he would do it for his own benefit.
However when the bishop and cathedral officials visited Epstein's studio to view the work they were greatly impressed and quickly approved the contract for the work.
In a 1956 letter to a friend, Epstein wrote:
"I am inundated with requests for work on
buildings, large works which I don't know I
will ever be able to accomplish.
I was for so long without any commissions,
I don't feel like turning down anything that
comes my way, but it is all coming too late
I'm afraid."
During 1958, Epstein was too ill to attend the unveiling of the war memorial he had carved at the centre of the TUC Headquarters in London, being in hospital with pleurisy and a thrombosis.
While the TUC leadership made no secret of their hatred of the carving, several Labour MPs were greatly impressed, and the critic Terence Mulally praised it as:
"A tragic monument on a grand scale."
After spending time convalescing in Italy and France, Epstein resumed working, creating a portrait sculpture of Princess Margaret and starting work on the large Bowater House Group sculpture.
Epstein's final works included a posthumous portrait of David Lloyd George for the Houses of Parliament, and the Bowater House Group which he completed on the day he died on the 21st, August 1959.
-- Jacob Epstein's Personal Life
Despite being married to and continuing to live with Margaret, Epstein had a number of relationships with other women that brought him his five children: Peggy Jean (1918–2010), Theo (1924–1954), Kathleen (1926–2011), Esther (1929–1954) and Jackie (1934–2009).
Margaret generally tolerated these relationships – even to the extent of bringing up his first and last children.
In 1921, Epstein began the longest of these relationships, with Kathleen Garman, one of the Garman sisters, mother of his three middle children, which continued until his death.
Margaret tolerated Epstein's infidelities. She allowed his models and lovers to live in the family home, and raised Epstein's first child, Peggy Jean, who was the daughter of Meum Lindsell, one of Epstein's previous lovers, and his last, Jackie, whose mother was the painter Isabel Nicholas.
Evidently, Margaret's tolerance did not extend to Epstein's relationship with Kathleen Garman, as in 1922 Margaret shot and wounded Kathleen in the shoulder.
Margaret Epstein died in 1947, and he married Kathleen Garman in 1955. Their eldest daughter, also named Kathleen but known as "Kitty", married painter Lucian Freud in 1948, and was mother of his daughters Annie and Annabel.
She is the subject of the painting Portrait of Kitty. In 1953 they divorced.
-- Death and Legacy of Jacob Epstein
Jacob Epstein died in August 1959 at his Hyde Park Gate home, and was laid to rest in Putney Vale Cemetery on the 24th. August 1959 with a service conducted by Dr. Hewlett Johnson, Dean of Canterbury.
A memorial service was held on the 10th. November 1959 at St. Paul's Cathedral with a plaster cast of Christ in Majesty hung in the cathedral for the event.
A memorial exhibition of 170 sculptures by Epstein was held during the Edinburgh Festival in 1961. The exhibition included the four works that had been at Blackpool in Louis Tussaud's shows.
After Epstein died the four works, Jacob and the Angel, Adam, Consummatum Est and Genesis, were bought by a group led by Lord Harewood and Jack Lyons.
Adam is now in the entrance hall of Harewood House, Consummatum Est is in the Scottish National Gallery of Modern Art, and Genesis is at The Whitworth in Manchester.
Since 1996, Jacob and the Angel has been part of the Tate collection alongside several other works by Epstein, including Sun God / Primeval Gods, a version of Doves and Torso in Metal.
In 1961, two hundred plaster casts by Epstein were donated by Kathleen Garman to the Israel Museum in Jerusalem.
With Epstein's former pupil Sally Ryan, Garman created the Garman Ryan Collection, a collection of works by Epstein and other artists which she donated, in 1973, to the people of Walsall and is exhibited at The New Art Gallery Walsall.
Ryan also donated Epstein's 1927 seated bronze Madonna and Child, which she had bought in the 1930's, to the Riverside Church, New York City in 1960.
By 1912, Epstein had begun collecting west African, ancient Egyptian, pre-Columbian American, Oceanic and other non-western artworks, having purchased pieces of Fang work, including a reliquary figure, in Paris that year.
