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I believe they all knew each in NIN Prostitute. Occasionally, the exclamation point indicates surprise on the part of the translator. Two different men named Shim-mu consorting with known prostitutes? But… really? Their rations were recorded consecutively. Surprisingly, there was a bird called kar-kid. I think the women resented being labeled as prostitutes every time they received their rations whether or not it was true. This means all the prostitutes no doubt knew each other. Or something like that. I suggest that so far as husbands go, Shim-mu was the lowest of the in NIN Prostitute.


The steel vessel is fixed with a frame for the convenience of its movement along with a pulley.
The vessel is connected with a motor to rotate with the power supply.
There are blades inside the vessel to mix the ingredients of the concretes accordingly.
The blades are quite appropriately sharp for serving the purpose.
There is a large manual wheel along with a pulley to manage the work in case of power failure.


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Q: Update title attribute on hover with clipboard.js I am using clipboard.js in order to copy some citations from a table. The basic HTML-markup is as follows:

TEXT

<button type="button" class="btn clipboard-btn ion-clipboard" data-clipboard-target="#citation"></button>

Now I am trying to display a title/text on mouse-over explaining what the user can do when clicking on the button (we only use an icon there).
I tried using a title="something" on the button but clipboard.js overwrites that and leaves it behind empty. Also manually setting data-original-title="something" doesn't do the trick.
What am I missing? How can I (preferably natively) achieve a mouseover-title on my button?

A: after executing  clipboard.js, find your button and set its title programmatically
$('Button').attr('title', 'something');

redpajama_set_name: RedPajamaStackExchange


Alexandra is currently a full stack developer at VaynerMedia. She works on all kinds of websites, CMS projects, AI bots (Alexa, Google Home), digital advertising, and EComm projects for Vayner's impressive clientele. You can reach her here.


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Kaliszer Leben (jidysz קאַלישער לעבען; pol. Życie Kaliskie) – żydowski tygodnik polityczny, społeczny i ekonomiczny wydawany w latach 1927–1939 w Kaliszu.

Przypisy

Zobacz też
 historia Żydów w Kaliszu
 Kaliszer Woch

Czasopisma w języku jidysz
Czasopisma w Polsce (1918–1939)
Czasopisma wydawane od 1927
Czasopisma wydawane do 1939
Mniejszość żydowska w II Rzeczypospolitej
Niewydawane tygodniki polskie
Prasa w Kaliszu (II Rzeczpospolita)
Prasa żydowska w Kaliszu
Tygodniki wydawane w Kaliszu

redpajama_set_name: RedPajamaWikipedia


We are all different. Our belief varies according to our religious education but most importantly according to our soul or conscience.
Some people accept literally what they have been told and some others need to be convinced in order to believe. And of course there are those who do not care or do not believe.
I grew up Christian and I believe in one God who revealed Himself in Jesus Christ. I have received, during my youth, a good Christian education which helped me to become Christian, but as I explained above, I am of that type of person who needs to be convinced in order to believe.
I prayed to God to help me understand Him and give me the opportunity to communicate my faith to others. I was blessed in 2011 when He answered my prayer and asked me to paint the Lord's life. Since then I was inspired to write. First I wrote the story of my painting mission in a book, then I was inspired to write articles about God and us launched on my website " www.pierrebittar.com" in 17 languages around the world. A collection of these articles are printed in a booklet entitled "God & Us".
The following statement entitled "My Belief in God' summarizes my faith in God. It might help some of those who are still searching to know who God is?
I believe in one mighty, eternal and invisible God who revealed Himself to His creatures in heaven and earth through Christ.
I believe that Christ who came from the bosom of God is, from eternity, the only revelation of God to angels in Heaven and to humans on earth. Christ came as the Word of God, and with the power of God's Spirit, He created everything, and nothing was created except through His Word. He gave life to everything that was created.
I believe that Christ was incarnated in the flesh in Jesus Christ, which means, Christ the Savior. And with God's Spirit power, Jesus was born from the Blessed Virgin Mary. He came on earth to reveal God to us and to save our souls and spirits from an eternal death. He humbly accepted all human humiliations and, like a lamb, He sacrificed Himself and shed His blood on the cross to cleanse all our sins. He died, was buried, was resurrected on the third day, and ascended to heaven and is seated on God's power forever and ever.
I believe that after Jesus Christ left us and ascended to heaven, He sent His Holy Spirit to replace Him and be in each one of those who believe in Him. At the end of time, Christ will come, with all His glory, to judge the living and the dead and He will invite the righteous to live with Him in His Kingdom for eternity.


