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With the rebel trooper taken in for questioning, the search was on for the others who arrived with him. Stormy and Barbara were given the evening off and they went up to the observation deck to have a look over the city. They were to travel in the freighter and take it back home to have it's system scanned for any valuable intel. It was decided to leave it for a couple of days just in case the missing rebels tried to return to it. This meant Stormy and Barbara would have a day to explore the new city tomorrow.
Dana M. IRELAND
P. O. Box 4019
Pahoa, Hawaii 12-24-91
Det. S. GUILLERMO
D-74774
PN
MURDER
PAGE 1 OF 10 PAGES
STATEMENT RECEIVED FROM:Frank Raymond PAULINE, Jr.
Halawa Correctional Facility
Oahu, Hawaii
PRESENT:Frank Raymond PAULINE, Jr.
Detective Steven GUILLERMO
Karen HAMADA, Police Reporter
Hawaii County Police Department
Hilo, Hawaii
TIME AND PLACE:0817 Hours, June 19, 1994
Interview Room
Criminal investigation Division
Hawaii County Police Department
349 Kapiolani Street
Hilo, Hawaii
RECORDED IN SHORTHAND
AND TRANSCRIBED BY:Karen HAMADA, Police Reporter
DETECTIVE STEVEN GUILLERMO QUESTIONING FRANK RAYMOND PAULINE. JR.:
Q. What is your full and correct name?
A. Frank Raymond Pauline, Jr.
Q. Are you known by any other names?
A. No, not really. They call me Boy.
Q. How old are you and what is your birthdate?
A. 21 years old. My birthdate is 4-27-73.
Q. And at this time you are presently confined at the Halawa...
A. Correctional Facility.
Q. Okay, Frank, I'm presently investigating a murder that took place on 12-24-91, okay. That took place in the Kapoho area.
A. Yes.
0840
Dana M. IRELAND
P. O. Box 4019
Pahoa, Hawaii 12-24-91
Det. S. GUILLERMO
D-74774
PN
MURDER
PAGE 2 OF 10 PAGES
Q. Okay, prior to asking you any questions and continuing with this investigation I need to advise you of your constitional rights. No. 1. I am a police officer and I want to inform you of your rights. You have the right to remain silent. You do not have to answer any questions. Anything you say may be used against you in a court of law. You have the right to talk to a lawyer before we ask you any questions and to have him with you during questioning. If you cannot afford a lawyer, one will be appointed for you before any questioning if you wish. If you decide to answer the questions now without a lawyer present, you will still have the right to stop answering at any time and talk to a lawyer. Do you understand your rights?
A. Yes.
Q. And do you still waive your rights?
A. Yes.
Q. I show you HPD Form M-17 which is the Advice of Rights I administered to you yesterday on June 18, 1994, at approximately 1O1O a.m. Is this the same form that you signed?
A. Yes.
Q. Okay, Frank, from the beginning, tell me what happened.
A. Okay, one day my two friends came to pick me up. Ian and Shawn Schweitzer. They wen' ask me if I wanted to go party
and I told them yeah. So we headed towards the beach.
Q. Where were you when they came to pick you up?
A. My mom's house.
Q. Where is that?
A. Hawaiian Beaches. Aku Street. First house on the left.
Q. And what kind of car did they come in?
A. Purple Volkswagen.
Q. Is there anything else you can tell me about the car? Was it in stock condition?
A. Was more like stock condition.
Q. Is there anything else you can describe about the car?.
A. Had center line rims and regular tires that go with the rims.
0841
Dana M. IRELAND
P. O. Box 4019
Pahoa, Hawaii 12-24-91
Det. S. GUILLERMO
D-74774
PN
MURDER
PAGE 3 OF 10 PAGES
Q. Black wall tires?
A. Yeah. We headed towards the end of Hawaiian Beaches towards the Beach Road on the right hand side. We continued to go through a dirt road.
Q. Is that dirt road commonly known as the Beach Road?
A. Beach Road. It comes out at Kapoho. Okay, wait. I gotta say about the stops. Okay, we made several stops to smoke cocaine. And after, well we kept continuing on little ways. We came out by an intersection going towards Kapoho and that's where we saw a girl standing up. As we were going past my friend Ian looked towards the side and he said, "Ho look at that girl." Then we continued to go forward down the road.
Q. Would that be towards Pohiki?
A. Yes. Then we reached by these mailboxes area that we turned around. That place is better known as Red Road where they call it. And we headed back towards the girl.
Q. Did Ian tell you why he had turned around or why he wanted to get back where the girl was?
A. No, not at that point. Little while after as we were going
he wanted to talk to the girl he said. I guess to make a date or something.
Q. Okay, then what happened?
A. Then we headed back and he was going faster and I was telling him for slow down. About 40-45 miles per hour because I looked at the speedometer. And then he just kept on going towards the girl. The next thing I knew I felt like going over a speed bump real fast. How many times we went over? About I would say roughly two times.
Q. And that two times felt like going over a speed bump?
A. Going forward and reversing.
Q. Prior to feeling like twice you went over a speed bump, did you see a girl at all? Before you ran her over?
A. Before I seen her going across. Kinda walking across.
Q. Okay, you earlier told me that, I know you are unclear but you were pretty sure that she had a bike with her.
A. Yes.
0842
Dana M. IRELAND
P. O. Box 4019
Pahoa, Hawaii 12-24-91
Det. S. GUILLERMO
D-74774
PN
MURDER
PAGE 4 OF 10 PAGES
Q. Do you remember anything about the bicycle color or anything like that?
A. No, I wasn't. It looked like she was standing up. She was holding something. I'm not sure if it was a bike.
Q. What about just prior to her being hit. Did you notice a bicycle near her?
A. No.
Q. Just for clarification, can you tell me who the Volkswagen belongs to?
A. Ian Schweitzer.
Q. Who was the driver of the Volkswagon?
A. Ian.
Q. Where was Shawn seated?
A. On the passenger.
Q. Front passenger seat?
A. Yes.
Q. And you were seated where?
A. In the back behind the driver.
Q. Okay, can you remember anything. Can you give a description of the female?
A. No. She was just like a haole girl.
Q. Can you remember anything about the clothing or her hair color or anything like that?
A. No.
Q. Okay, after running her over what did he do?
A. He ran out. Him and his brother. And I was in the back trying for look. I didn't see what they really did but I know the body was in the front part of the car.
Q. Would that be on the roadway in front of the car?
A. Yes.
Q. Okay, then what happened?
A. Then we headed back towards. Oh, they put the body in the trunk part of the bug. In front.
0843
Dana M. IRELAND
P. O. Box 4019
Pahoa, Hawaii 12-24-91
Det. S. GUILLERMO
D-74774
PN
MURDER
PAGE 5 OF 10 PAGES
Q. Where she was run over did you ever get out of the vehicle to look at the damages or anything like that?
A. No.
Q. Okay, after loading the body into the car you said Ian started to drive back towards Hawaiian Beaches?
A. Yes.
Q. Okay, then?
A, Then we made several more stops and one of the stops was by um some place by a junk cars. Where there's cars. Lots of cars. Then we walked out of the car. We stopped the car and got out of the car.
Q. Did Ian ask you to help him or anything like that?
A. Yes. He asked me for come outside and help him carry the body out so I did. We walked.
Q. Okay, when you got outside, did you notice any damages on the Volkswagen?
A. Yes.
Q. Where were the damages?
A. On the front part of the bug.
Q. Would that be on the trunk?
A. Yes.
Q. Okay. Then what happened?
A. Then we carried the body out. We laid um down and she was still alive. She neva say nothing. Neva really act like she had been hurt. Then Ian Schweitzer wen' end up having sex with her.
Q. Did you actually see him having sex with her?
A. Yes. Then when he was done, and it lasted for a short while. Maybe like couple seconds, Four-five seconds. Anyway, then he wanted me for go on top of her.
Q. To have sex with her?
A. Yes, and I wen' refuse. Told him I neva like. And at the same time when he was having sex I was just kinda enjoying watching. I guess was cause of the drugs.
0844
Dana M. IRELAND
P. O. Box 4019
Pahoa, Hawaii 12-24-91
Det. S. GUILLERMO
D-74774
PN
MURDER
PAGE 6 OF 10 PAGES
Q. At the time that he was having sex with her, when we talked earlier, you mentioned that she was bleeding and had blood stains on her.
A. Yeah.
Q. Can you remember what areas of her body she was injuried?
A. Yeah. She had blood coming out of her eyes, her mouth and her nose. Pretty much about it.
Q. Okay, then what happened after Ian asked you to have sex with her and you refused. What happened next?
A. He told me we gotta kill her. Or knock her off in other words.
Q. Is that the words he used? Knock her off?
A. Yeah.
Q. Did he tell you why?
A. He said if someone was to find her and she was to make it, live, she would tell on us and we all would get busted. So he told me for look for something so when I when go look I found a L-shaped bar, tire bar.
Q. Where did you find this tire bar?
A. In the back seat area. Then I walked out to the bug. I mean I walked towards the girl and he told me for hit um. So I when swing all the way back and I wen' hit her on the head. Somewhere on the head. I'm not sure where. Then I dropped the bar and I went towards the bug on the driver side. I remained outside it. I was feeling sick and I told Ian that I cannot do this so he wen' head back to her and I guess he when do um.
Q. Did he have the tire bar when he went back towards her?
A. Well I dropped it after I when hit her.
Q. Okay, when you hit her on the head did you notice which area it was? Did you notice if she was bleeding from that area or if there was a wound where you hit her?
A. No, I cannot remember. But I know that the hit that I gave her was real hard. And after that, after I was leaning on the bug and went back in the bug. And then later on, after Ian and the brother Shawn came back in. They closed the front part of the trunk and then came in the car then we left.
0845
Dana M. IRELAND
P. O. Box 4019
Pahoa, Hawaii 12-24-91
Det. S. GUILLERMO
D-74774
PN
MURDER
PAGE 7 OF 10 PAGES
Q. When you hit her with the tire bar what was your intention?
A. To make sure I killed her.
Q. To make sure she died?
A. Yeah.
Q. After you hit her was she moving or anything like that? Do you know if she was still alive?
A. I cannot remember. That I cannot remember.
Q. Okay. So after Ian and Shawn came back in the car what happened next?
A. We headed back towards Hawaiian Beaches through the back roads. Then we made several stops to smoke cocaine again. And as we stopped Ian Schweitzer kept going back towards the front of the bug to make sure that the body was dead. Just to check on the body.
Q. And this was after you guys left the area where he had sex with her?
A. Yes.
Q. Do you know whether the body was in there after you guys left the area where he had sex with her?
A. No, I was already in the back.
Q. After making these stops after you left the area where he had sex with her did you see Ian unload the body anywhere else?
A. No.
Q. Or did he ask anyone else to help him?
A. No.
Q. When did you first discover that the body was not in the trunk of the vehicle anymore?
A. When we were at Ian Schweitzer's house in Hawaiian Beaches.
Q. And how did you find that out?
A, We was washing the car to take off the blood and for some reason we opened up the front. I guess for shoot um down and neva have no body or anything in there. Then Ian, Ian came out of the house. He took a shower that's why and he told his brother Shawn to make sure after he pau bafe put the clothes in a rubbish bag.