By 1931 he owned over 200 pieces of ethnographic art and, eventually, built up one of the largest such private collections in existence, with over a thousand objects.
After Jacob's death, when the collection was broken up and sold at auction, the British Museum purchased several substantial pieces.
Epstein's art is to be found all over the world. Highly original for its time, it substantially influenced the younger generation of sculptors such as Henry Moore and Barbara Hepworth.
According to June Rose's biography, during the early 1920's Moore visited Epstein in his studio and was befriended by the older sculptor.
-- Final Thoughts From Jacob Epstein
"There are infinite modes of expression in the
world of art, and to insist that only by one road
can the artist attain his ends is to limit him."
"When I was doing Professor Albert Einstein's
bust he had many a jibe at the Nazi professors,
one hundred of whom had condemned his theory
of relativity in a book. 'Were I wrong,' he said,
'one professor would have been enough'."
"A sculptor is supposed to be a dull dog
anyway, so why should he not break out
in colour sometimes, and in my case I'd
as soon be hanged for a sheep as a lamb."
"The artist is the world's scapegoat."
"The artist who imagines that he puts his best
into a portrait in order to produce something
good, which will be a pleasure to the sitter and
to himself, will have some bitter experiences."
"A wife, a lover, can perhaps never see what
the artist sees. They rarely ever do. Perhaps
a really mediocre artist has more chance of
success."
"To think of abstraction as an end in itself
is undoubtedly letting oneself be led into
a cul-de-sac and can only lead to exhaustion
and impotence."
"I cannot recall a period when I did not draw;
and at school, the studies that were distasteful
to me, mathematics and grammar, were retarded
by the indulgence of teachers who were proud
of my drawing faculties, and passed over my
neglect of uncongenial subjects."
"Why dont they stick to murder and leave
art to us?"
(Telegram sent to the Warden of New College,
Oxford, on hearing of Kruschev's derogatory
remarks on his 'Lazarus' in the College chapel).
"To accuse me of making sensations is the
easiest way of attacking me, and in reality
leaves the question of sculpture untouched."
This photograph was published in the Illustrated Chronicle on the 22nd of July 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
We hope you enjoy looking through our collection, you are welcome to download and share our images for your own personal use, as they are to our knowledge, in the public domain. If you would like to use the images for commercial purposes, please contact us and we can provide a High Quality Digital Image for a fee. If you are able to use the Low Resolution Image from the website please do, but we would appreciate a credit: Image from the Newcastle City Library Photographic Collection, Thank you.
The Postcard
A postally unused Photocolour Series postcard that was printed and published by E.T.W. Dennis & Sons Ltd. of Scarborough.
The Midland Bank
Note the Midland Bank on the left.
Midland Bank Plc was one of the Big Four banking groups in the United Kingdom for most of the 20th. The bank was founded as the Birmingham and Midland Bank in Union Street, Birmingham in August 1836.
It expanded in the Midlands, absorbing many local banks, and merged with the Central Bank of London Ltd. in 1891, becoming the London City and Midland Bank.
After a period of nationwide expansion, the name Midland Bank Ltd. was adopted in 1923. By 1934, it was the largest deposit bank in the world.
It was listed on the London Stock Exchange, and was once a constituent of the FTSE 100 Index, but in June 1992, it was taken over by HSBC Holdings plc, which phased out the Midland Bank name by June 1999 in favour of HSBC Bank.
Littlewoods
Note Littlewoods on the right.
Littlewoods was a retail and football betting company founded in Liverpool, by John Moores in 1923. By the 1980's, it had grown to become the largest private company in Europe.
However it declined in the face of increased competition from rivals and the Internet.
The original company, employing 4,000 people, was wound up in 2005; however, its brand name is retained by The Very Group as the online retailer Littlewoods.com.
Luton Town Hall
The Town Hall is the second town hall on the site.
It was determined the original site offered the best location in the town for a replacement town hall and, in 1930, a competition was held for designs for the new town hall.
There were 86 entries to the competition. The competition was won by Bradshaw Gass & Hope from Bolton with a neoclassical style design incorporating Art Deco features.