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Dartford Crossing
This Dartford Crossing hack allows you to use the bridge or tunnel for free
It is legal and a free way of using the crossing
Motorists pay up to £2.50 every time they drive over the Dartford Crossing, which for commuters, adds to their daily travel budget.
Even though there can be discount schemes for residents of Thurrock and Kent, the most reliable and safe drivers who forget to pay are faced with a £70 fine.
However, there is a way out and to cross the bridge and tunnel for free.
It has been around for a while but many travellers are not aware of the budget-friendly route.
It is also a great idea for anyone who wants to help the environment, get fit and reach the other side of the river without paying.
RAF100 flypast will go over Essex and this is what you'll be able to see
Dartford Crossing hack
Users can switch to a bicycle and strap on their cycling helmets to get over the bridge.
The important thing to remember is that you can't cycle over the bridge or the tunnel, but you can ask for a special pick-up vehicle to take you and your bike through the crossing at Essex Point or Kent Point.
And this won't affect your bank balance.
What bikes?
Cyclists can turn up and use the service without book if you bike fits on a car's bike rack, according to Kent Live . For large group of cyclists and non-standard bikes you can contact Connect Plus in advance if there are more than three cyclists or using a bicycle that won't fit on a car's bike rack, such as a tandem or bikes with a trailer.
Speed cameras around M25, A13, M11, Chelmsford, Harlow, Thurrock and Brentwood revealed
How to use the crossing
If you go to Kent Point or Essex Point and follow signs pointing to a yellow telephone, you can use the phone to ask for a pick-up. There is no number needed it is a direct line.
After, waiting in the designated area and a vehicle will arrive to take you and the bike over the crossing or through the tunnel.
How long does it take to cross?
Surprisingly it can only take up to 15 minutes for the lift to arrive after your request, but it may take longer during rush hour or if there is a traffic jam.
Photos show the Dartford Crossing like you've never seen it before
Where is Essex Point?
859 London Road, Grays, Essex, RM20 3AT. It can also be found from the cycleway next to the entry slip road for Junction 31 of the M25 clockwise (A282).
Where is Kent Point?
Crossing Offices Roundabout, South Orbital Road, Dartford, DA1 5PR
Join the Essex Traffic and Travel group on Facebook for the latest on the roads, airways and train lines.
The group is to provide information to other members on the latest traffic and travel updates from across Essex - from the A12 to the Dartford Crossing to Greater Anglia train updates.
To join, click here.
When is the service open?
Cyclists can use the service every day of the week, every day of the year. From 3am to 9am, 10:30am to 2pm, and 3pm to 9pm and then 10:30pm to 2pm.
Outside of these times there is no service, if you arrive late or too early outside of these hours you might be waiting a while.
For more details, contact Dart Charge customer services on 0300 300 0120, or email customerservice@dartford-crossing-charge.service.gov.uk.