0846
Dana M. IRELAND
P. O. Box 4019
Pahoa, Hawaii 12-24-91
Det. S. GUILLERMO
D-74774
PN
MURDER
PAGE 8 OF 10 PAGES
Q. Okay, what happened to that rubbish bag?
A. Ian tied a knot on it and threw it on the right side of the house through a bush. And he left it there. Then when, after all that was done we headed back towards my house on Aku Street.
Q. Can you remember what kind of clothes Ian and Shawn were wearing on that day?
A. No.
Q. When you returned to your home there was a party?
A. Christmas party.
Q. Did anyone question Ian or you or even Shawn on the damages to Ian's Volkswagen?
A. Yeah.
Q. And what was Ian's answer?
A. He said I banged the trunk and after that he was just saying don't worry about it.
Q. And the people that asked him about he damages, were they family members?
A. Family members.
Q. And who were they that asked?
A. My brother Wayne Gonsalves. That's about it.
Q. How long did Ian and Shawn stay at the party?
A. For short while.
Q. Okay, going back to the beginning, do you remember about what time Ian and Shawn came to pick you up?
A. It was somewhere before lunch time or little bit after lunch
time.
Q. And you returned to your home, you know about what time it was? Was it still lighted or coming dark?
A. Still lighted.
Q. Do you have any idea what happened to the Volkswagen?
A. Yeah they had it parked in the back of their house and I guess they fixed it cause it had a different paint job. It was yellow.
0847
Dana M. IRELAND
P. O. Box 4019
Pahoa, Hawaii 12-24-91
Det. S. GUILLERMO
D-74774
PN
MURDER
PAGE 9 OF 10 PAGES
Q. When was the last time that you saw the Volkswagen painted yellow? About?
A. About two months after the accident.
Q. Were there any other changes to the Volkswagen other than paint and the repair to the trunk area?
A. Yeah, it was lowered. That's about it. It was lowered.
Q. But you are positive it was the same Volkswagen?
A. Yeah. I know it was the same Volkswagen. The reason I know it was the same Volkswagen was he told me he can fix it that's why.
Q. You also mentioned when we talked earlier that the Volkswagen belonged to a family member of yours at one time.
A. Yeah. Demetrio Gonsalves. Better known as Timmy.
Q. And that Volkswagen, was it traded or sold to Ian? Do you know?
A. They made deals for it.
Q. Do you recall if Shawn did anything to the female during this whole incident?
A. No, I can't remember that part.
Q. Has Ian talked to you since this incident?
A. Yeah.
Q. And what was the conversation about?
A. Told me for make sure I don't talk about what happened and if I did he said he would get me. In what way I don't know.
Q. There was a lot of parts that are unclear to you. It's a little fuzzy, Why is that?
A. Drugs. Cocaine to be precise.
Q. And you mean that obviously on that day that this happened you were smoking some cocaine?
A. Yes.
Q. On that day, or prior to that day, were you smoking on these days also?
A. Yes. I was addicted.
0848
Dana M. IRELAND
P. O. Box 4019
Pahoa, Hawaii 12-24-91
Det. S. GUILLERMO
D-74774
PN
MURDER
PAGE 10 OF 10 PAGES
Q. Okay, Frank, is there anything else you want to add to the statement?
A. No.
Q. Have you given this statement on your own free will?
A. Yes.
Q. Have I coerced or forced you in any way to give this statement?
A. No.
Q. Okay, have I promised you anything in return for this statement?
A. No.
Q. During the past 24 hours were you under the influence of any alcohol or drugs?
A. No.
Q. Okay, this incident that we were talking about, did it occur in the District of Puna?
A. Yeah.
Q. And County and State of Hawaii?
A. Yeah.
TERMINATED AT 0848 HOURS ON JUNE 19, 1994.
I have read the foregoing nine pages and this tenth page of this statement and have had an opportunity to make corrections thereon. I know the contents thereof to be true and correct to the best of my knowledge and belief.
[Signed Frank Pauline Jr]
FRANK RAYMOND PAULINE, JR.
Date: Jun 20/94 Time: 7.51 AM
WITNESSED BY:
[Signed Det. Guillermo]
Date: 6/20/94 Time: 0753
The questioning look on the girl's face in the poster contrasts dramatically with the anxious peep of lady-in-veil, waiting for her commute at the bus-stop.....
I had a few hours walking through Fraserburgh Harbour capturing as many vessels as I could on 19th April 2018, its a fine busy harbour and when the sun shines you can capture the trawlers etc at their best, I had toured the harbour for over an hour or so before I read this sign, it made me feel uncomfortable though ai understand the need for security , I continued to capture the vessels for another hour without anyone stopping or questioning me , next time I visit , I will seek permission from the relevant department .
Fraserburgh Harbour is situated in Aberdeenshire in the North East corner of Scotland and is ideally positioned for the fishing grounds of the North and East of Scotland, as well as being in close proximity to the North Sea oil and gas fields and the emerging offshore renewables market. The location also makes it well placed for trade with Scandinavia and the Baltic sea ports.
Google and Wiki have the folowing info on this fine town.
Fraserburgh (/ˈfreɪzərbrə/; Scots: The Broch or Faithlie, Scottish Gaelic: A' Bhruaich) is a town in Aberdeenshire, Scotland with a population recorded in the 2001 Census at 12,454 and estimated at 12,630 in 2006.
It lies at the far northeast corner of Aberdeenshire, about 40 miles (64 km) north of Aberdeen, and 17 miles (27 km) north of Peterhead. It is the biggest shellfish port in Europe, landing over 12,000 tonnes in 2008, and is also a major white fish port and busy commercial harbour.
History
The name of the town means, literally, 'burgh of Fraser', after the Fraser family that bought the lands of Philorth in 1504 and thereafter brought about major improvement due to investment over the next century. Fraserburgh became a burgh of barony in 1546. By 1570, the Fraser family had built a castle (Fraserburgh Castle) at Kinnaird's Head and within a year the area church was built. By the 1590s the area known as Faithlie was developing a small harbour.
In 1592, Faithlie was renamed Fraserburgh by a charter of the Crown under King James VI. Sir Alexander Fraser was given permission to improve and govern the town as Lord Saltoun. At present this title is still in existence and is held by Flora Fraser, 20th Lady Saltoun and head of Clan Fraser. The Royal Charter also gave permission to build a college and university in Fraserburgh allowing the Lord Saltoun to appoint a rector, a principal, a sub-principal, and all the professors for teaching the different sciences.
A grant from the Scottish Parliament in 1595 allowed the first college building to be erected by Alexander Fraser, and in 1597 the General Assembly of the Church of Scotland recommended the Rev. Charles Ferme, then minister at the Old Parish, to be its first (and only) principal.
In 1601, Fraserburgh became a burgh of regality. The college, however, closed only a decade or so after Ferme's arrest on the orders of James VI for taking part in the 1605 General Assembly, being used again only for a short time in 1647 when King's College, Aberdeen temporarily relocated owing to an outbreak of plague. A plaque commemorating its existence may be seen on the exterior wall of the remains of the Alexandra Hotel in College Bounds.
Fraserburgh thereafter remained relatively quiet until 1787 when Fraserburgh Castle was converted to Kinnaird Head Lighthouse, Scotland's first mainland lighthouse. In 1803, the original 1571 church building was replaced and enlarged to seat 1000 people. The Auld Kirk was to be the standing authority in the town up until the 1840s.
The Statistical Account on the Parish of Fraserburgh, written between 1791–1799 (probably 1791) by Rev. Alexander Simpson of the Old Parish Church, shows that the population of Fraserburgh was growing with peaks due to seasonal employment. He records a population of about 2000 in 1780 of whom only 1000 resided in the town.
There was an additional population of 200 in the village of Broadsea. He makes a point of the arrival of Dr. Webster in Fraserburgh in 1755 claiming that the population then only stood at 1682. By the time the account was written the population had increased by 518 souls since 1755. Rev. Simpson also gives accounts of deaths, births and marriages. Between 1784-1791, he claims to have an average of 37 baptisms, 14 marriages and 19 deaths per year. The statistical account mentions activities with the harbour. He describes the harbour as small but good, telling that it had the capability to take vessels with '200 tons burden' at the time the account was written.
The account also mentions that Fraserburgh had tried and succeeded in shipbuilding especially after 1784. His account finishes speaking of a proposed enlargement of the harbour. He claims that the local people would willingly donate what they could afford but only if additional funding was provided by the Government and Royal Burghs.
The second statistical account, written as a follow up to the first of the 1790s, was written in January 1840 by Rev. John Cumming. He records population in 1791 as 2215 growing to only 2271 by 1811, but increasing massively to 2954 by 1831. He considered the herring fishing, which intensified in 1815, to be the most important reason for this population boom. By 1840 he writes that seamen were marrying early with 86 marriages and 60 births in the parish in the space of one year. On top of this increased population, he explains that the herring season seen an additional 1200 people working in the Parish. There is also mention of the prosperity of this trade bringing about an increase in general wealth with a change in both dress and diet. Cumming also records 37 illegitimate children from 1837–1840 although he keeps no record of death.
The prosperity of the economy also brought about improvement within the town with a considerable amount of new houses being built in the town. The people were gaining from the herring industry as in real terms rent fell by 6% from 1815 to 1840. Lord Saltoun was described as the predominant land owner earning £2266,13s,4d in rents.
This period also saw the extension of the harbour with a northern pier of 300 yards built between 1807–1812 and, in 1818, a southern pier built by Act of Parliament. Cumming states that no less than £30,000 was spent developing the harbour between 1807 and 1840 by which time the harbour held eight vessels of 45–155 tons and 220 boats of the herring fishery.
A railway station opened in 1865 and trains operated to Aberdeen via Maud and Dyce, as well as a short branch line to St. Combs. It was, however, closed to passengers in 1965 as part of the Beeching cuts, though freight trains continued to operate until 1979, after which the station site was redeveloped. Currently, the closest operating station is Inverurie, 56 km (35 miles) away.
Climate[
Fraserburgh has a marine climate heavily influenced by its proximity to the sea. As such summer highs and winter lows are heavily moderated, with very mild winter temperatures for a location so far north. The differences between seasons are very narrow as a result, with February averaging highs of 6.7 °C (44.1 °F) and August 17.2 °C (63.0 °F).[6] As a result of its marine influence, there is significant seasonal lag, with September being milder than June and October has slightly milder nights than May, in spite of a massive difference of daylight. The climate is overcast and wet with 1351.8 hours of sunshine. Temperature extremes have ranged from 26.6.C (July 1995) down to -14.4.C (February 1991) 747.7 millimetres (29.44 in) of precipitation per annum.
A few years ago Richard Lamm, then the Governor of Colorado, suggested that the old have a duty to die and leave our resources to the young. Well his wish may come true.
Commentary by Betsy McCaughey
Feb. 9 (Bloomberg) -- Republican Senators are questioning whether President Barack Obama’s stimulus bill contains the right mix of tax breaks and cash infusions to jump-start the economy.
Tragically, no one from either party is objecting to the health provisions slipped in without discussion. These provisions reflect the handiwork of Tom Daschle, until recently the nominee to head the Health and Human Services Department.
Senators should read these provisions and vote against them because they are dangerous to your health. (Page numbers refer to H.R. 1 EH, pdf version).