It was built with a steel frame and clad in grey Portland Stone, and was officially opened by The Duke of Kent on the 28th. October 1936.
Many of the interior features were designed to recall images from the town's coat of arms, which was carved in stone above the main entrance: the bee, the wheatsheaf, the rose and the thistle.
A new clock and bells were manufactured by Gillett & Johnston of Croydon; the hour bell installed was the heaviest in the county, weighing approximately two tonnes.
During the Second World War, the clock tower was camouflaged to protect it during air raids as the bright white stonework would have been highly visible from the air.
For this article we commissioned a freelance illustrator to create the four seasons while the outline drawings on top are created by myself.
Concept and art direction by Mads Monsen.
Published today, our second book on our experiences of running John Cameron’s engines on the main line and the many exploits and fun and games we have had over many years.
Packed with over 100 photographs, the book is priced at £15.99 and is available from all good book shops, online and the publishers (Amberley).
We will also have our normal sales table at this year’s Glenrothes and Cupar Model Railway Exhibitions where both our titles can be purchased.
As with our previous book we shall be donating all royalties and profits to Scottish Railway Preservation Projects and to date, six projects have benefited from our donations.
This photograph was published in the Illustrated Chronicle on the 11th of July 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
We hope you enjoy looking through our collection, you are welcome to download and share our images for your own personal use, as they are to our knowledge, in the public domain. If you would like to use the images for commercial purposes, please contact us and we can provide a High Quality Digital Image for a fee. If you are able to use the Low Resolution Image from the website please do, but we would appreciate a credit: Image from the Newcastle City Library Photographic Collection, Thank you.
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The Postcard
A postally unused carte postale that was published by Lévy Fils et Cie of Paris. The card has a divided back.
Chartres
Chartres is a city and capital of the Eure-et-Loir department in France. At the 2019 census, there were 38,534 individuals living in the city.
Chartres is famous worldwide for its Gothic cathedral which is in an exceptional state of preservation. The majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th. century.
Part the old town, including most of the library associated with the School of Chartres, was destroyed by Allied bombs in 1944.
The Cathédrale Notre-Dame de Chartres, is one of the finest and best preserved Gothic cathedrals in France and in Europe. Its historical and cultural importance has been recognized by its inclusion on the UNESCO list of World Heritage Sites.
Chartres is built on a hill on the left bank of the river Eure. The medieval cathedral is at the top of the hill, and its two spires are visible from miles away across the flat surrounding lands. To the southeast stretches the fertile plain of Beauce, the "Granary of France", of which the town is the commercial centre.
Chartres cathedral was built on the site of the former Chartres cathedral of Romanesque architecture, which was destroyed by fire (that former cathedral had been built on the ruins of an ancient Celtic temple, later replaced by a Roman temple).
Begun in 1205, the construction of Notre-Dame de Chartres was completed 66 years later.
The stained glass windows of the cathedral were financed by guilds of merchants and craftsmen, and by wealthy noblemen, whose names appear at the bottom. It is not known how the famous and unique blue, bleu de Chartres, of the glass was created, and it has been impossible to replicate it.
Chartres in WWII
In World War II, the city suffered heavy damage, both by bombing and during the battle of Chartres in August 1944, but the cathedral was spared by an American Army officer who challenged the order to destroy it.
On the 16th. August 1944, Colonel Welborn Barton Griffith Jr. questioned the necessity of destroying the cathedral, and volunteered to go behind enemy lines to find out whether the Germans were using it as an observation post.
With his driver, Griffith proceeded to the cathedral and, after searching it all the way up its bell tower, confirmed to Headquarters that it was empty of Germans. The order to destroy the cathedral was withdrawn.
Colonel Griffith was killed in action later on that day in the town of Lèves, 3.5 kilometres (2.2 miles) north of Chartres. For his heroic action both at Chartres and Lèves, Colonel Griffith received, posthumously, decorations awarded by the President of the United States and the U.S. Military, and also from the French government.
Following deep reconnaissance missions and after heavy fighting in and around the city, Chartres was liberated on the 18th. August 1944, by the U.S. 5th. Infantry and 7th. Armored Divisions commanded by General George S. Patton.