redpajama_set_name: RedPajamaCommonCrawl


text:
Liberating 25 million enslaved North Korean people should be our priority
Published by The ipaper (4th September, 2017)
It felt like an earthquake. Tremors rippled out from the underground test zone buried deep in a North Korean mountain and sent lights swinging from ceilings across the border in China. Western geologists said the explosion had magnitude of 6.3, although defence experts in South Korea said it was slightly lower. But even their estimates mean the blast was at least five times stronger than the North's last nuclear test a year ago – which, to put in perspective, was roughly the same power as the World War Two bomb dropped on Hiroshima.
No wonder shock waves from North Korea's sixth nuclear test are being felt around the world. Pyongyang claims to have tested a hydrogen bomb, many times more devastating than an atomic bomb. True or not, there is no doubt its lethal arsenal is advancing rapidly under Kim Jong-un. Last year alone, this young despot carried out more ballistic missile tests than his father did in almost two decades running the dynastic dictatorship. In little more than a week his nation has test launched four ballistic weapons, including one that flew ominously over Japan.
This was an extraordinary, if entirely predictable, show of defiance at a time when the United States president is talking so tough. Last month Donald Trump warned Kim not to make any more threats to his country. 'They will be met with fire and fury like the world has never seen,' he tweeted. Now North Korea is claiming to have concluded testing of crucial parts of their desired nuclear system: a missile that can reach American shores. 'Today's event was meaningful, for we've reached our goal of completion of national nuclear power,' said a state television announcement.
North Korea is a tiny nation with an economy smaller than Americans spend on cats and dogs, but it is projecting its power emphatically with this extraordinary game of nuclear chicken. Even the timing of the blast was provocative with the US enjoying the Labor Day holiday weekend and China's president Xi Jinping opening a major summit. It also came the day after it emerged that Trump, with incredible if typical short-sighted ineptitude, has begun moves to withdraw from a free trade deal with South Korea.
Clearly bluster and bellicose threats are not going to thwart Kim. So what can be done in this terrifying standoff between two mavericks, one at the helm of a global superpower and the other in total control of a nuclear-armed minnow? Many call for talks – but few offer suggestions for what might be on the table, let alone solutions. Two previous deals with Kim's father failed since the regime secretly cheated. Aid and engagement simply provided helpful cover for expansion of secret weapons projects, as I have heard myself from defectors.
Jaw jaw is always worth a try, of course, especially when five of the world's biggest armed forces have troops in and around the Korean peninsula. Conflict would be catastrophic even if nuclear missiles remain in silos. But we must be realistic. Kim is not a madman, as often portrayed. He is a ruthless ruler determined to protect his life, heritage and legacy as demigod in the world's most gruesome regime. Bear in mind even the Mount Mantap test site was built on blood, with underground tunnels hacked into the granite by forced labourers from death camps. One escaped guard has told me how he drove hundreds of young men there who never returned.
This regime needs to change for the sake of 25m people enslaved by a hideous system. Yet Kim's weapons of mass destruction – which include a nasty chemical arsenal glimpsed with the murder of his half brother – are defensive, despite those defiant threats. He does not want to end up like Muammar Gaddafi, his corpse on display to the world. And having killed family rivals and never visited another nation since taking power six years ago, he is not fussed about his foreign image. Trump's tweets only make matters worse, feeding Kim's paranoia while shoring up a state built on fears of invasion that is technically still at war with South Korea.
In the short-term, the best hope is for cool heads and containment. We have been here before with histrionic calls for pre-emptive strikes on Russia and China when they developed nuclear arms. Beyond that, there are growing signs of Chinese frustration with Kim's aggression, especially since he has slaughtered their key allies in his inner circle. This mood was seen most clearly when Beijing backed mild new sanctions at the United Nations last month. Pressure should continue to be put on Xi to cut crucial diplomatic, economic and fiscal lifelines provided to Pyongyang.
Perhaps there will be a palace coup and the North Korean regime can evolve, just as Maoist Communism in its giant neighbour changed into a form of authoritarian capitalism. The West, however, must try to persuade China it has nothing to fear from a united and democratic Korea. And it should exert greater pressure on European and Gulf allies to stop using North Korean labourers, which provides a crucial flow of foreign capital into Kim's pocket. These nations are also exploiting slave labour since those working abroad say their lives are just as rigidly-controlled as at home.
Ultimately, this regime built on secrecy and lies is unsustainable in the digital age. Slowly but surely, the flow of information and flood of technology is breaching even the thick walls of North Korea. The massive challenge facing the world is how to ensure the collapse of the Kim dynasty without sparking conflict – a task that just became even tougher with this latest nuclear test.
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Tags: China, ipaper, Kim Jong-un, North Korea, nuclear, Trump, USA, Xi Jinping
Categorised in: home page, North Korea, United States, World