The bill’s health rules will affect “every individual in the United States” (445, 454, 479). Your medical treatments will be tracked electronically by a federal system. Having electronic medical records at your fingertips, easily transferred to a hospital, is beneficial. It will help avoid duplicate tests and errors.
But the bill goes further. One new bureaucracy, the National Coordinator of Health Information Technology, will monitor treatments to make sure your doctor is doing what the federal government deems appropriate and cost effective. The goal is to reduce costs and “guide” your doctor’s decisions (442, 446). These provisions in the stimulus bill are virtually identical to what Daschle prescribed in his 2008 book, “Critical: What We Can Do About the Health-Care Crisis.” According to Daschle, doctors have to give up autonomy and “learn to operate less like solo practitioners.”
Keeping doctors informed of the newest medical findings is important, but enforcing uniformity goes too far.
New Penalties
Hospitals and doctors that are not “meaningful users” of the new system will face penalties. “Meaningful user” isn’t defined in the bill. That will be left to the HHS secretary, who will be empowered to impose “more stringent measures of meaningful use over time” (511, 518, 540-541)
What penalties will deter your doctor from going beyond the electronically delivered protocols when your condition is atypical or you need an experimental treatment? The vagueness is intentional. In his book, Daschle proposed an appointed body with vast powers to make the “tough” decisions elected politicians won’t make.
The stimulus bill does that, and calls it the Federal Coordinating Council for Comparative Effectiveness Research (190-192). The goal, Daschle’s book explained, is to slow the development and use of new medications and technologies because they are driving up costs. He praises Europeans for being more willing to accept “hopeless diagnoses” and “forgo experimental treatments,” and he chastises Americans for expecting too much from the health-care system.
Elderly Hardest Hit
Daschle says health-care reform “will not be pain free.” Seniors should be more accepting of the conditions that come with age instead of treating them. That means the elderly will bear the brunt.
Medicare now pays for treatments deemed safe and effective. The stimulus bill would change that and apply a cost- effectiveness standard set by the Federal Council (464).
The Federal Council is modeled after a U.K. board discussed in Daschle’s book. This board approves or rejects treatments using a formula that divides the cost of the treatment by the number of years the patient is likely to benefit. Treatments for younger patients are more often approved than treatments for diseases that affect the elderly, such as osteoporosis.
In 2006, a U.K. health board decreed that elderly patients with macular degeneration had to wait until they went blind in one eye before they could get a costly new drug to save the other eye. It took almost three years of public protests before the board reversed its decision.
Hidden Provisions
If the Obama administration’s economic stimulus bill passes the Senate in its current form, seniors in the U.S. will face similar rationing. Defenders of the system say that individuals benefit in younger years and sacrifice later.
The stimulus bill will affect every part of health care, from medical and nursing education, to how patients are treated and how much hospitals get paid. The bill allocates more funding for this bureaucracy than for the Army, Navy, Marines, and Air Force combined (90-92, 174-177, 181).
Hiding health legislation in a stimulus bill is intentional. Daschle supported the Clinton administration’s health-care overhaul in 1994, and attributed its failure to debate and delay. A year ago, Daschle wrote that the next president should act quickly before critics mount an opposition. “If that means attaching a health-care plan to the federal budget, so be it,” he said. “The issue is too important to be stalled by Senate protocol.”
More Scrutiny Needed
On Friday, President Obama called it “inexcusable and irresponsible” for senators to delay passing the stimulus bill. In truth, this bill needs more scrutiny.
The health-care industry is the largest employer in the U.S. It produces almost 17 percent of the nation’s gross domestic product. Yet the bill treats health care the way European governments do: as a cost problem instead of a growth industry. Imagine limiting growth and innovation in the electronics or auto industry during this downturn. This stimulus is dangerous to your health and the economy.
(Betsy McCaughey is former lieutenant governor of New York and is an adjunct senior fellow at the Hudson Institute. The opinions expressed are her own.)
To contact the writer of this column: Betsy McCaughey at Betsymross@aol.com
mobster #1:tell us everything!
guy tied up:everything?
mobster#1:everything!
guy tied up:ok ok ill talk..in first grade.....
amazing, altruistic, bombastic, brave, curious, calculating, conniving, creative, celebration, determined, energetic,enthusiastic, expressive, endearing, fashion conscious, fun-loving, futuristic, gesticulating, hardworking, happy, honest, harrowing, Innocent, innovative, inventive, inquisitive, jovial, Karishmatic, laughing, linguists, musical, nature lovers, naughty, nimble-footed, omnipresent, outgoing, quiet, quick, questioning, risk taking, social, spirited, spontaneous, tireless, tantrum, ubiquitous, vibrant, vulnerable, vivacious, wonderment, ......
They make the world a wonderful and worthwhile place to live in. We are responsible to leave a better place for the generations to come...
Haus of Edwards (Alyssa Edwards, Laganja Estranja and Shangela) perform at Pride in the Park 2015, Fairfield County's annual Pride festival. Hosted by Triangle Community Center & World Health Clinicians at Mathews Park in Norwalk, CT.
An room where interrogations took place during socialism in GDR. Shot inside the former Stasi prison Hohenschönhausen in Berlin.
Lesbian, gay, bisexual, transgender and questioning youth are up to four times more likely to attempt suicide than their heterosexual peers, according to the Massachusetts 2006 Youth Risk Survey. A 2009 study, "Family Rejection as a Predictor of Negative Health Outcomes" led by Dr. Caitlin Ryan and conducted as part of the Family Acceptance Project at San Francisco State University, shows that adolescence who were rejected by their families for being LGBT were 8.4 times more likely to report having attempted suicide. And for every completed suicide by a young person, it is estimated that 100 to 200 attempts are made.
Don't be silent. Be proud of who you are.
What may have been the most important day in collective, 21st Century U.S. activism. Only time will tell.
Almost 2000 years ago, four writers recorded the life and teaching of Jesus. The first four books in the New Testament bear their names: Matthew, Mark, Luke, and John.
Matthew was one of Jesus' twelve disciples. He offers a first-hand account of what Jesus said and did over a three-year period.
Luke was a physician who became a follower of Jesus after Jesus' life on earth. He spent time with many who were close to Jesus during His earthly ministry. Jesus' mother Mary gave Luke a mother's insight into the birth and early life of Jesus.
John wrote the last of the four histories. Of the twelve disciples, no one was closer to Jesus than John. He was the disciple who stood alone at the foot of the cross. Jesus demonstrated His great trust in John by committing to John the care of His mother Mary. At the time he wrote the last of the four histories, John was the only disciple of the original twelve who was still living.
Mark's record is the earliest of the four accounts. A young boy during the latter part of Jesus' life, Mark grew up to travel with Peter, one of Jesus' first followers and closest friends. Peter was a fisherman who followed Christ personally and traveled with Him for more than three years. We know from early church historians that Mark wrote what he learned from Peter as he preached about Jesus to all who would listen. Irenaeus wrote in A.D. 175, "Mark, the disciple and interpreter of Peter, also transmitted to us in writing the things preached by Peter."
Of the four histories, Mark's Gospel is the simplest, shortest and most direct presentation of Jesus' life, written in the common language of the marketplace. None of the other Gospels devotes as great a portion of its content to Jesus' suffering, death and resurrection. Mark does not mention Christ's genealogy or birth. Instead, he begins his Gospel by describing John the Baptist's preaching and baptism, followed by the baptism and temptation of Jesus. Then he leads into Jesus' public ministry in Galilee, giving special attention to His miraculous works that prove Him to be the Son of God.
As in all Peter's sermons about Jesus recorded in the Book of Acts, the presentation about Christ in the Gospel of Mark answers two simple but critical questions. It is divided almost perfectly in two equal halves, the first presenting who Jesus is and the second presenting why He gave His life.
From the earliest part of chapter 1 through the end of chapter 8, Mark records Jesus' miraculous works and repeatedly draws attention to the significance of who Jesus is. That is why in the first half of Mark's gospel the word "who" occurs so often.
In the first chapter, Mark clearly declares that Jesus is the Son of God1 Even demons gave this testimony: "I know who you are — the Holy One of God!" But, Jesus did not permit the demons to speak, "because they knew who he was."2
In chapter 2, the scribes said, "Who can forgive sins but God alone?"3 In chapter 4, after Jesus miraculously calmed the storm, the disciples said to one another, "Who then is this that even the wind and the sea obey Him?"4
The climax of Mark's presentation of who Jesus is in the first half of the book comes at the close of chapter 8: "And Jesus went out, along with His disciples, to the villages of Caesarea Philippi; and on the way He questioned His disciples, saying to them, 'Who do people say that I am?' And they told Him, saying, 'John the Baptist; and others say Elijah; but others, one of the prophets.' And He continued by questioning them, 'But who do you say that I am?' Peter answered and said to Him, 'You are the Christ.'"5
The second half of Mark's 16 chapters describe the final week of Jesus' life on earth — His suffering, death and resurrection. In a series of statements Jesus reveals the purpose for which He was sent into the world: "He then began to teach them that the Son of Man must suffer many things and be rejected by the elders, chief priests and teachers of the law, and that he must be killed and after three days rise again."6 "He said to His disciples, 'The Son of Man is going to be betrayed into the hands of men. They will kill him, and after three days he will rise.'"7 ''We are going up to Jerusalem,' he said, 'and the Son of Man will be betrayed to the chief priests and teachers of the law. They will condemn him to death and will hand him over to the Gentiles, who will mock him and spit on him, flog him and kill him. Three days later he will rise.'"8
Also contained in Mark are three dramatic "confessions." In the first verse, Mark himself confesses Jesus as the Son of God. 9 This is followed by Peter's confession in the middle of the book, "You are the Christ,"10 and builds to the Roman centurion's confession, "Surely this man was the Son of God!"11
As you read through Mark's record of the life and teachings of Jesus, you will discover that His life touches the very center of your life.
--------
Note: Clicking on any footnote number will take you to the reference.
1 Mark 1:24, NIV
2 1:34, NIV
3 2:7, NIV
4 4:41
5 8:27-29
6 8:31
7 9:31
8 10:33,34
9 1:1
10 8:29, NIV
11 15:39, NIV
are you questioning my untarnished authority and pristine reputation? Why? I am the smartest and best chess piece ever.
Here's a couple of pieces that probably had some people, more specifically my wife, questioning my sanity. In my defense, it was cheap and I was in Winnipeg, so I needed a little something extra to keep me powering through the week.
Nendoroid Anna and Elsa from Frozen.
Now, I'm not as big of a Disney Nerd, as it were, as I used to be. I've always enjoyed their designs (though IMHO Aladdin beats them all), and I did enjoy the once or twice I saw Frozen. The story was cute, and the designs were quite nice. Didn't quite get into Carpool Karaoke mode that many others did when the song came on the radio, and with my children being quite young, I didn't have to endure tone dea.... I mean.. charming, renditions of the songs by my daughters.
Whist in Winnipeg, a local seller had these up for $25 a pop, albeit with slight damage to the Olaf that came with Anna. Figured it was a good opportunity to get them both at once, so one rainy morning before work I met up with the seller and got the deal one.
On a side note, the Medicom Anna and Elsa are OUTSTANDING, and I would love to get my hands on those without having to pay black market organ prices.
If you haven't watched Frozen.. somehow.. then you're probably still somewhat familiar with the characters. Anna is the plucky younger sister of the Royal family, while Elsa is quite literally an Ice Queen, and lives a life like Bruce Wayne from Act One of The Dark Knight Rises.