Churches of Chartres
The Église Saint-Pierre de Chartres was the church of the Benedictine Abbaye Saint-Père-en-Vallée, founded in the 7th. century by Queen Balthild. At the time of its construction, the abbey was outside the walls of the city. It contains fine stained glass and, formerly, twelve representations of the apostles in enamel, created circa 1547 by Léonard Limosin, which now can be seen in the fine arts museum.
Other noteworthy churches of Chartres are Saint-Aignan (13th., 16th. and 17th. centuries), and Saint-Martin-au-Val (12th. century), inside the Saint-Brice hospital.
Museums of Chartres
Chartres' Museums include:
-- Le Musée des Beaux-Arts, a fine arts museum, housed in the former episcopal palace adjacent to the cathedral.
-- Le Centre International du Vitrail, a workshop-museum and cultural center devoted to stained glass art, located 50 metres (160 feet) from the cathedral.
-- Le Conservatoire du Machinisme et des Pratiques Agricoles, an agricultural museum.
-- Le Musée le Grenier de l'Histoire, a history museum specializing in military uniforms and accoutrements, in Lèves, a suburb of Chartres.
-- Le Musée des Sciences Naturelles et de la Préhistoire, a Natural science and Prehistory Museum (closed since 2015).
Other Features of Chartres
The river Eure, which at this point divides into three branches, is crossed by several bridges, some of them ancient, and is fringed in places by remains of the old fortifications, of which the Porte Guillaume (14th. century), a gateway flanked by towers, was the most complete specimen, until destroyed by the retreating German army on the night of the 15th./16th. August 1944.
The steep, narrow streets of the old town contrast with the wide, shady boulevards which encircle it and separate it from the suburbs. The Parc André-Gagnon lies to the north-west, and squares and open spaces are numerous.
Part of the Hôtel de Ville dates from the 17th. century, and is called l'Hôtel de Montescot. There is also La Maison Canoniale dating back to the 13th. century, and several medieval and Renaissance houses.
La Maison Picassiette, a house decorated inside and out with mosaics of shards of broken china and pottery, is also worth a visit.
There is also a statue of General Marceau (1769–1796), a native of Chartres and a general during the French Revolution.
The Economy of Chartres
Historically, game pies and other delicacies of Chartres are well known, and the city's industries have also included flour-milling, brewing, distilling, iron-founding, leather manufacture, perfumes, dyeing, stained glass, billiard requisites and hosiery.
More recently, businesses include the manufacture of electronic equipment and car accessories. Since 1976 the fashion and perfumes company Puig has had a production plant in the commune.
Pilgrimages
Chartres has been a site of Catholic pilgrimages since the Middle Ages. The poet Charles Péguy, who was born in 1873, revived the pilgrimage route between Paris and Chartres before the Great War.
At the outbreak of the war, Péguy became a lieutenant in the French 276th. Infantry Regiment. He died at the age of 41 in battle, shot in the forehead, near Villeroy, Seine-et-Marne on the 5th. September 1914, the day before the beginning of the Battle of the Marne. There is a memorial to Charles near the field where he was killed.
After the war, a number of students carried on the pilgrimage in his memory. Since 1982, the association Notre-Dame de Chrétienté, with offices in Versailles, organizes the annual 100 km (62 mi) pilgrimage on foot from Notre-Dame de Paris to Notre-Dame de Chartres. About 15,000 pilgrims, from France and countries outside France, participate every year.
The Bataclan Theatre Massacre
Chartres was the home of Omar Ismael Mostefaï aged 29, one of the three gunmen who attacked the audience at the Bataclan concert venue on the 13th. November 2015, starting at 21.40.
It was part of a carefully co-ordinated attack on Paris; over a 20 minute period, Islamist militants also killed and injured people at the Stade de France, and at six restaurants and cafes along the 10th. and 11th. arrondissements.
One of the restaurants was a popular Cambodian eatery in the trendy Canal Saint-Martin area, where at least 12 people died. Another 19 people were killed at a busy restaurant on nearby Rue de Charonne.