With all the new weight loss medicines entering into the marketplace in Vas Hungary– and creating controversy– many individuals in Vas Hungary are likewise looking to supplements to aid weight loss.
However a check out to those racks at your local Whole Foods or various other natural food establishment in Vas Hungary, and you're assured to feel overwhelmed. Which really work and which don't? And are they safe?
For details, I checked out the recommendations of famous naturopathic doctors and the company All-natural Criterion, a respectable database of the most up to date research on supplements.
You've likely never heard of numerous of the supplements noted below, but they've all an All-natural Criterion Grade A or B for having good clinical proof sustaining their usage for weight loss.
And if you want to find out about three more brand-new weight loss supplements in Vas Hungary with medical cred, have a look at this follow-up.
HCA is really a salt derived from the skin of dried fruit, specifically the Southeast Asian plants brindal berry and Garcinia cambogia cambodia. A typical Indian folk remedy, HCA has actually been utilized to treat joint and belly issues.
It's sold in medication establishments and supplement stores as HCA, brindleberry or brindal berry and garcinia, and is the key active ingredient in diet plan items with names like Citrilite, Citrin, PhyrtriMax, Bio-Max 3000, and Garcinia Trim-Pulse. Study backs the efficiency of HCA at reducing fat deposits absorption, enhancing fat deposits metabolic rate, hindering cravings, and lowering LDL cholesterol.
Review the origins of chitosan and it seems lovely gross. Chitosan is a fiber that comes from chitin, which is the primary component in the shells (or exoskeletons, for you clinical kinds) of insects and shellfishes. Advised by wholistic experts to reduce cholesterol levels, chitosan has actually likewise been advertised as a sort of diet fiber that may assist lower the absorption of fat.
Health and sporting activities supplement shops in Vas Hungary have been promoting the benefits of whey healthy protein for several years, yet mainly for building muscle, which it shows up to do. However, whey protein also subdues appetite, therefore helping you consume much less.
Whey protein, which as you can presume is originated from the whey of milk, is an effortlessly absorbable type of protein. It contains higher levels of the amino acid cysteine. And having even more muscle helps with weight loss as well.
A concentrated soluble fiber derived from yeasts, mushrooms, and algae, beta-glucans come in several types yet all have the result of reducing cholesterol with the fringe benefits of weight loss and aiding regulate diabetic issues.
Omega 3 fatty acids and healthy and balanced fats are advantageous for all type of things, from brain health to heart health and wellness. Yet one of them, CLA, appears to aid in weight loss as well (aside from having anticancer benefits). CLA is found primarily in beef and dairy items, so if you're vegetarian or vegan, you likely aren't acquiring good enough.
CLA-enriched milk items are in the works, however today you need to take a supplement, most of which are derived from safflower oil. CLA is among the more preferred health food supplements for decrease of physical body fat, though the evidence is combined. Pet research studies have actually raised it to be reliable, however human studies have actually been blended.
6. Glucomannan Derived from an Asian plant called Konjac, glucomannan is a fiber considered very effective for diabetes and blood sugar level control, with the extra homes of weight loss.
Glucomannan has commonly been a vital food source– whether fried, cooked, or as a sweet. The fiber helps soak up water in the digestive system, decreasing cholesterol and carbohydrate absorption, and study assists its function as an obesity procedure. Glucomannan is also generally utilized as a gel to be put on the skin.
7. Mango Seed Fiber Fiber from the seeds of the African mango plant is a traditional African weight loss solution that's discovering brand-new popularity either alone or combined with various other diet supplements.
It's most frequently used in Africa as an organic antibiotic and painkiller. It's presently being examined for weight loss, diabetes and cholesterol reduction.
Where to Buy Weight Loss Pill in Evora Portugal?