As I've probably said before, the Nendoroid "style" lends itself to certain characters. At worst, you get a chibi version of a normal proportioned character, like with those Cosbaby release that Hot Toys puts out, but sometimes that Nendoroid magic just makes this release of the character that much more magical.
In this case, it leans more towards the magical side, though not as magically delicious as, say Kirby. The simplifed art style and cute proportions do make animated characters like Anna and Elsa somewhat more appealing that normal, but I feel that, especially in the case of Elsa, there significant loss of detailing on the outfits is to the detriment of the overall character itself.
Again, your standard Nendoroid rules regarding articulation, QC, included accessory types and so on apply here. Of the two, I'd have to give the slight advantage to Elsa with her raised eyebrow expression and much cooler ice based accessories.
Olaf.. well, he's kind of there. Nice addition, but ultimately doesn't really add a whole lot to the set IMHO because if you bought one, you probably bought both to display together.
GSC included a set of arms that allows you to link the two figures together in that pose I keep picturing Paris Hilton and Nicole Richie in.
This also brings me to the weakest part of the set, as it were.. that horrible snowflake base that Elsa comes with. It's honestly like a take out container lid with a snowflake moulded in.
Obviously while not an essential part of the Nendoroid experience (I don't think I actually own any of those, to be honest), a good solid set of figures that you shouldn't hesitate on if you find them for a good price.
talvipuu: medievalpoc: girlinfourcolors: fantastic-nonsense: chicketycheckyourprivilege: militantweasel: hauntedmarch: itsthatawesomeperson: when will america learn…. We won’t learn, because our education system sucks Instead of treating kids like machines in a factory, being created into obedient workers. It looks like in Finland they’re treated like actual humans. it’s also because all teachers there have masters’ degrees, and teaching is seen as a prestigious profession like medicine or law. What’s actually wrong with American schools is not that they’re not like Finnish schools. What’s wrong with American schools is that they’re an outdated relic of the early 20th century, where the object was to train a child to have the mindset required to work in a factory job long hours of the day, as at the time that mandatory public school was instituted, that was the main expectation of children. As the industrial age faded and the US entered the era of private sector jobs, the education system failed to reflect that change, and they’re still training us to have the mindset for an industrial job, not a job in today’s job market. The problem with American schools is not that they’re not like Finnish schools. The problem with American schools is that they’re preparing us for jobs that no longer exist. I keep seeing this reblogged as if that system were ever a good and positive thing for children. The American school system wasn’t designed to prepare young adults to enter the work force as free and independent agents. It was designed to indoctrinate children so that they would not complain about the dangerous, monotonous industrial work ahead of them. It was designed by factory owners with the express purpose of quelling working class revolt before it happened. It was designed to repress individual thinking and to increase dependence. Capitalists watched socialism rising up across the world and they designed American schools to ensure it would not happen here. You want to know what kind of school you get when you apply that thinking to the modern workplace? This is an example of a Rocketship school, charter schools that target “primarily low-income students in neighborhoods where access to excellent schools is limited.” How do parents feel about their children being so excellently prepared for the current job market? See for yourself. These schools prey upon low-income communities, especially in areas with high Latin@/Hispanic populations. They’re becoming increasingly popular because they do exactly what the old industrial schools did: they create a workforce. After you’ve spent thirteen formative years of your life in a call center, after all, what more could you possibly want out of life? Education, arts, independent thinking: those things are for rich children. Stop pretending that “being prepared for jobs” is a GOOD thing to do to CHILDREN. I wanted to share this because I think a lot of people, both inside and outside of the United states, don’t really understand just how bad our education system is, or how it’s been worsening. I’ve literally had people say stuff along the lines of “where do you get these ideas about the education system” or “everyone knows [the content of medievalpoc] so therefore you don’t have a point” (which is super weird, I know, but they still say it). The financial model and practices for charter schools like Rocketship honestly do not differ greatly from that of say, for-profit prisons. Basically, they’re like a machine with a funnel into which you put human beings in one end, and money comes out the other. What happens to the people is really just a kind of by-product. It’s no accident that these "schools" target poor communities of color, or that the teachers they employ are often under-qualified. I don’t know and cannot verify any of the statements in the original graphic above about Finnish schools. What and who I am here for are the people who have received or are in the process of receiving the kind of education described above in the United States. In this kind of environment, in which textbook producers are either willing to literally rewrite history in order to pander to political, social, and financial pressures or are forced to do so, any kind of art history education is viewed as optional, much less the kind of art you see here on medievalpoc, which is rarely seen even among graduate students. Trying to make counternarratives available to the people disenfranchised by the system-approved dominant narratives (unless you can pay for, have access to, and understand a $200,000 college education, in which case medievalpoc’s topics are considered perfectly legitimate) is as good a description of my goal in curating this blog as any. None of what I’m describing is a “conspiracy”, other than anything inherently conspiratorial about stating facts on the way things just are. This is my starting point, and this is why I am committed to making the material here as accessible-by anyone!-as possible. I’d like to note that as someone who did go through the oh so wonderful Finnish school system (which is pretty good, but not grandest miracle ever that’s being described in the original post) AND as a Finnish cultural history major, medievalpoc has taught me a lot and really changed my perspective toward the history of people of colour. (Basically, medievalpoc made me realize that European people of colour did exist before the 19th century.) I’m both sorry and glad to hear that. While the content of the education may not be that different in the art history department between the U.S. and Finland, the manner in which the material is conveyed as well as the rather vital social and critical thinking skills that are supposed to be imparted along with the educational content do. That’s something I feel relatively secure in saying. I’ve received messages and feedback from readers who have been silenced, mocked, and even called “stupid” for questioning what they were being taught in classrooms here. As well as the sometimes unbelievably questionable content of art history classes and the way in which these materials are presented [cw: rape].
Here's a couple of pieces that probably had some people, more specifically my wife, questioning my sanity. In my defense, it was cheap and I was in Winnipeg, so I needed a little something extra to keep me powering through the week.
Nendoroid Anna and Elsa from Frozen.
Now, I'm not as big of a Disney Nerd, as it were, as I used to be. I've always enjoyed their designs (though IMHO Aladdin beats them all), and I did enjoy the once or twice I saw Frozen. The story was cute, and the designs were quite nice. Didn't quite get into Carpool Karaoke mode that many others did when the song came on the radio, and with my children being quite young, I didn't have to endure tone dea.... I mean.. charming, renditions of the songs by my daughters.
Whist in Winnipeg, a local seller had these up for $25 a pop, albeit with slight damage to the Olaf that came with Anna. Figured it was a good opportunity to get them both at once, so one rainy morning before work I met up with the seller and got the deal one.
On a side note, the Medicom Anna and Elsa are OUTSTANDING, and I would love to get my hands on those without having to pay black market organ prices.
If you haven't watched Frozen.. somehow.. then you're probably still somewhat familiar with the characters. Anna is the plucky younger sister of the Royal family, while Elsa is quite literally an Ice Queen, and lives a life like Bruce Wayne from Act One of The Dark Knight Rises.
As I've probably said before, the Nendoroid "style" lends itself to certain characters. At worst, you get a chibi version of a normal proportioned character, like with those Cosbaby release that Hot Toys puts out, but sometimes that Nendoroid magic just makes this release of the character that much more magical.
In this case, it leans more towards the magical side, though not as magically delicious as, say Kirby. The simplifed art style and cute proportions do make animated characters like Anna and Elsa somewhat more appealing that normal, but I feel that, especially in the case of Elsa, there significant loss of detailing on the outfits is to the detriment of the overall character itself.
Again, your standard Nendoroid rules regarding articulation, QC, included accessory types and so on apply here. Of the two, I'd have to give the slight advantage to Elsa with her raised eyebrow expression and much cooler ice based accessories.
Olaf.. well, he's kind of there. Nice addition, but ultimately doesn't really add a whole lot to the set IMHO because if you bought one, you probably bought both to display together.
GSC included a set of arms that allows you to link the two figures together in that pose I keep picturing Paris Hilton and Nicole Richie in.
This also brings me to the weakest part of the set, as it were.. that horrible snowflake base that Elsa comes with. It's honestly like a take out container lid with a snowflake moulded in.
Obviously while not an essential part of the Nendoroid experience (I don't think I actually own any of those, to be honest), a good solid set of figures that you shouldn't hesitate on if you find them for a good price.
Yusuf Omar, journalist, eNews Channel Africa and member of the Media Travel Programme (MTP), raises a question during the media event held for the launch of the IRTAD Road Safety Annual Summit 2014 at the International Transport Forum’s 2014 Summit on “Transport for a Changing World” on 21 May 2014 in Leipzig, Germany
amazing, altruistic, bombastic, brave, curious, calculating, conniving, creative, celebration, determined, energetic,enthusiastic, expressive, endearing, fashion conscious, fun-loving, futuristic, gesticulating, hardworking, happy, honest, harrowing, Innocent, innovative, inventive, inquisitive, jovial, Karishmatic, laughing, linguists, musical, nature lovers, naughty, nimble-footed, omnipresent, outgoing, quiet, quick, questioning, risk taking, social, spirited, spontaneous, tireless, tantrum, ubiquitous, vibrant, vulnerable, vivacious, wonderment, ......
They make the world a wonderful and worthwhile place to live in. We are responsible to leave a better place for the generations to come...
amazing, altruistic, bombastic, brave, curious, calculating, conniving, creative, celebration, determined, energetic,enthusiastic, expressive, endearing, fashion conscious, fun-loving, futuristic, gesticulating, hardworking, happy, honest, harrowing, Innocent, innovative, inventive, inquisitive, jovial, Karishmatic, laughing, linguists, musical, nature lovers, naughty, nimble-footed, omnipresent, outgoing, quiet, quick, questioning, risk taking, social, spirited, spontaneous, tireless, tantrum, ubiquitous, vibrant, vulnerable, vivacious, wonderment, ......
They make the world a wonderful and worthwhile place to live in. We are responsible to leave a better place for the generations to come...
Info from their website:
"The QUILTBAG is a 2SLGBTQ+ retail shop carrying queer & trans wares in Edmonton, Alberta and online. Queer & Metis owned.
"QUILTBAG" is a fun-to-say variation of the LGBTQ2S+ acronym. It stands for queer, questioning, unlabelled, intersex, lesbian, trans, two-spirit, bisexual, asexual, gay, genderqueer, and more.
The shop carries an always changing assortment of custom and curated accessories like pins, pronoun buttons, patches, stickers; art by local artists; homeware; gifts; and trans gear including chest binders and compression underwear."
Ouzo questioning the white doodle and asking if he had a permit to come play in his mud hole. Apparently just Ouzo and Boss, the boxer, had birth rights to this corner of the park, no doodles allowed.
Ouzo is a very peaceful dog, rarely even acknowledging the presence of other dogs at the park, but certain dogs can really push his buttons. He was very accepting of the boxer who came and hung with us for about 15-20 mins with no owner in sight (we spotted him later), despite Boss bouncing left and right, he was very respectful of Ouzo.
When this doodle showed up, Ouzo decided to pull his sheriff badge. But that was all.