Shootings and bomb blasts on that night left a total of 130 people dead and hundreds wounded, with more than 100 in a critical condition.
The Start of the Bataclan Massacre
On the evening of the 13th. November 2015, the American rock band Eagles of Death Metal was playing to an audience of about 1,500 people at the Bataclan on the Boulevard Voltaire in the 11th. arrondissement of Paris.
Three dark-clad gunmen had been waiting in a black rental car near the venue for more than an hour, and were armed with Zastava M70 assault rifles. The M70 is a derivative of the Soviet AK-47, and can fire at a rate of 620 rounds per minute. Over 4 million of the ghastly things have unfortunately been manufactured.
The terrorists were three French natives of Algerian descent. As the band was playing their song "Kiss the Devil", the three men got out of the car and opened fire on people outside the venue, killing three.
They then burst into the concert hall and sprayed the crowd with automatic gunfire. Witnesses heard shouts of "Allahu Akbar" as the terrorists opened fire. Initially, the audience mistook the gunfire for pyrotechnics. The band ran offstage and escaped with many of the crew, although their tour manager was killed.
Rows of people were mown down by gunfire or were forced to drop to the ground to avoid being shot. Survivors described hundreds of people lying beside and on top of each other in pools of blood, screaming in terror and pain.
The gunmen also fired up into the balconies, and dead bodies fell down onto the stalls below. For a few minutes, the hall was plunged into darkness, with only the flashes from the assault rifles as the gunmen kept shooting.
The terrorists shouted that they were there because of French airstrikes against Islamic State. A witness who was inside the Bataclan heard a gunman say:
"This is because of all the harm
done by Hollande to Muslims all
over the world."
A radio reporter attending the concert reported that:
"The terrorists were calm and determined, and they
reloaded three or four times. Two gunmen attacked
the concert hall; one gunman covered fire while
another reloaded to ensure maximum efficiency."
Whenever a gunman stopped to reload, members of the crowd, some with bullets in them, ran for the emergency exits, scrambling over each other to escape. Some were shot from behind as they fled, and the terrorists laughed as they shot them. Those who reached an emergency exit were shot by the third gunman, who had positioned himself there.
Other groups of people barricaded themselves in backstage rooms. Some smashed open the ceiling in an upstairs toilet, and hid among the rafters under the roof. Those who could not run lay still on the floor or under bodies pretending to be dead. One women was seen hanging from a third floor window.
According to survivors, the terrorists walked among those who were lying down, kicked them, and shot them in the head if there were any sign of life.
An eyewitness reported hearing the gunmen ask amongst themselves where the members of the Eagles of Death Metal were once the gunfire stopped. Mostefaï and another of the gunmen then went upstairs to the balconies, while the third attacker stayed downstairs and fired at people who tried to flee.
Initial Armed Response to the Terrorists
The Brigade of Research and Intervention (BRI) arrived on the scene at 22:15, soon followed by the elite tactical unit, RAID. At 22:15, the first two responding officers entered the building armed with handguns and encountered one of the terrorists who was standing on the stage.
The Jihadist died after being shot by the officers and detonating his explosive vest. Mostefaï and the other remaining gunman (Mohamed-Aggad) then fired upon the officers, forcing them to withdraw and wait for backup.
The Stand-Off
From this point, Mostefaï and the other attacker took about twenty hostages and herded them into a room at the end of a corridor located further within the building. They also seized the hostages' mobile phones and attempted to use them to access the Internet, but they were unable to find a signal.
Some of the hostages were forced to look down into the hall and out the windows and report what they saw. During this time, the two terrorists fired on police and first responders as they arrived at the scene.
At 23:30, an elite police squad entered the building. One unit evacuated survivors from downstairs, while another unit went upstairs. They found Mohamed-Aggad and Mostefaï, who had begun using hostages as human shields. They shouted out to police the number of a hostage's phone.
Over the next 50 minutes, they had four phone exchanges with a police negotiator, during which time they threatened to execute hostages unless they received a signed paper promising France's departure from Muslim lands.