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Artists Jacob Lawrence Art Works
Jacob Lawrence Artworks
American Painter
Movements and Styles: Social Realism, Harlem Renaissance
Born: September 7, 1917 - Atlantic City, New Jersey
Died: June 9, 2000 - Seattle, Washington
Artworks by Jacob Lawrence
The below artworks are the most important by Jacob Lawrence - that both overview the major creative periods, and highlight the greatest achievements by the artist.
Artwork Images
The Frederick Douglass series, Panel 28 (1938-39)
Artwork description & Analysis: The full text of Panel 28 from The Frederick Douglass Series reads: "A cowardly and bloody riot took place in New York in July 1863 - a mob fighting the draft, a mob willing to fight to free the Union, a mob unwilling to fight to free slaves, a mob that attacked every colored person within reach disregarding sex or age. They hanged Negroes, burned their homes, dashed out the brains of young children against the lamp posts. The colored populace took refuge in cellars and garrets. This mob was part of the rebel force, without the rebel uniform but with all its deadly hate. It was the fire of the enemy opened in the rear of the loyal army."
Panel 28 uses simplified forms, a limited color palette, and a clear narrative progression from left to right in tandem with evocative, descriptive text. A group of freed slaves huddle in a shelter, watching the carnage of a Civil War anti-draft riot with expressions of horror and sorrow. Lawrence divided the panel into three dramatic groups. The first group depicts two adults and a child, wide-eyed with fear as they witness the brutality of the riot. The second, middle group shows an older woman, symbolizing an older generation with memories of slavery and the commonality of violence, sheltering a young child who, perhaps unused to such scenes, is seemingly distracted, and grasps the woman's thumb. The third grouping, a mother, father, and infant, symbolizes the hope and fear of a generation born at the cusp of great change and the promise of freedom throughout the United States tantalizingly at hand. Lawrence later recalled the work's important political gestures as "some of the most successful statements I have made in my life ."
Working with a palette of browns, bright red, yellow-orange, black, white, and blue, Lawrence created his figures as non-naturalistic color blocks, their limbs elongated, their torsos concealed beneath blocky clothing, and their facial features simplified to eyes and mere outlines of a nose and mouth. These compositional decisions eliminate extraneous background details that would take away from the poignant emotions of the narrative. Art historian Elizabeth Hutton Turner has said of Lawrence's works in series that they were conceived as "image and word" together, with the works' "poetry" emerging from the "repetition of certain shapes" linking one panel to the next. In Frederick Douglass, the woven basket, made by slaves, acts as a reminder of slave labor, the work of the Black American journey to freedom, and the continual presence of an oppressive past even in a seemingly safer present. The red flower symbolizes hope, and its appearance in Frederick Douglass panels suggests the promise of a better life, even in the most dire of circumstances.
Casein tempera on hardboard - Hampton University Museum, Virginia
The Migration of the Negro, Panel 22 (1940-41)
Artwork description & Analysis: The full text of Panel 22 from The Migration of the Negro series reads: "Another of the social causes of the migrants' leaving was that at times they did not feel safe, or it was not the best thing to be found on the streets late at night. They were arrested on the slightest provocation."
Lawrence's most famous narrative series, his 60-panel The Migration of the Negro, perfected his signature combination of historical storytelling and abstracted style. In Panel 22, Lawrence used an interplay between linear design and unmodulated color planes to suggest the indignities of Black imprisonment in the pre-Migration-era American South. The incarcerated men are depicted as large, imposing figures, with their heads hanging down, and their broad backs and shoulders extending almost the width of the panel. Despite their size, their immobility suggests their disempowerment in the face of a racist law enforcement and judicial system. Trapped behind bars, with golden handcuffs linking them one to the next, they appear like chattel. The men's slumped shoulders and the dramatic color contrast between the darkness of the men's clothes and grim prison interior, and the bright blue sky beyond the prison confines suggest the men's longing for the freedom they cannot access. Yet, in Panel 22, Lawrence implies that even if the men reached the northern United States and the world of blue sky beyond the prison, ultimately, the men couldn't outrun the root cause of their imprisonment. The echo between the pinstripes on the far-right man's pants and the vertical bars over the jail cell window suggest that as long as racism dictates penal strategy, the men will remain targets for persecution.
Tempera on gesso on composition board - Museum of Modern Art, NY
This is Harlem (1943)
