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NLRB Holds Engineering Firm Committed Unfair Labor Practice
By: Christopher S. Drewry
Over the course of the past year, the National Labor Relations Board ("NLRB") is the federal agency that has arguably made the biggest push to expand its reach and relevance. While the National Labor Relations Act ("NLRA") has always protected the rights of all employees – both union and non-union – the focus of the NLRB has traditionally been on unionized workplaces. However, the NLRB has shifted its focus from traditional labor matters toward the rights of non-union employees. Such decisions have impacted companies on business-related issues involving their employment "at-will" disclaimers, social media policies, confidentiality of investigations, as well as other employee handbook policies. Non-union companies involved in the construction industry (and even those not engaged in traditional labor activities) should take note of this trend by the NLRB, including a decision handed down last week in Jones & Carter, Inc./Cotton Surveying Company v. Teare.
In Teare, the NLRB addressed the viability of an employer's confidentiality rule prohibiting discussions among employees about their salaries. The case involved allegations that Jones & Carter, an engineering and surveying firm located in Houston, unlawfully maintained a rule in its employee handbook that prohibited such discussions. Further, Teare was alleged to have been terminated because she engaged in concerted activities with other employees for the purposes of mutual aid and protection by discussing salaries and because she violated Jones & Carter's unlawful rule. One of the basic issues in the case was whether Jones & Carter's confidentiality rule that prohibited employees from discussing their salaries was overly broad, thereby resulting in an unfair labor practice in violation of §8(a)(1) of the National Labor Relations Act ("NLRA"), which prohibits an employer from interfering with, restraining, or coercing employees in the exercise of their §7 rights (i.e., those rights to self-organize, to form, join, or assist labor organizations, to bargain collectively, and to engage in other concerted activities for the purpose of collective bargaining).
At trial, Jones & Day said the employee was terminated for "harassing" other workers. However, the Administrative Law Judge ("ALJ") found that Teale was, in fact, fired for discussing salaries with other workers, and that sharing such information was a "pet peeve" of the company. The ALJ and the NLRB (upholding the ALJ's determination) held that the engineering firm unlawfully fired the employee for discussing salary information with co-workers, and ordered Jones & Day to offer reinstatement and to pay back wages for the time out of work. Additionally, under the NLRB order, the company also must rescind its policy of forbidding employee discussion of salaries on the basis that the NLRA protects the rights of workers to discuss their terms and conditions of employment, including wages. Ultimately, Jones & Day had to pay Teare (who declined reinstatement to her former position) back pay, 401(k) contributions, medical expenses and interest in the total amount of $107,000.
From an employment law standpoint, the NLRB's decision that this type of confidentiality rule is prohibited is not unexpected in light of prior cases extending the trend toward increased transparency among employees at least with respect to salaries. However, Teare is also part of the ongoing trend wherein the NLRB has sought to expand its reach to non-traditional labor matters and, more significantly, to non-union workplaces. From that standpoint, Teare stands as yet another warning to both union and non-union employers alike to review and update their employee handbooks to account for the increased NLRB focus on employment policies and procedures.
Category: Construction, Labor & Employment
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(CPI) exists to help those in need. More than 80 percent of the world's people are in need of basic health care services… and 100% are in need of the Gospel of Jesus Christ. Our approach to helping those in need is to dramatically change their circumstances by providing them with urgently needed medical supplies and materials, education, better trained health care providers, and front-line primary patient care.


