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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
The Original GLBT Expo Third Annual Video Lounge 2010
The 17th Original GLBT Expo
Jacob K. Javits Convention Center
655 West 34th Street
New York, NY 10001
(212) 216-2000
*********************2010 LINE UP INCLUDED*****************
Saturday 11:00 – 7:00 PM 2010
...11:00 Best in LGBT and our friends Music Videos including Kelly King, Levi Kreis, Rachael Sage,
12:00 George Lyter of ADD-TV music video block
1:00 Fifty years of Queer Cinema by Danforth Prince, of Blood Moon Productions
1:30 LGBT Historic Video – rare footage of NYC GLBT History curated by Randolfe Wicker
2:00 CampBlood.org's House of Horrors - Ever wonder what gays and horror movies have in common? Join the sickos behind the biggest gay horror movie site around.
2:30 David Kittredge, writer and director of the controversial thriller; "Pornography: A Thriller", opening at the Cinema Village on April 16
2 45 Rob Williams director of “Make the Yuletide Gay,” "Three-Day Weekend," and "Long Term Relationship"
3:00 George Lyter music video director and creator of ADD-TV with showcase Art and Activism w/guest speakers.
3:30 CampBlood.org's Slumber Party Massacre Join the nutsos behind the biggest gay horror movie website and their special guests for a slumber party with a serious body count. Bloodshed, beefcake and giveaways are just a few of the surprises in store at this party.
4:00 Under the Pink Carpet with Lovari - Meet the on air personalities from the gay-themed television entertainment news series that airs on WNYE / WNYC TV Channel 25, incl special guest Singer Lovari
4:30 Yozmit a special guest exposing Transgender discrimination in the job market. Yozmit has been in The Daily News, The New York Times and generating alot of press as she is part of the group that has filed a complaint with the state attorney general's office having proved city's human rights law were violated citing J. Crew as one of the offenders. Yozmit is also a performance artists and we will celebrate her work at the expo.
www.nydailynews.com/news/2010/03/14/2010-03-14_report_say...
4:45 Lavender Hip Hop, with Soce the Elemental Wizard and Chic & Sassy America's Top Drag Queen rappers
5:00 Ryan Janek Wolowski of MTV Networks interviews Main Stage Performers
6:00 - 7:00 Best in LGBT and our friends Music Videos incl Vanessa Conde, Beth Sacks, Neon Glitter Bliss, Salme Dahlstrom, amberRose Marie
**********************************************************
Sunday 12-6 2010
12:00 Best in LGBT and our friends Music Videos incl, Jason Antone, Brian Kent, LaVonna Harris, Noa Tylo
1:00 Appolonia Cruz from Fruta Extrana TV which is now FX GAY TV
1:15 Khalid Rivera recording artist who went to #1 Music Video on Logo’s Click List
1:30 GLAAD The Gay & Lesbian Alliance Against Defamation special guest Anu Singh
1:45 Samara Riviera from Vivalariviera.com has been seen on ABC and Telemundo Television, Samara has also produced footage for A&E Television Networks Biography series and has written for both Latino Boys and Adelante Magazine. Special guest will be Sahara Davenport from season two of RuPaul's Drag Race as seen on the MTV Networks channel Logo Television.
2:00 Rob Williams director of the award winning “Make the Yuletide Gay” now out on DVD
2:15 David Kittredge writer and director of the controversial thriller; "Pornography: A Thriller", opening at the Cinema Village on April 16
2:30 Lady Gaga - Live from The National Equality March
3:30 Ryan Janek Wolowski presents "Fatima's First Lady" comedy short starring R. Sky Palkowitz The Delusional Diva.
4:00 - 6:00 Best in LGBT and our friends Music Videos incl Lori Michaels, Athena Reich, Jamisin Lee (dancer), Peppermint, Josh Zuckerman, and interviews with main stage performers.
***********
Photo
New York City USA
03-20-2010
03-21-2010
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...
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
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.]
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...
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
A protester stands outside a Tesla showroom in Golden Valley, Minnesota, during a winter protest, with two Golden Valley police squad cars positioned in the background. The individual holds a sign criticizing Elon Musk, referencing "Doge" and questioning his influence, aligning with the "Tesla Takedown" movement.
Downtown Beirut is a manicured beautiful central district mixing western shopping with historic mosques and churches.
What we didn't expect to see was a number of tanks stationed at regular intervals on street corners.
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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