Artwork description & Analysis: With This is Harlem, Lawrence transformed a busy Harlem neighborhood into a series of geometric abstract planes connected to each other by a limited, consistent color palette of brown, blue, yellow, red, black, white, and burnt-red-orange tones. On the roof of the buildings, rectangles and triangles in red, yellow, brown, and black create a back-and-forth interplay between abstraction and figuration. They appear to be chimneys and various structures and at the same time suggest geometric, abstract paintings. Similarly, the human figures populating the Harlem landscape, created with minimal detail and in the same unmodulated color tones Lawrence used for the landscape, appear to dissolve into abstract color planes as much as they represent unique actors, going about the business of daily life.
This is Harlem demonstrates Lawrence's commitment to depicting the intricacies of Black life in Harlem, in particular the social and religious importance of the church and church community. As a predominantly white-toned building, composed with triangular and horizontal rectangular shapes, the church stands out from the painting's other buildings, indicating the centrality of it to African-American life. Similarly, Lawrence used repeated geometric shapes, colors, and references to Christian iconography to suggest the pervasiveness of religion in Harlem, extending from the church and into the secular world of everyday life. For instance, the yellow, blue, and red abstract geometric shapes composing the church's stained glass windows parallel the yellow, blue, and red abstract shapes which create the surrounding apartment units, and the iconography of the cross can be found not only on the church itself, but also in the shapes of the telephone poles and fire escapes.
Gouache on paper - Hirschhorn Museum and Sculpture Garden, Smithsonian Institution
Victory (1947)
Artwork description & Analysis: In Victory, Lawrence uses a single figure, crafted from a minimal assemblage of burnt orange, brown, yellow, and green color blocks, to illustrate the moral ambiguity of wartime. Though ostensibly celebrating the conclusion of the Second World War, the soldier's head hangs in sorrow. His powerful, hulking frame dominates the panel surface, but slumps, his head bowed over his weapon as if in prayer.
Many panels in the War series exemplify Lawrence's statement in 1945 that "When the subjects are strong, I believe simplicity is the best way of treating them ." Having experienced the Second World War in the U.S. Coast Guard, Lawrence wanted the emotions experienced by both soldier and civilian. In Victory, Lawrence captured the complicated emotions of war's conclusion, as the soldier appears not to revel in the news of victory, but instead to contemplate perhaps the human cost which led to such celebrations, his own role in war's slaughter, or even just to wearily express simple relief at surviving the ordeal.
Egg tempera on hardboard panel - Whitney Museum of American Art, New York
Hospital Series: Sedation (1950)
Artwork description & Analysis: Sedation depicts psychiatric patients contemplating the simultaneous numbness and psychological release of sedation. The men's faces are drawn, with the oppressiveness of mental illness signified by the men's downcast eyes, drooping jowls, limp hair, slumped shoulders, sinuous, elongated torsos, and drab pajamas. Lawrence painted the Hospital series after his discharge from his year-long stay in the psychiatric ward at Hillside Hospital in Queens, New York. He attributed an ability to feel things "through his eyes" after his hospitalization, with his works attempting to capture states of consciousness rather than merely narrate a scene or capture an expressed emotion.
Lawrence constructed Sedation to question whether it was mental illness or its treatment which imprisoned the afflicted. The blue, yellow, and red pills are arranged on a white towel within what appears to be a vitrine. The patients gaze at the pills without being able to access them, their looks of despair a testament to the medicalized relief they can only contemplate but not reach. Alternatively, Lawrence's decision to place the pills within an enclosure suggests future imprisonment. Should the patients open the door to sedation treatment, relief may be found but at the expense of freedom, locking them into the cycle of needing sedation and medical management to cope with their illnesses.
Lawrence's depiction of patients at Hillside in various stages of psychological distress, doing activities collectively, and engaging with the therapeutic process is, in the words of art historian Lizzetta LeFalle-Collins, a "marked departure from his other works" as the characters are "neither courageous nor hopeful for their future but resigned." Critics praising Hospital works pointed to the increased psychological depth, social significance, and artistic skill and maturity portrayed in the series' panels, aligning Lawrence with previous modernist masters.
Casein tempera on paper - The Museum of Modern Art, New York
Struggle....From the History of American People: No. 23; ...if we fail, let us fail like men, and expire together in one common struggle...Henry Clay, 1813 (1956)