Few minutes later there was a white Husky who was looking for trouble while evading his owner who was desperately trying to catch him. I had to watch them very closely, as Ouzo was willing to return the favors to the Husky, but luckily he's smarter than that and we simply moved away from this spot till the Husky took off so he can avoid being caught by his master ;)
I don't have any pictures of that incident because I was watching my dog to make sure nothing bad happens, I didn't have a good feeling about the other dog's intentions.
Subject of Inquiry #1:
Believes herself to be cooperative yet appears to have inability to understand line of questioning.
It is not my belief that Subj #1 is impaired mentally. Emotionally is a possibility.
Subj #1 displays tendencies consistent in language barrier yet appears to have perfect fluency.
We know who Subj #1 is. We know where she comes from. We know where she’s been. We
even know what she’s been doing: Searching for a lost relative.
Among the Monotooths!!
Why? Was this relative abducted? This line of questioning produces no leads. Subj #1 doesn’t
seem to know. Or understand. Subject #1 had given up search when we picked her up.
Mental state is broken, defeated, has given up. Not assets for inquisition.
Transferred primary focus to…
Subject of Inquiry #2:
Found within our own compound. Trying to reach out to Subj #1.
Former companion. Shipmate and only other known survivor of [omitted], lost with all hands at Sea last year to apparent Fever outbreak. Petty criminal and beggar now.
Knows much more than he’s telling. Has no language barrier or emotional damage.
So far, very resistant to succeeding stages of inquiry.
Possible true believer symptoms. High level of emotional attachment to Subj #1.
Perhaps if Subj #2 believed Subj #1 were threatened.
Do not believe Subj# 1 to be emotionally attached in same way to #2.
Major Nakba stood up and stretched. Enough paperwork. It was time to get personally involved again. This was taking too much time. Someone had deliberately poked the Monotooth nest. He needed to know why.
“Dustin,” he called to his aide as he passed the lieutenant’s desk, “Have Subject One brought over from the box to Vault 6. It’s time to try something different here.” He himself went directly to Vault 6. It was a pod meant to be used as an ammo dump, designed to contain explosions if the worst happened and keep out the unauthorized so it made a very convenient prison cell when empty. Noises on the inside, stayed inside. People put inside, stayed inside. He rounded the corner of a barracks container and saw Vault 6.
The guard wasn’t at the door. The door was open! He ran the rest of the way but as soon as he saw it, he skidded to a stop. The door wasn’t open. It was ripped off its track.
The vault had been forced! The vault had been forced? What could do that? One of the heavy recovery vehicles?
A person appeared at the doorway. A very small person carrying a bloody bundle of person nearly half again her size. She saw him.
“Major. One requests medical treatment for One’s Guide.”
How the hell?? Never mind! Focus! Promise her anything. Keep her talking until the cavalry showed up. Dustin will be sounding the alarm as soon as he gets to the box and sees she’s escaped. “Of course. Whatever you need.”
“One thanks the Major.” She turned to go, a child came out of the vault behind her and they both started walking toward the gate.
“Whoa, whoa, where are you going?”
“One is going to seek medical attention for One’s Guide.”
“The Medipod is this way.”
“One does not trust medical attention administered by those who caused the damage.”
“We’ll take good care of him. I promise.”
“One believes the Major is insincere but thanks the Major for the offer. One will seek immediate attention in Aedlin.” She turned to go again.
He moved to cut her off. “I can’t let you leave. You know that.”
She stopped walking and looked him in the eye. “One regrets the Major’s decision and apologizes.”
The last thing Major Nakba thought he heard was the child’s muffled laughter.
[Major Nakba needed more personality.]
BONES: Booth (David Boreanaz, L) is interested in questioning the CEO of a toy company (guest star Morgan Fairchild, R) in "The Prince in the Plastic" episode of BONES airing Thursday, Nov. 17 (9:00-10:00 PM ET/PT) on FOX. ©2011 Fox Broadcasting Co. Cr: Ray Mickshaw/FOX
Miss Juliana Willoughby
West Building, Main Floor—Gallery 59
•Date: 1781-1783
•Medium: Oil on Canvas
•Dimensions:
oOverall: 92.1 × 71.5 cm (36¼ × 28⅛ in.)
•Credit Line: Andrew W. Mellon Collection
•Accession Number: 1937.1.104
•Artists/Makers:
oArtist: George Romney, British, 1734-1802
Overview
Juliana Willoughby stands quietly but alertly, engaging the viewer with her direct, slightly questioning gaze. The blended harmonies of the pinks, whites, and creams of her skin tones, her dress, and her shining wisps of fine hair evoke not just Juliana, but the essence of all little girls of this age. The dramatic diagonals of the landscape, the energetic brushwork of the trees at the right, and the strong coloration of the sky provide a dynamic backdrop for the young subject.
Romney’s sure sense of formal values is evident here in the effective balance of figure and landscape. In this portrait Romney successfully adapted his composition to a change in the sitter’s costume, X-rays show that Juliana originally wore a small, brimless cap. During the two years it took Romney to complete the portrait, Juliana, who was by then almost six years old, had outgrown her mobcap and wore, instead, this broad-brimmed bonnet.
Like many of his contemporaries, Romney traveled to Italy, where he spent two years studying the work of Renaissance masters, in particular paintings by Titian and Raphael. The impact of these artists on his work can be seen in the simply expressed folds of Juliana’s dress, the case and certainty of his outlines, and the artful balance of broad areas of color.
Provenance
Painted for the sitter’s father, Sir Christopher Willoughby, Bt. [1748-1808], Baldon House, Oxfordshire; by descent to Sir John Willoughby, 5th Bt.,[1] Fulmer Hall, Slough, Buckinghamshire; sold 1906 to (M. Knoedler & Co., London and New York); purchased February 1907 by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 28 December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.
[1]The 2nd through 4th Baronets Willoughby added to the former owner table in the NGA collection database are per The Getty Provenance Index, which lists these baronets each with the symbol (?), indicating some doubt as to the painting’s direct passage through these three succeeding brothers down to the 5th Bt.
Associated Names
•Knoedler & Company, M.
•Mellon Educational and Charitable Trust, The A.W.
•Mellon, Andrew W.
•Willoughby, 1st Bt., Christopher, Sir
•Willoughby, 2nd Bt., Christopher William, Sir
•Willoughby, 3rd Bt., Henry Pollard, Sir
•Willoughby, 4th Bt., John Pollard, Sir
•Willoughby, 5th Bt., John Christopher, Sir
Technical Summary
The medium-weight canvas is tightly twill woven; it has been lined. The light gray ground is applied smoothly and fairly thickly. The painting is executed in vigorously brushed thick paint with moderate impasto in the costume, while the darks are painted in thin, transparent glazes. X-radiographs show that the sitter originally wore a smaller hat and that her features then appeared younger; there are slight pentimenti in her right shoulder and the contour of the bow. The painting is in good condition. The paint surface has not been abraded and there are no major losses. The impasto was slightly flattened during lining and there is scattered but minor retouching. The synthetic varnish applied after conservation in 1985 has not discolored.
Bibliography
•1904—Ward, Humphry and William Roberts. Romney. 2 vols. London, 1904: 1:95-96, 98-99, 101; 2:172.
•1941—Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 171-172, no. 104, as Miss Willoughby.
•1942—Book of Illustrations. National Gallery of Art, Washington, 1942: 241, repro. 18, as Miss Willoughby.
•1949—Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 115, repro., as Miss Willoughby.
•1951—King, Marian. Portfolio Number 3. National Gallery of Art, Washington, 1951: no. 9, color repro.
•1952—Cairns, Huntington, and John Walker, eds., Great Paintings from the National Gallery of Art. New York, 1952: 136, color repro., as Miss Willoughby.
•1960—Cooke, Hereward Lester. British Painting in the National Gallery of Art. Washington, D.C., 1960 (Booklet Number Eight in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 42, color repro. on cover, as Miss Willoughby.
•1963—Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 222, repro., as Miss Willoughby.
•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 116, as Miss Willoughby.
•1966—Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 2:358, color repro., as Miss Willoughby.
•1966—Henderson [later Jaffé], Patricia. George Romney. Maestri del colore series, no. 250. Milan, 1966: color pl. 14.
•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 103, repro., as Miss Willoughby.
•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 308, repro., as Miss Willoughby.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 509, color repro.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 362, no. 507, color repro., as Miss Willoughby.
•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 354, repro., as Miss Willoughby.
•1991—Kopper, Philip. America’s National Gallery of Art: A Gift to the Nation. New York, 1991: 56, 89, color repro.
•1992—Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 235-237, color repro. 236.
•1992—National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 151, repro.
•1993—Pointon, Marcia. Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England. New Haven, 1993: 182, 184-185, color fig. 216.
•2004—Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 281, no. 229, color repro.
•2012—Catlin, Roger. “The Candidates’ Thoughts on Art? Well, the Picture’s a Little Fuzzy.” Washington Post 135, no. 307 (7 October 2012): E7, color repro.
From British Paintings of the Sixteenth through Nineteenth Centuries:
1937.1.104 (104)
Miss Juliana Willoughby
•1781-1783
•Oil on Canvas, 92.1 × 71.5 (36¼ × 28⅛)
•Andrew W. Mellon Collection
Technical Notes
The medium-weight canvas is tightly twill woven; it has been lined. The light gray ground is applied smoothly and fairly thickly. The painting is executed in vigorously brushed thick paint with moderate impasto in the costume, while the darks are painted in thin, transparent glazes. X-radiographs show that the sitter originally wore a smaller hat and that her features then appeared younger; there are slight pentimenti in her right shoulder and the contour of the bow. The painting is in good condition. The paint surface has not been abraded and there are no major losses. The impasto was slightly flattened during lining and there is scattered but minor retouching. The synthetic varnish applied after conservation in 1985 has not discolored.
Provenance
Painted for the sitter’s father, Sir Christopher Willoughby, 1st Bt. [1748-1808], Baldón House, Oxfordshire; by descent to Sir John Willoughby, 5th Bt., Fulmer Hall, Slough, Buckinghamshire, by whom it was sold 1906. (M. Knoedler & Co.), from whom it was purchased February 1907 by Andrew W. Mellon, Pittsburgh, who deeded it 28 December 1934 to The A. W. Mellon Educational and Charitable Trust, Pittsburgh.
Juliana Willoughby was the only child of Sir Christopher Willoughby and his first wife, Juliana, daughter of the Reverend John Burville, whom he married in 1776. Juliana’s mother died on 20 April 1777, probably in childbirth ; 1777, at any rate, is likely to have been the date of Juliana’s birth. Nothing further is recorded about her life, so that she probably died young and unmarried.
Miss Willoughby had two sittings with Romney in 1781, on 13 and 20 May.1 She had two further sittings the following year, on 22 April and 29 June 1782, and four more a year later, on 24,27, and 29 March, and on 10 April 1783.2
Miss Willoughby began to be painted when she was (probably) just four years old. At the time of her last sittings she was (probably) almost six. This difference in age accounts for the substitution, shown in x-radiographs, of a fashionable adult hat for the child’s mob cap, which she had outgrown. The placement high in the canvas adds to this sense of sophistication. The positioning of her left forearm is echoed in the sweeping diagonal of the landscape background, executed in lively brushwork which, together with the agitated handling of the sky, enhances the vitality of this delightful image of childhood.
Notes
1.Ward and Roberts 1904, 1 :95-96.
2.Ward and Roberts 1904, 1 : 98-99, 101.