The Police Assault
The police assault began at 00:20 and lasted three minutes. Police launched the assault because of reports that Mohamed-Aggad and Mostefaï had started killing hostages. Police using shields burst open the door to the room and exchanged fire with Mohamed-Aggad and Mostefaï while managing to pull the hostages one-by-one behind their shields. One terrorist detonated his explosive vest, and the other tried to do the same but was shot.
Ninety people were killed at the Bataclan on that night, and hundreds of others were wounded. Almost all of the deceased victims were killed within the first 20 minutes of the attack. All of the hostages were rescued without injury.
Police dog teams from the Brigade Cynophile assisted with body removal because of concerns that there could still be live explosives in the theatre. Identification and removal of the bodies took 10 hours, a process made difficult because some audience members had left their identity papers in the theatre's cloakroom.
Omar Ismael Mostefaï
The homegrown suicide bomber Omar Ismael Mostefaï was identified after his finger was found among the Bataclan concert hall carnage.
Mostefaï was born in the Paris suburb of Courcouronnes and had eight past convictions for petty crimes. He is said to have been radicalised by a Belgian hate preacher at a mosque in France.
The Jihadist was buried in the Cimetière Parisien de Thiais
located in Val-de-Marne.
I've been published! This time, it's for real - what I wanted - in a wedding magazine, in an article (which I was interviewed for and quoted) and my images are in an *article* and not just an ad, or even something like a submission! Next step, shooting FOR the article.
www.exquisiteweddingsmagazine.com/
View the article here!
server1a.pressmart.net/ExquisiteWeddings/
The article begins on page 50, but my images are on page 52
A midday train rolls west down Michigan City's 11th Avenue. This shot was previously seen in TRAINS magazine.
Published in Japanese by Tsukijii Shokan.
A hopeful look at our natural defenses and the future of food and human health
English version: islandpress.org/books/natural-defense
I met Fredde a cold night at Gullmarsplan in Stockholm. I was writing an article about steroids and Fredde had been juicing for a couple of months. He told me about his dreams of becoming a body builder and fitness coach. About gaining respect at the gym. But he also told me about his balls that had shrunk to the size of two raisins and how he couldn't sleep at night because of stomach pains.
This photo was published in MAN #4/2010.
This would be the photo of mine, as it looks in the book it has been published in!
(see this photo for details). To see the photo as seen on the web and selected by the photo editors for this book look here!
It is so amazing to see a photo taken by myself in a published book! I wish you other flickrites the same honor some day!
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this page without written permission and consent.
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Sabato 8 giugno 2013 nell’Arena concerti di Rho Fiera ha avuto luogo uno degli appuntamenti più importanti di quest’estate per i fan dell’heavy metal, ovvero il festival Sonisphere 2013, con la partecipazione di ben sette formazioni fra le quali, gruppo di punta, gli Iron Maiden.
Gli Zico Chain sono una rock band di Londra, Regno Unito, formatasi nel 2002. La band ha aperto il palco principale al Download Festival l’8 giugno 2007. Hanno fatto da supporto ai Velvet Revolver nel loro tour estivo in Inghilterra, per promuovere il loro secondo album Libertad.
I musicisti Slash e Duff McKagan chiamarono gli Zico Chain la loro band emergente preferita.
Chris Glithero - Vocals, Bass
Paul Frost - Guitar, Vocals
Ollie Middleton - Drums
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Sabato 8 giugno 2013 nell’Arena concerti di Rho Fiera ha avuto luogo uno degli appuntamenti più importanti di quest’estate per i fan dell’heavy metal, ovvero il festival Sonisphere 2013, con la partecipazione di ben sette formazioni fra le quali, gruppo di punta, gli Iron Maiden.
Gli Zico Chain sono una rock band di Londra, Regno Unito, formatasi nel 2002. La band ha aperto il palco principale al Download Festival l’8 giugno 2007. Hanno fatto da supporto ai Velvet Revolver nel loro tour estivo in Inghilterra, per promuovere il loro secondo album Libertad.
I musicisti Slash e Duff McKagan chiamarono gli Zico Chain la loro band emergente preferita.
Chris Glithero - Vocals, Bass
Paul Frost - Guitar, Vocals
Ollie Middleton - Drums