Artwork description & Analysis: In panel 23, Lawrence depicts a battle of the War of 1812, but the consequences of battle are reduced to one, single death. The overlapping, craggy planes of grey, black, and white, intercut with jagged black lines, suggest the smoke of battle and chaos of conflict without depicting figures themselves. Lawrence portrays the central individual at the moment of his death, a sharp gestural line signifying the saber or bayonet from an unseen hand piercing the man's eye, with the red stream of blood and the man's yellow-toned flesh stark against the white and grey planes of battle which both support and envelop him as he falls to the ground. By depicting one man's death at the hands of an anonymous, abstract and all-encompassing enemy, panel 23 illustrates both the singularity of death and its ultimate inconsequence in the grander scheme of war and national self-definition.
As much as Lawrence intended to depict the historical arc of American history, to record, in his words, "the struggles of a people to create a nation and their attempt to build a democracy," he also attempted to capture a sense of psychological interiority. Art historian Richard J. Powel argues that while Lawrence depicted "America's military shortcomings during the War of 1812," he also harnessed the abstract examples of gestural abstractionists like Robert Motherwell and Franz Kline to portray something "social and/or behavioral." The jagged lines and fractured compositional surface become a surrogate for a more universal statement about the "uphill battles" of life and general feelings of loss and resignation.
Egg tempera on hardboard - Collection of Dr. Kenneth Clark
Two Rebels (1963)
Artwork description & Analysis: Lawrence painted Two Rebels amid the riots and marches related to desegregation in the American South, marking the image as one of his more directly politicized artistic responses to racial unrest. In May of 1963, demonstrations against segregation in Birmingham, Alabama turned violent, and Lawrence captured the mood in a surreal, exaggerated composition.
Two Rebels depicts two Black men forcibly arrested and escorted to jail by four white police officers. Disembodied heads, representing a leering audience to the arrests, float in the background; the heads' surreal and menacing appearance are characteristic of the unsettling demons and violent dogs populating Lawrence's more contemporary political works in the 1960s. The two arrested Black men are afraid, and the contrast between their spindly hands and larger frames point to their impotence to act and foreshadow the skeletons they may become under police custody. The officers' nightsticks are exaggerated such that the loop at its end appears as if a noose, linking the upheavals of the 1960s Civil Rights movement to the history of violence perpetrated against Black men.
Two Rebels stands as both as specific indictment of segregation and police response to non-violent demonstrations and as a general comment on human behavior circumscribed by oppressive social systems.. According to art historian Patricia Hills, "Lawrence saw [his] civil rights paintings as not different in kind from his other work," and scholars generally note that Lawrence never viewed himself as an activist but rather as a "humanist," who used the struggles of African-American history to symbolize universal struggles.
Egg tempera on hardboard - The Harmon and Harriet Kelley Foundation for the Arts
The Builders (1980)
Artwork description & Analysis: In his later life, Lawrence often returned to a theme which had interested him since the 1940s: builders. In these paintings, inspired by Harlem cabinetmakers Lawrence associated with in his early WPA arts workshops, men and women of all races traverse the composition in vertical and horizontal configurations, building an unspecified monument or structure. Reminiscent of the works of Stuart Davis, in their overall use of flat color planes and abstract shapes to equally create builder, tool, and structure-in-progress, Lawrence's builder images dissolve the boundaries between foreground and background space, and prevent clear demarcations between and among depicted forms. Here Lawrence depicted a collective of old, young, Black, White, male, and female workers who build, saw, sew, and adjust construction materials. The finished or anticipated project is undefined, leaving the viewer instead with work and labor, the means of production, as central subjects, rather than the completed, built, end.
Lawrence used depictions of the American worker community to symbolize a universal desire to construct one's destiny, with figures of all races together creating, building, and shaping the space of the surrounding world. With fewer color tonalities, looser figural definitions, and less attention to clearly-demarcated boundaries between foreground and background space, Lawrence's late career builders paintings displayed a greater compositional freedom.
Gouache on paper - Collection of Safeco Corporation, Seattle
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More on Jacob Lawrence
Including Overview, Key Ideas, Biography, Useful Resources, and Related Topics to Jacob Lawrence
Content compiled and written by Elizabeth Berkowitz
First published on 12 Sep 2017. Updated and modified regularly.
Social Realism refers to a style of figurative art with social concerns - generally left-wing. Inspired in part by nineteenth-century Realism, it emerged in various forms in the twentieth century. Political radicalism prompted its emergence in 1930s America, while distaste for abstract art encouraged many in Europe to maintain the style into the 1950s.
Harlem Renaissance
The Harlem Renaissance was the name given to the cultural, social, and artistic explosion that took place in Harlem between the end of World War I and the middle of the 1930s.