References
•1904—Ward and Roberts 1904, 1:95-96, 98-99,101;2:172.
•1949—Mellon 1949: no. I04,repro. 115.
•1966—Henderson [later Jaffé], Patricia. George Romney. (Maestri del colore series, no. 250.) Milan, 1966: color pl. 14.
•1976—Walker 1976: no. 509, color repro.
Moving trough a hamlet south of the village of Long Thanh my interpreter sgt. Le Huu Tu and I question a villager.
Guyhirn chapel, Guyhirn, Cambridgeshire
Sweetest Remembrance of Joyce Irene Culy, who died 5th May 1928 aged 18 months.
The soul looks out through wide blue eyes
So questioningly into mine,
That my tormented soul replies
"Oh little body, do not die
You hold the soul that talks to me,
Although our conversation be
As wordless as the windy sky."
So looked my father at the last,
Right in my soul before he died,
Though words we spoke went heedless past
As London traffic-roar outside.
And now the same blue eyes I see
Look through me from a little son,
So questioningly, so searchingly
That youthfulness and age are one.
My father looked at me and died
Before my soul made full reply.
Lord, leave this other light alight
Oh little body, do not die.
John Betjeman, A child, ill
A CCT church, the key is at a shipping container converted into a vegetable stall in the main street. Welcome to Cambridgeshire. This church is unique for a number of reasons. It is the only church built in Cambridgeshire during the Commonwealth. Built as a Congregational chapel, it was completed in 1660 in time for the Restoration of the Monarchy and the Church, and was thus dedicated as an Anglican church (though apparently never consecrated). Because of this it is in the care of the CCT rather than the Chapels Trust. It was used as a chapel of ease to Wisbech, and then to Wisbech St Mary, and then itself became a parish church in its own right, before being superseded in the 1860s when George Gilbert Scott built a new parish church at the other end of the long village. The chapel became a funerary chapel (the graveyard is still in use today) but gradually fell into disuse, and by 1960 it had been abandoned. It was left to decay into a picturesque ruin.
However, in the early 1970s the Vicar of Guyhirn decided it was worth rescuing. As it was still technically a CofE parish church he found he could get it declared redundant and then vested in the care of the Redundant Churches Fund, today the CCT. It was lovingly restored by the Friends of Guyhirn Chapel, with John Betjeman as their president, who even wrote a poem about it. The local parish use it a couple of times a year.
Ironically, the parish of Guyhirn was subsumed into Wisbech St Mary as part of restructuring in the 1980s, and the 19th Century parish church here at Guyhirn now fell into disuse, and was abandoned in the 1990s. It is now in a terrible state, overgrown with ivy and falling down. The chapel, however, is delightfully well-cared for. It is built of stone on the two sides facing the road, and of simple brick on the other two sides which you can't see (this tells you a lot of what you need to know about mid-17th Century puritanism). You step into a small, neat box-like space with the original 17th Century benches in tall rows, close together because puritan worship frowned on kneeling. There is a simple holy table (a later addition by the CCT) and part of the original pulpit structure, now tucked up one corner. The atmosphere is lovely - simple, seemly, and, dare one say it, entirely appropriate for 21st Century Anglican worship.
One Direction
If you use my work, or modified versions of my work in social networking sites please link back to my flickr account, give me the credit.
Detectives probing the kidnaps of two men in Salford last month are questioning five suspects after dawn raids this morning saw properties targeted across the city and Manchester as part of the investigation.
Earlier today (Thursday 7 April) officers from our Tactical Aid Unit (TAU), alongside local officers, hit six addresses in Blackley, Gorton and Salford.
The action comes after we received a report on the evening of Thursday 24 March regarding a man being assaulted and dragged into a car by a group of three men on Clarendon Park.
Thankfully after enquiries by specialist investigators, the victim - a man in his 20s - was found safe and well with some physical injuries but none that required hospital treatment.
Subsequent enquiries have led detectives from our Swinton CID to believe that a second man - also aged in his 20s - was also targeted by the group but was able to flee from the offenders vehicle.
We think that the incidents have been targeted attacks emanating from a possible drugs dispute involving organised criminals and we're keen to ensure that any potential suspects are identified and brought to custody for questioning.
Five men aged between 20 and 30 are currently in two custody sites across Greater Manchester and await questioning on suspicion of kidnap.
Anyone with concerns or information about suspicious activity in their area should contact us online via LiveChat, if able, or by calling 101 knowing that information will be treated with the strictest confidence.
Details can also be passed anonymously to the independent charity Crimestoppers on 0800 555 111.
I am questioning how I can change my relationship with the objects that surround me by transforming them into interactive play experiences through the medium of knitting. Transforming Touch is a series of playable, shape changing, and kinetic knitting pieces. When touched, the pieces expand and illuminate, exposing an exciting variety of colours as it transforms. The pieces combine industrially knit fabric with soft robotic structures, sensors and LED lights to allow the work to playfully transform in response to the viewer’s touch. The pieces use colour and material to foster human interaction through play. The series is an expression of hope for a future filled with joy and play after the current crisis.
Find out more about the artists: glenechopark.org/movingforward
In this project I have been exploring the feeling of alienation. In order to understand this topic more fully I researched philosophers and psychologists. In doing this, I learnt more in depth about current schools of thought relating to the concept of alienation. This was important because it informed the meaning and intentions behind all my physical work completed in this project. It allowed me to collect my thoughts and ideas and link them to pre existing philosophies. Albert Camus is an existentialist philosopher who wrote about the absurd, human mortality and suicide. In his book, The Outsider, the protagonist, Meursault, becomes so alienated from reality that he does not mourn his mother's death, does not care about getting married and eventually does not care about killing a man or being executed for this. Camus believed that humans had no purpose or meaning and that we must create these for ourselves. It can be hard to do this and failure to do this can lead to alienation in all forms. This school of thought came into popularity after World War 2 due to a questioning of religion, something that gives people purpose. This questioning resulted from the atrocities that were committed in the war. The ‘existential attitude’ is a feeling of dread or disorientation felt when faced with a meaningless and absurd world. This feeling also affected the art world, with movements like abstract expressionism emerging. Inspired by surrealist ideas, abstract expressionism is a movement which emphasises the self, anxiety and grief being expressed through vigourous, active brush strokes and expressive mark making.
Another existentialist philosopher I researched was Sartre. One of his key ideas was bad faith. This is when a person submits to societal forces and does not utilise their personal freedom. Sartre’s common example was a waiter who is too ‘waiter-esque’, too eager to please, too absorbed in his waiter identity that he has forgotten he is a free entity. He is acting inauthentically and therefore is suppressing his freedom. In this modern interconnected world I believe people are acting in bad faith more and more as there is not often a time when one is truly alone. We are always communicating via social media. We act as our perceived ‘best’ form of ourselves where we are not actually being free. We are merely pretending to be ‘cooler’ than we actually are, pretending that we fit into societies boxes, when, more often than not, we don’t. This is possibly a reason for increased mental health issues in today’s society (although I do not believe this is the only or even the main reason).
A psychologist I researched was Carl Jung. He was a psychodynamic psychologist who worked with Freud and the Vienna Society. He wrote about the shadow self. This is an unconscious part of the self which one does not identify with oneself. Contrary to Freud’s definition of the shadow, Jung believed it not only contains very negative parts of oneself but also can contain positive parts; it is comprised of anything hidden from our consciousness. Positive parts of the self are more commonly held in the shadow in people suffering from mental health disorders like low self esteem and anxiety. Jung wrote that the shadow is the animalistic and instinctive part of the self which the ego suppresses when you develop out of childhood. It is linked with the Id, the part of the self which operates on the pleasure principle. Jung also wrote that the shadow is prone to psychological projection, a phenomenon where a persons insecurities and perceived deficiencies are projected onto another person. For example, someone who is very intolerant may call someone else intolerant when they are called out on their intolerance. They do not want to believe they are intolerant and have not accepted that part of themselves so they use projection as a defence mechanism. Furthermore, Jung wrote that the shadow self is a window to creativity and expressing one’s true self, “in spite of its function as a reservoir for human darkness, or perhaps because of this, the shadow is the seat of creativity”. I feel that all of these philosophical and psychological ideas will be very interesting to express through visual art.
After this research I went on to research artists whose ideas linked to existentialist philosophy and psychodynamic psychology. One artist I researched was Francis Bacon. He was a painter from the 1900s who painted grotesque, raw and bold images. Usually portraits, his paintings are distorted and mangled into emotional expressions of the artists own troubles. He had a troubled life, one example being kicked out of his home at 15 because of his homosexuality. A lot of these troubles shine through in his paintings. His paintings often have an element of aggressive expressionism, using obvious brush strokes and mark-making to accentuate the raw emotion he is expressing in his paintings. The distortion of the face could link to Sartre’s idea of bad faith, the figures changing and distorting themselves to fit into societies prescribed boxes, creating ugly versions of oneself. Also, it could link to the shadow self as it is an ugly representation of the figure which seems surreal or disconnected to reality.
Another artist who links to these ideas is Giacometti. Although his most famous works are his sculptures, I think his paintings are also very interesting. They often depict a figure sitting, staring straight at the viewer. The colours he uses are very muted, creating a negative, depressing mood. His brush strokes are again expressive, attacking the canvas with colour. This creates a sense of anxiety and conflict. This may be felt by the subject, the artist and the viewer. The proportions of the subject are often distorted, stretched to make them more slender, almost ghost-like.
A third artist I researched who greatly influenced my work was Emilio Villalba. His paintings are a mismatch of facial features. He greatly distorts the face of his subjects, creating a strange, eerie mood. The dark background contrasts the often over saturated face, creating interesting depth in his works. He often combines elements of realism with very expressive areas, adding to the surreal, psychological mood. From these artists I created responses, meaning I learnt more fully about the techniques they use. They also informed my first photoshoot which I presented in my source book. This photoshoot contained simple portraits that I intended to distort and change through my drawings and paintings. They helped to link my ideas into ideas for my own pieces. For example, throughout my project I experimented with lighting to create a dark almost ghostlike atmosphere.
After completing my source book, I started to work on the main book. I completed in depth research on two artists, Kwang Ho Shin and Frank Auerbach. From Kwang Ho Shin I learnt about impasto, a technique used by both of these artists to create an interesting, distorted image. Another idea I learnt from Kwang Ho Shin was to use bold, unnatural colours. This creates the unnatural mood. It could be related to the modern, technological world where we are becoming more and more detached from nature, also linking to my idea of modern bad faith. Also, I learnt about contrast. In his paintings, Kwang Ho Shin uses a large amount of contrast with the often plain white canvas backgrounds and the textural, bold figure. He also accentuates this with the black areas of the figure. This leads to the creation of an interesting image and could symbolise our detachment from society. From Auerbach I learnt about choosing subject matter. He said, “I find myself simply more engaged when I know the people. They get older and change; there is something touching about that, about recording something that’s getting on.” I believe that using yourself and subjects you know well in real life can lead to the creation of more intimate and honest pieces because you aren’t creating the emotions, you are expressing existing emotions which you have insight into. This lead to me predominantly using myself and my girlfriend in my pieces as I felt that we are the people I know best, meaning I know more of what's going on inside our heads. Another technique I learnt from Auerbach and Kwang Ho Shin was the use of randomness. Although it is generally informed randomness, it often can lead to a very honest piece as you are allowing your subconscious to take over. This links to a surrealist idea of automatism (used by artists like André Masson and Joan Miro) and Jean Arp’s use of randomness in pieces like ‘Collage with Squares Arranged According to the Laws of Chance’. I also learnt about colour from Auerbach with his use of distorted colours. Unlike Kwang Ho Shin, Auerbach doesn’t use such vibrant colours, creating a more moody atmosphere.