New Delhi : International medical humanitarian organisation Doctors Without Borders/Médecins Sans Frontières (MSF) is holding a three-day exhibition at Dilli Haat, INA starting today as part of its public campaign – 'Who Cares?'. The campaign is about connecting the general public with those who have little or no access to much-needed medical care. The exhibition in itself is an innovative concept as it is housed under tents which are used as mobile clinics by MSF.
"Through this exhibition, we hope to share the story of MSF, of our patients and doctors and our work around the world - whether it is the challenge of providing medical care to people caught in the conflict in Central African Republic or providing mental healthcare to people in Kashmir. We want to share our experiences 'from the field' and in turn, hope to increase awareness about these issues," says Martin Sloot, General Director, MSF India.
During the exhibition, visitors will get the unique opportunity to interact with MSF medical staff who have first-hand experience of working in difficult situations in India and abroad.
The exhibition also has audio-visual displays and photographs depicting the core values of MSF, and its medical work in India and more than 70 countries. It will be open for visitors from April 18 to April 20 from 11am to 9.30pm at Dilli Haat. This exhibition will travel within Delhi in the months to come. Later in the year, the 'Who Cares?' campaign including the exhibition will be launched in Mumbai as well.
The 'Who Cares?' campaign is MSF India's first public campaign to raise awareness about critical health issues and the work being carried out by MSF in India and more than 70 countries. The campaign was launched in New Delhi last year and was supported by late actor Farooq Sheikh and film director Anurag Kashyap.
The idea behind the 'Who Cares?' campaign stems from MSF's belief that everyone deserves access to healthcare irrespective of race, religion, gender or political affiliation, especially where the need is most.
MSF is an international, independent, medical humanitarian organisation that delivers emergency aid to people affected by armed conflict, epidemics, natural disasters and exclusion from healthcare.
MSF has been working in India since 1999 and has provided medical treatment to thousands of patients in the country. Currently, MSF runs eight projects in India in the states of Andhra Pradesh, Bihar, Chhattisgarh, Jammu and Kashmir, Manipur, Maharashtra and Nagaland.