Having recently discovered Fred Van Lente's excellent Action Philosophers series, I'm already sold on the idea that, when it comes to complex ideas, comics can make a fine preparatory point for those of us who've come to expect pictures with our words. Ian Flitcroft and Britt Spencer's Journey By Starlight: A Time Traveler's Guide to Life, the Universe, and Everything applies a similar approach to quantum physics, taking readers through the life, mind and theories of Albert Einstein.
Based on Flitcroft's popular blog of the same name, the graphic novel takes on everything from Einstein's theory of relatively to the nature of black holes, in an accessible guided tour conducted by none other than the man himself.
For a preview of the book, visit www.journeybystarlight.com. While the browser is a tad useless, it looks like a fun read, and a great way to get to grips with some of science's – and, more importantly, science-fiction's – grandest ideas.
Journey By Starlight: A Time Traveler's Guide to Life, the Universe, and Everything will be available from 1st March, and published by One Peace Books.
Dr. Ian Flitcroft is a vision scientist and a consultant eye surgeon at the Children's University Hospital, Dublin. As a teenager, he made a close call between choosing medicine or astrophysics as a career, but he hopes this book will encourage a new generation of astrophysicists, scientists, and, perhaps, even a few eye surgeons.
Ian studied medicine at Oxford University, where he also completed his doctorate (D.Phil) in visual physiology before going on to complete his medical training at St Mary's Hospital, London. As a writer, he has published more than 30 scientific peer-reviewed papers and chapters in multi-author books. His writing has been featured in Do Polar Bears Get Lonely (New Scientist and Profile Books, 2008), and his first novel, The Reluctant Cannibals, was one of the winners of the Dublin Writers Centre Novel Competition 2012.
Since his arrival into the commercial art world, Britt's work has been published internationally and been recognized by the distinguished New York Society of Illustrators and the Society of Illustrators West. He is also the illustrator for several children's books, including Penguin/Philomel Books' Fleas! (2008), Make Your Mark, Franklin Roosevelt (2007), and Zarafa: The Giraffe Who Walked to the King (2009).