Using ideas from this in depth research and previous research, I took the first large photoshoot. I placed objects over the lens, used long exposure techniques and used coloured LEDs to distort the image. I tried to capture an atmosphere of uneasiness and anxiety. These ideas come from existentialist ideas like bad faith. The images distortions could signify the distortions we make to ourselves in order to fit into society. The bright colours take the images further away from reality. This lead to the creation of a series of work from these photos. I took ideas of mixed media from Kwang Ho Shin. I used chalk, charcoal and pastel to create surreal, sometimes angry self portraits using ideas from Kwang Ho Shin and Auerbach. I also drew a skull, using the macabre idea from artists like Ensor and Bacon. I also created many continuous line drawings, using a range of different techniques. In some of the pieces I tied multiple pens of different colours together, using ideas of unnatural colour from Auerbach and Kwang Ho Shin. I also used extended arm techniques where I tied a pen to a 30cm ruler and drew with that. Some other continuous line drawings used a dark background with a white pen, again taking ideas of contrast and dark backgrounds from artist research. All of these continuous line drawings have an element of randomness, an idea from Auerbach and Kwang Ho Shin. They also strongly link to surrealist automatism.
A second photoshoot was then carried out. This photoshoot was just 2 photos which I then made many photoshopped versions of. This photoshoot was heavily influenced by Emilio Villalba and his tapestries of facial features. I tried to distort the images to create a mood of estrangement and alienation. Similarly to the first photo shoot, this one was influenced by bad faith, just expressed in a different way. The duplicated facial features and the disfigurement expresses the way one warps oneself into the boxes society forces us into. This lead to the creation of many more pieces using ideas of distortion and uneasiness. I tried to capture this through the use of pencil, pen, paint, pastel and more. In some of my pieces, I added colours to further emphasize the existentialist ideas from the first photoshoot. In others, I used impasto, a technique learned from Auerbach and Shin. The impasto further accentuates the ideas of bad faith and alienation. Another technique I used was expressive line. This was learnt from the line drawings of Giacometti and Auerbach. This allows me to express emotion through the gestures I make while drawing the piece. If I am angry, the lines will be more erratic and rough. For example, the black and red self portrait with felt tip pen was drawn when I was in a very angry mood. Another example was the mixed media self portrait where it started off as a pencil drawing. As I was carefully drawing it, the outcome was not what I wanted, making me quite angry. I then expressed this anger through the gestural paint and pen. The anger could link to the idea of bad faith and the shadow self through it being an expression of frustration of our true self (or our unconscious self) when we are forced to confine it to society's norms. This unconscious frustration and alienation from ourselves can often be the cause of irrational anger that seems to come from nowhere.
I then decided to work towards creating a final piece. I was aiming to experiment with different techniques and compositions which I felt would sum up my ideas the most fully. I experimented with cropping out most of the face and making the focal point the eye. I feel that the eyes are the most expressive part of the face and can reveal the most about a person's feelings. Another aspect I experimented with was colour. Using ideas from my first photoshoot I quickly chose to use unnatural colours. I didn’t wish to use colours as vibrant as Kwang Ho Shin because I felt that more muted colours create a darker mood. I wanted the colours to be similar to real life but still far enough away to create the surreal mood. This was the same in the proportions I distorted. This links to the idea of the ‘Uncanny valley’ which suggests that ‘humanoid objects which appear almost, but not exactly, like real human beings elicit uncanny, or strangely familiar, feelings of eeriness and revulsion in observers’. In terms of composition, I created many quick drawings experimenting with composition. I decided to use a black background as it contrasts nicely with the colours and almost signifies that the figures are subconscious representations as they are not placed into reality. This was inspired by Emilio Villalba and some of Bacon’s work. I created two oil pastel pieces heavily inspired by Francis Bacon’s distorted portraits. I was aiming to capture the way we warp our self by warping the physical self. This led to more research into Francis Bacon’s process and I learned that he used unprimed canvas. This meant that in my development I experimented with different fabrics and found that I liked the unprimed canvas the most. It creates an interesting texture and I prefer the way it feels to paint on as it is rough and lends itself to a rough and expressive style of painting. He also painted a lot of triptychs. I decided on painting a triptych because they allow for time to be included in the piece. I decided to create a piece that gets more and more disoriented and warped, showing how over time we get more and more alienated from our true selves as we get more indoctrinated into societies norms. The composition of the triptych will have the least distorted piece in the center as it will be the most eye catching of the three and provide context for the more distorted ones.
Re-writing history
In his photo series, the french photographer, Nicolas Demeersman, invites us to see « history » from another point of view, questioning the images we see everyday, in mainstream media & film.
Well known, white, historical figures are presented as black people, in new and sometimes very clichéd scenarios, attempting to question what many people see as their reality.
We rarely think about the struggle of being ethnic in a “white world”, because many of us do not believe this struggle exists, until we experience it for ourselves. In media, there are very few black actors and cartoon characters in lead roles. The black character is always the first to die in horror films or is cast as the « best, funny friend ». Directors, producers, writers… are overlooked at awards ceremonies. This is happening in the 21st century, a time when all the consensus, intellectual and media, conclude that racism is one of the worst things to occur in the world.
One of the most obvious reasons for all of this, is that the history we know and learn about black culture, tends to focus on the bad events, such as slavery or colonisation… Very few people can name a good event, apart from the launch of Beyoncé’s last album.
Shot in studio, staged and retouched, the photographer plays with the codes of advertising and media, which sometimes excludes the black character/history. All the while creating amazing marketing words and sentences to justify this exclusion. The photographer uses all the « black clichés », to exaggerate the stories of the characters, creating a funny, sacastic photo series, that puts the onlooker at ease.
As if Snow White would have a banana instead of an apple or Hitler would question his own face. A black Wonder Woman for all the little girls to look up to, a black Napolean & Cesar, leaders of two the greatest Empires of their time, and a black Obelix, still larger than life. History is made by heroes and characters, not their skin.
Miss Juliana Willoughby
West Building, Main Floor—Gallery 59
•Date: 1781-1783
•Medium: Oil on Canvas
•Dimensions:
oOverall: 92.1 × 71.5 cm (36¼ × 28⅛ in.)
•Credit Line: Andrew W. Mellon Collection
•Accession Number: 1937.1.104
•Artists/Makers:
oArtist: George Romney, British, 1734-1802
Overview
Juliana Willoughby stands quietly but alertly, engaging the viewer with her direct, slightly questioning gaze. The blended harmonies of the pinks, whites, and creams of her skin tones, her dress, and her shining wisps of fine hair evoke not just Juliana, but the essence of all little girls of this age. The dramatic diagonals of the landscape, the energetic brushwork of the trees at the right, and the strong coloration of the sky provide a dynamic backdrop for the young subject.
Romney’s sure sense of formal values is evident here in the effective balance of figure and landscape. In this portrait Romney successfully adapted his composition to a change in the sitter’s costume, X-rays show that Juliana originally wore a small, brimless cap. During the two years it took Romney to complete the portrait, Juliana, who was by then almost six years old, had outgrown her mobcap and wore, instead, this broad-brimmed bonnet.
Like many of his contemporaries, Romney traveled to Italy, where he spent two years studying the work of Renaissance masters, in particular paintings by Titian and Raphael. The impact of these artists on his work can be seen in the simply expressed folds of Juliana’s dress, the case and certainty of his outlines, and the artful balance of broad areas of color.
Provenance
Painted for the sitter’s father, Sir Christopher Willoughby, Bt. [1748-1808], Baldon House, Oxfordshire; by descent to Sir John Willoughby, 5th Bt.,[1] Fulmer Hall, Slough, Buckinghamshire; sold 1906 to (M. Knoedler & Co., London and New York); purchased February 1907 by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 28 December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.
[1]The 2nd through 4th Baronets Willoughby added to the former owner table in the NGA collection database are per The Getty Provenance Index, which lists these baronets each with the symbol (?), indicating some doubt as to the painting’s direct passage through these three succeeding brothers down to the 5th Bt.
Associated Names
•Knoedler & Company, M.
•Mellon Educational and Charitable Trust, The A.W.
•Mellon, Andrew W.
•Willoughby, 1st Bt., Christopher, Sir
•Willoughby, 2nd Bt., Christopher William, Sir
•Willoughby, 3rd Bt., Henry Pollard, Sir
•Willoughby, 4th Bt., John Pollard, Sir
•Willoughby, 5th Bt., John Christopher, Sir
Technical Summary
The medium-weight canvas is tightly twill woven; it has been lined. The light gray ground is applied smoothly and fairly thickly. The painting is executed in vigorously brushed thick paint with moderate impasto in the costume, while the darks are painted in thin, transparent glazes. X-radiographs show that the sitter originally wore a smaller hat and that her features then appeared younger; there are slight pentimenti in her right shoulder and the contour of the bow. The painting is in good condition. The paint surface has not been abraded and there are no major losses. The impasto was slightly flattened during lining and there is scattered but minor retouching. The synthetic varnish applied after conservation in 1985 has not discolored.
Bibliography
•1904—Ward, Humphry and William Roberts. Romney. 2 vols. London, 1904: 1:95-96, 98-99, 101; 2:172.
•1941—Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 171-172, no. 104, as Miss Willoughby.
•1942—Book of Illustrations. National Gallery of Art, Washington, 1942: 241, repro. 18, as Miss Willoughby.
•1949—Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 115, repro., as Miss Willoughby.
•1951—King, Marian. Portfolio Number 3. National Gallery of Art, Washington, 1951: no. 9, color repro.
•1952—Cairns, Huntington, and John Walker, eds., Great Paintings from the National Gallery of Art. New York, 1952: 136, color repro., as Miss Willoughby.
•1960—Cooke, Hereward Lester. British Painting in the National Gallery of Art. Washington, D.C., 1960 (Booklet Number Eight in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 42, color repro. on cover, as Miss Willoughby.
•1963—Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 222, repro., as Miss Willoughby.
•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 116, as Miss Willoughby.
•1966—Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 2:358, color repro., as Miss Willoughby.
•1966—Henderson [later Jaffé], Patricia. George Romney. Maestri del colore series, no. 250. Milan, 1966: color pl. 14.
•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 103, repro., as Miss Willoughby.
•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 308, repro., as Miss Willoughby.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 509, color repro.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 362, no. 507, color repro., as Miss Willoughby.
•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 354, repro., as Miss Willoughby.
•1991—Kopper, Philip. America’s National Gallery of Art: A Gift to the Nation. New York, 1991: 56, 89, color repro.
•1992—Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 235-237, color repro. 236.
•1992—National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 151, repro.
•1993—Pointon, Marcia. Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England. New Haven, 1993: 182, 184-185, color fig. 216.
•2004—Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 281, no. 229, color repro.
•2012—Catlin, Roger. “The Candidates’ Thoughts on Art? Well, the Picture’s a Little Fuzzy.” Washington Post 135, no. 307 (7 October 2012): E7, color repro.