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Say You Want a Patriotic Education?
(Bloomberg Opinion) -- President Trump last week proposed establishing a commission on "patriotic education." What books should be featured in that education? Bloomberg Opinion's columnists had some suggestions. Disagreement Is Democracy
(Bloomberg Opinion) -- President Trump last week proposed establishing a commission on "patriotic education." What books should be featured in that education? Bloomberg Opinion's columnists had some suggestions.
Disagreement Is Democracy
Given our current circumstances, the book that might be most useful for young people to read is "Think Again: How to Reason and Argue," by Walter Sinnott-Armstrong. Sinnott not only offers a spirited, readable defense of rational argument, he also explains quite succinctly both how to know when others (or we!) are making arguments, and how to argue better.
Why this book? Because most adults argue terribly, when they bother to argue at all. We seem to spend far more time in condemning our fellow citizens than engaging them. Democracy rests crucially on our acceptance of the notion that those who disagree with us, even on divisive issues, do not thereby become lesser than we.
If instead we define disagreement as wicked, there's no reason to argue; there's reason only to destroy the opposition. That might be many things, but it isn't democracy.
(Confession: The better answer might be the Bible. No book has contributed more to the Western way of thinking, including the evolution of the values of equality and individualism. But rather than enter that thicket, I offer a choice more ... shall we say neutral?) – Stephen Carter
A Trinidadian's Hope for America
"Patriotism," Samuel Johnson famously said, "is the last refuge of the scoundrel," and nearly four years of Donald Trump should be enough to underline the perils of national unity behind demagogues. Still, a wisely devised education can inculcate the idea of responsible citizenship and encourage social cohesion — what tottering democracies need more than anything else.
"American Civilization" would be an excellent part of the syllabus. Mostly written in the late 1940s and early 1950s by C.L.R. James, an extremely cultured — as distinct from cultural — Marxist, a man who published fiction and wrote about Bette Davis and cricket, this book is remarkable for its open admiration for the American project.
A snobbish disdain for the U.S. was then a badge of intellectual sophistication on the European right as well as the left. But James, Black and born poor in Trinidad, saw in America a new future for humanity.
In his view, democracy had found no more fertile ground than American soil. This was partly because Americans, though strong individualists, had an "exceptional capacity for free association." James didn't overlook the long history of White supremacist violence that had made some Americans uniquely wealthy and powerful. Nor was he blind to the forces of conformism in American life, something that most leftists of his generation harped on.
Unlike them, however, he saw in America's much-scorned mass society and culture the potential for far-reaching democratic transformation. To this end, he thrillingly interpreted Walt Whitman and Herman Melville, two authors forced upon high-school students, as exemplars of the "passionate individualistic American temperament." And he also looked at soap operas and Hollywood movies, arguing that America uniquely possessed "a vast populace, literate, technically trained, conscious of itself and of its inherent right to enjoy all the possibilities of the society" and that "no such social force has existed in any society with such ideas and aspirations" since ancient Greece.
James wasn't a naïve utopian. Much would depend, he argued, on the political arrangements Americans chose for themselves. That choice has never seemed more important today. And, whatever happens in November, young Americans would still need the faith a cultured Marxist once expressed in the promise of the American experiment. – Pankaj Mishra
The Free Market and Lasting Freedom
In America's rise to preeminence — roughly 1850 to 1990 — freedom and free enterprise were its central guiding light. In the period since the collapse of communism, however, that light has waned. New generations are increasingly questioning what was so great about the American project. There is no single book that can explain why, but more than any other work Milton Friedman's "Capitalism and Freedom" lays it out.
It was written in 1962, when the first inklings of our current divide were beginning to show. America was being made to face the gulf between its ideals and the inequities of racial segregation and entrenched gender discrimination. This reckoning would profoundly shift American attitudes on these issues and at the same time bring into question the righteousness of the American project.
Friedman embraces that skepticism and seeks to show that, despite misgivings about the free market, it is essential to lasting freedom — and that it is no accident that the U.S. has been a leader in both.
Today, Friedman looks both reactionary and prophetic — precisely the kind of mix that makes him essential reading for high school students. His book shows that views now associated with the extreme left (universal basic income) or the extreme right (repeal of Social Security) can come from the same mind and the same heart. That's an especially useful lesson for our current times. – Karl Smith
The History That Our Textbooks Ignore
A book I wish I'd read much earlier in life is Paula Giddings's highly readable history of Black women in the U.S., "When and Where I Enter: The Impact of Black Women on Race and Sex in America." There's no excuse -- it published in 1984, when I was three. Plenty of time for it to make it onto my high school and college syllabi. But it didn't. The courses I took on U.S. history tended to relegate women's history to sidebars -- and then it tended to be the history of White women, with only brief asides for Harriet Tubman and Rosa Parks. But there's so much more to the story of how Black women have fought to hold this country to the ideals espoused in our founding documents. It's a story that should be considered central to the American experiment, and in Giddings's book, it is. – Sarah Green Carmichael