From British Paintings of the Sixteenth through Nineteenth Centuries:
1937.1.104 (104)
Miss Juliana Willoughby
•1781-1783
•Oil on Canvas, 92.1 × 71.5 (36¼ × 28⅛)
•Andrew W. Mellon Collection
Technical Notes
The medium-weight canvas is tightly twill woven; it has been lined. The light gray ground is applied smoothly and fairly thickly. The painting is executed in vigorously brushed thick paint with moderate impasto in the costume, while the darks are painted in thin, transparent glazes. X-radiographs show that the sitter originally wore a smaller hat and that her features then appeared younger; there are slight pentimenti in her right shoulder and the contour of the bow. The painting is in good condition. The paint surface has not been abraded and there are no major losses. The impasto was slightly flattened during lining and there is scattered but minor retouching. The synthetic varnish applied after conservation in 1985 has not discolored.
Provenance
Painted for the sitter’s father, Sir Christopher Willoughby, 1st Bt. [1748-1808], Baldón House, Oxfordshire; by descent to Sir John Willoughby, 5th Bt., Fulmer Hall, Slough, Buckinghamshire, by whom it was sold 1906. (M. Knoedler & Co.), from whom it was purchased February 1907 by Andrew W. Mellon, Pittsburgh, who deeded it 28 December 1934 to The A. W. Mellon Educational and Charitable Trust, Pittsburgh.
Juliana Willoughby was the only child of Sir Christopher Willoughby and his first wife, Juliana, daughter of the Reverend John Burville, whom he married in 1776. Juliana’s mother died on 20 April 1777, probably in childbirth ; 1777, at any rate, is likely to have been the date of Juliana’s birth. Nothing further is recorded about her life, so that she probably died young and unmarried.
Miss Willoughby had two sittings with Romney in 1781, on 13 and 20 May.1 She had two further sittings the following year, on 22 April and 29 June 1782, and four more a year later, on 24,27, and 29 March, and on 10 April 1783.2
Miss Willoughby began to be painted when she was (probably) just four years old. At the time of her last sittings she was (probably) almost six. This difference in age accounts for the substitution, shown in x-radiographs, of a fashionable adult hat for the child’s mob cap, which she had outgrown. The placement high in the canvas adds to this sense of sophistication. The positioning of her left forearm is echoed in the sweeping diagonal of the landscape background, executed in lively brushwork which, together with the agitated handling of the sky, enhances the vitality of this delightful image of childhood.
Notes
1.Ward and Roberts 1904, 1 :95-96.
2.Ward and Roberts 1904, 1 : 98-99, 101.
References
•1904—Ward and Roberts 1904, 1:95-96, 98-99,101;2:172.
•1949—Mellon 1949: no. I04,repro. 115.
•1966—Henderson [later Jaffé], Patricia. George Romney. (Maestri del colore series, no. 250.) Milan, 1966: color pl. 14.
•1976—Walker 1976: no. 509, color repro.
Miss Juliana Willoughby
West Building, Main Floor—Gallery 59
•Date: 1781-1783
•Medium: Oil on Canvas
•Dimensions:
oOverall: 92.1 × 71.5 cm (36¼ × 28⅛ in.)
•Credit Line: Andrew W. Mellon Collection
•Accession Number: 1937.1.104
•Artists/Makers:
oArtist: George Romney, British, 1734-1802
Overview
Juliana Willoughby stands quietly but alertly, engaging the viewer with her direct, slightly questioning gaze. The blended harmonies of the pinks, whites, and creams of her skin tones, her dress, and her shining wisps of fine hair evoke not just Juliana, but the essence of all little girls of this age. The dramatic diagonals of the landscape, the energetic brushwork of the trees at the right, and the strong coloration of the sky provide a dynamic backdrop for the young subject.
Romney’s sure sense of formal values is evident here in the effective balance of figure and landscape. In this portrait Romney successfully adapted his composition to a change in the sitter’s costume, X-rays show that Juliana originally wore a small, brimless cap. During the two years it took Romney to complete the portrait, Juliana, who was by then almost six years old, had outgrown her mobcap and wore, instead, this broad-brimmed bonnet.
Like many of his contemporaries, Romney traveled to Italy, where he spent two years studying the work of Renaissance masters, in particular paintings by Titian and Raphael. The impact of these artists on his work can be seen in the simply expressed folds of Juliana’s dress, the case and certainty of his outlines, and the artful balance of broad areas of color.
Provenance
Painted for the sitter’s father, Sir Christopher Willoughby, Bt. [1748-1808], Baldon House, Oxfordshire; by descent to Sir John Willoughby, 5th Bt.,[1] Fulmer Hall, Slough, Buckinghamshire; sold 1906 to (M. Knoedler & Co., London and New York); purchased February 1907 by Andrew W. Mellon, Pittsburgh and Washington, D.C.; deeded 28 December 1934 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh; gift 1937 to NGA.
[1]The 2nd through 4th Baronets Willoughby added to the former owner table in the NGA collection database are per The Getty Provenance Index, which lists these baronets each with the symbol (?), indicating some doubt as to the painting’s direct passage through these three succeeding brothers down to the 5th Bt.
Associated Names
•Knoedler & Company, M.
•Mellon Educational and Charitable Trust, The A.W.
•Mellon, Andrew W.
•Willoughby, 1st Bt., Christopher, Sir
•Willoughby, 2nd Bt., Christopher William, Sir
•Willoughby, 3rd Bt., Henry Pollard, Sir
•Willoughby, 4th Bt., John Pollard, Sir
•Willoughby, 5th Bt., John Christopher, Sir
Technical Summary
The medium-weight canvas is tightly twill woven; it has been lined. The light gray ground is applied smoothly and fairly thickly. The painting is executed in vigorously brushed thick paint with moderate impasto in the costume, while the darks are painted in thin, transparent glazes. X-radiographs show that the sitter originally wore a smaller hat and that her features then appeared younger; there are slight pentimenti in her right shoulder and the contour of the bow. The painting is in good condition. The paint surface has not been abraded and there are no major losses. The impasto was slightly flattened during lining and there is scattered but minor retouching. The synthetic varnish applied after conservation in 1985 has not discolored.
Bibliography
•1904—Ward, Humphry and William Roberts. Romney. 2 vols. London, 1904: 1:95-96, 98-99, 101; 2:172.
•1941—Preliminary Catalogue of Paintings and Sculpture. National Gallery of Art, Washington, 1941: 171-172, no. 104, as Miss Willoughby.
•1942—Book of Illustrations. National Gallery of Art, Washington, 1942: 241, repro. 18, as Miss Willoughby.
•1949—Paintings and Sculpture from the Mellon Collection. National Gallery of Art, Washington, 1949 (reprinted 1953 and 1958): 115, repro., as Miss Willoughby.
•1951—King, Marian. Portfolio Number 3. National Gallery of Art, Washington, 1951: no. 9, color repro.
•1952—Cairns, Huntington, and John Walker, eds., Great Paintings from the National Gallery of Art. New York, 1952: 136, color repro., as Miss Willoughby.
•1960—Cooke, Hereward Lester. British Painting in the National Gallery of Art. Washington, D.C., 1960 (Booklet Number Eight in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 42, color repro. on cover, as Miss Willoughby.
•1963—Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 222, repro., as Miss Willoughby.
•1965—Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 116, as Miss Willoughby.
•1966—Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 2:358, color repro., as Miss Willoughby.
•1966—Henderson [later Jaffé], Patricia. George Romney. Maestri del colore series, no. 250. Milan, 1966: color pl. 14.
•1968—European Paintings and Sculpture, Illustrations. National Gallery of Art, Washington, 1968: 103, repro., as Miss Willoughby.
•1975—European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 308, repro., as Miss Willoughby.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: no. 509, color repro.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 362, no. 507, color repro., as Miss Willoughby.
•1985—European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 354, repro., as Miss Willoughby.
•1991—Kopper, Philip. America’s National Gallery of Art: A Gift to the Nation. New York, 1991: 56, 89, color repro.
•1992—Hayes, John. British Paintings of the Sixteenth through Nineteenth Centuries. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1992: 235-237, color repro. 236.
•1992—National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 151, repro.
•1993—Pointon, Marcia. Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England. New Haven, 1993: 182, 184-185, color fig. 216.
•2004—Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 281, no. 229, color repro.
•2012—Catlin, Roger. “The Candidates’ Thoughts on Art? Well, the Picture’s a Little Fuzzy.” Washington Post 135, no. 307 (7 October 2012): E7, color repro.
From British Paintings of the Sixteenth through Nineteenth Centuries:
1937.1.104 (104)
Miss Juliana Willoughby
•1781-1783
•Oil on Canvas, 92.1 × 71.5 (36¼ × 28⅛)
•Andrew W. Mellon Collection
Technical Notes
The medium-weight canvas is tightly twill woven; it has been lined. The light gray ground is applied smoothly and fairly thickly. The painting is executed in vigorously brushed thick paint with moderate impasto in the costume, while the darks are painted in thin, transparent glazes. X-radiographs show that the sitter originally wore a smaller hat and that her features then appeared younger; there are slight pentimenti in her right shoulder and the contour of the bow. The painting is in good condition. The paint surface has not been abraded and there are no major losses. The impasto was slightly flattened during lining and there is scattered but minor retouching. The synthetic varnish applied after conservation in 1985 has not discolored.
Provenance
Painted for the sitter’s father, Sir Christopher Willoughby, 1st Bt. [1748-1808], Baldón House, Oxfordshire; by descent to Sir John Willoughby, 5th Bt., Fulmer Hall, Slough, Buckinghamshire, by whom it was sold 1906. (M. Knoedler & Co.), from whom it was purchased February 1907 by Andrew W. Mellon, Pittsburgh, who deeded it 28 December 1934 to The A. W. Mellon Educational and Charitable Trust, Pittsburgh.
Juliana Willoughby was the only child of Sir Christopher Willoughby and his first wife, Juliana, daughter of the Reverend John Burville, whom he married in 1776. Juliana’s mother died on 20 April 1777, probably in childbirth ; 1777, at any rate, is likely to have been the date of Juliana’s birth. Nothing further is recorded about her life, so that she probably died young and unmarried.
Miss Willoughby had two sittings with Romney in 1781, on 13 and 20 May.1 She had two further sittings the following year, on 22 April and 29 June 1782, and four more a year later, on 24,27, and 29 March, and on 10 April 1783.2
Miss Willoughby began to be painted when she was (probably) just four years old. At the time of her last sittings she was (probably) almost six. This difference in age accounts for the substitution, shown in x-radiographs, of a fashionable adult hat for the child’s mob cap, which she had outgrown. The placement high in the canvas adds to this sense of sophistication. The positioning of her left forearm is echoed in the sweeping diagonal of the landscape background, executed in lively brushwork which, together with the agitated handling of the sky, enhances the vitality of this delightful image of childhood.
Notes
1.Ward and Roberts 1904, 1 :95-96.
2.Ward and Roberts 1904, 1 : 98-99, 101.
References
•1904—Ward and Roberts 1904, 1:95-96, 98-99,101;2:172.
•1949—Mellon 1949: no. I04,repro. 115.
•1966—Henderson [later Jaffé], Patricia. George Romney. (Maestri del colore series, no. 250.) Milan, 1966: color pl. 14.
•1976—Walker 1976: no. 509, color repro.
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