Founding Challenges, Laid Bare
Ron Chernow's "Washington: A Life" shows what real sacrifice looks like from a public servant and the lengths Washington went to avoid even perceived conflicts of interest or favoritism. But it's also an unvarnished look at how our founding fathers struggled with issues such as slavery even as they attempted to form a new republic where all men are created equal. – Robert Burgess
The Page-Turning Story of Malcolm X
Every American teenager should read the autobiography of Malcolm X, co-authored by the famous black Muslim leader in conjunction with Alex Haley, who wrote "Roots." First of all, it's a gripping story which follows the teenage Malcom, nicknamed Red, from his life of petty crime, gambling, alcohol, and marijuana to prison, spiritual awakening, and community leadership. It's never boring, not even for a minute. The book also deeply confronts the perennial question of race and racial justice in America. Malcolm powerfully expresses the progenitor of the Afro-pessimist viewpoint. But he also eventually embraces a more universalist world view after making the pilgrimage to Mecca. It would be hard to imagine a book more relevant to current debates about Black Lives Matter or the proper role of the United States in the world. The fact that there is a terrific Spike Lee movie based on the book is an added bonus for students who might want to supplement their reading with visuals. The lessons of grace, passion, dignity, law, and yes, power and violence are crucial for every citizen. – Noah Feldman
The Essential Spirit of Settlers
A patriotic reading list should encompass founding documents, philosophical writings and political speeches. But even in the U.S., whose ideals of liberty and equality are essential to its nationhood, abstractions are not enough. National identity requires a sense of shared history and experience—a common heritage that goes beyond one's own family and local culture. We need to see something of ourselves in our fellow Americans, present and past.
With that goal in mind, my choice is Willa Cather's novel, "My Àntonia," a story of settlers on the Nebraska prairie in the late 19th century. The title character is a girl whose family has immigrated from Bohemia. They arrive on the same train as Jim, an orphaned boy from Virginia coming to live with his grandparents. The adult Jim, a successful New York lawyer, narrates the story. Jim, whose experiences and attitudes mirror Cather's, represents a cosmopolitan and great-hearted American spirit, formed on the prairie and at home in the wider world.
"He loves with a personal passion the great country through which his railway runs and branches," says a friend in the chapter that frames the story. He raises capital for western enterprises and "is still able to lose himself in those big Western dreams."
"My Àntonia" is often assigned to high school students—I first read it in 10th grade—but few teenagers can appreciate it. It's a book for the experienced: a story of displacement and opportunity, of growth and progress inextricably bound together with loss. Particular in time and place, Cather's stories, characters, and setting embody universal themes in an especially American way. "You are not the first to be uprooted," she tells us, "to see the world around you change, to learn and grow and struggle to find your true path. You are not the first to seek hope in the new."
In the genealogical sense, "My Àntonia" is not the story of me or my people. I hail from the rolling hills of the Carolina Piedmont and found my home in southern California. My family tells no immigrant stories. Though I've traveled the length and breadth of the U.S. and lived in Texas, Boston and the Delaware Valley, I've never set foot in Nebraska.
But ancestors alone do not a nation make, certainly not in the U.S. "My Àntonia" honors the people from many places who made the larger whole by knowing and tending local ground. Cather evokes the stark beauty of the prairie in quietly magnificent prose. Yet unlike some localist literature, "My Àntonia" doesn't celebrate staying put. Some characters remain on the prairie, some migrate, some return. The novel doesn't treat leaving as a betrayal. It's too American for that. – Virginia Postrel
HBO, and Also Hannah Arendt
I'm cheating: Rather than assigning a book, I'm going to ask everyone to watch one TV series: David Simon's "The Wire." It has everything for the patriot who realizes the complexity of patriotism in the United States: Race and ethnicity; the rule of law; electoral politics and the even more complicated politics outside of elections; economics, cities, gender, education. And how they all come together, or don't, in policing.
True love of country isn't found in the cartoonish version of history that President Trump wants us to have. Patriotism in the United States, if it's worth anything, has to embrace the entire nation – good and ugly. "The Wire" is as good an introduction to that as you'll get.
I'll pair it with a book which is only partially about the United States and isn't even particularly good history: Hannah Arendt's "On Revolution."
It's a brilliant discussion of politics in a republic, and what it means to live in a nation that actually had a successful revolution – even if, all too often, we don't live up to its promise. If you want a careful historian to explain that, yes, the American Revolution was really revolutionary, go to Gordon Wood's excellent "The Radicalism of the American Revolution," but Arendt's political theorizing is even more essential. Combine all of them, and learn of a nation that was specifically set up to make political action possible and meaningful, and then try to reconcile that with the ways we practice politics today. — Jonathan Bernstein
Bloomberg Opinion provides commentary on business, economics, politics, technology and markets.

redpajama_set_name: RedPajamaCommonCrawl


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Q: Is there a way to disable showing what your friends are playing when first logging into steam? Whenever I log onto steam and open it on the top right of my computer is shows everyone who is playing games but at 3 at a time. Due to my high number or friends it takes a good amount of time to cycle through them. That means any icons or images in my top right of the screen are blocked and I can't click on them until the list goes away. Is there a way to disable this?

A: There's not a "only after login" option for displaying these friend notifications.  As has been noted, it's all or nothing in Steam's settings.  There's also no launch option that helps.
However, you can make it go faster, if you edit your Steam style.  In your Steam directory, look for resource\styles\steam.style.  (Assuming you use the default skin - if not, check the \skins\(skin name)\resource\styles directory)  Back up this file, and then you can edit it.  Search for "Notifications." and you should see a block like:
Notifications.PanelPosition     "BottomRight"   // Can be "BottomRight", "BottomLeft", "TopRight", "TopLeft"
Notifications.PanelPosition     "TopRight" [$OSX]  // the dock is on the bottom for OSX, so instead pop top right like other apps do
Notifications.SlideDirection    "Vertical"    // Can be "Vertical", "Horizontal", "None" and controls slide effect
Notifications.FadeInTime      "0.45"    // Controls the time it takes to slide/fade into view
Notifications.FadeOutTime     "0.45"    // Controls the time it takes to slide/fade out of view
Notifications.DisplayTime     "6.0"     // Controls the length of time at steady state after fade in and before fade out
Notifications.StackSize       "3"     // Controls how many panels we will stack before background queuing

You can move the notifications to some other corner, have more on the screen at once, and make them cycle faster if you so desire.

A: The only way to disable this is to disable friend notifications entirely.
In Steam's settings, go to the Friends tab and uncheck "When any Friend joins a game" "Display a notification".

Edit: As @ardaozkal has pointed out, you can override this per friend by opening the friends list, clicking the down arrow next to their name and clicking
Notification Options.  Then, under "When [person name] joins a game" check the "Display a notification" box.

redpajama_set_name: RedPajamaStackExchange


A Big Thank You for A Big Check!
Representatives from the Georgia Federal Credit Union surprised Mrs. Hooper with a $500 check for our school! The Credit Union is one of our Partners in Education and donated the money to help our school buy supplies we need! Join me in thanking the Georgia Federal Credit Union for their generosity.
Our 2nd and 3rd Graders did an OUTSTANDING job performing at our PTA meeting! The cafeteria was packed full of proud parents, siblings, and teachers as the students shined with their fabulous voices. Be sure to thank Mrs. Goode for doing such a wonderful job planning and preparing the program!
All Quiz Bowl Contestants did an outstanding job representing their class in this year's first Quiz Bowl! Congratulations to the winners from Mrs. Hennings 5th grade class (Rocio and Martha), Mrs. McIntosh's 4th grade class (Benjamin and Tramanda), and Mrs. Rikard's 3rd Grade class (Kevin and Jesse).
The cafeteria was full of DAD's this morning as our Kindergarteners invited their dad to eat dougnuts with them for breakfast. I could tell that all of you love doughnuts and your dad!
Our first Student of the Month Reception was a BLAST! One student from each PreK - 5th grade class was selected by their teacher as "Student of the Month". Each student celebrated with a cupcake, ice cream, and juice. Then Mrs. Hooper read the wonderful comments written by the teachers and gave them an awesome "goody" bag!


Located in the Xieng Khouang Plateau of Northern Laos, the mysterious Plain of Jars is an unusual sight and a must-see attraction. Visitors will find hundreds of huge stone jars scattered about the landscape, some weighing as much as six tonnes and measuring around six feet in length. They're believed to be over 2,000 years old, though their origin and original function remain unknown. The gaps in their narrative have allowed for many theories and legends to develop. One story claims they were made to ferment rice wine to celebrate a victorious battle against a wicked chieftain in the 6th century. Other theories have them as sarcophagi or funerary urns. The jars are clustered into 90 groups, with Thong Hai Hin, or Site 1, being the largest and most easily accessible site. Only Sites 1, 2 and 3 are open to visitors, as unexploded mines from the war lie around the other locations. Many guesthouses in the town of Phonsavan offer tours to the sites. As a precautionary measure, town visitors should stop at the Mines Advisory Group (MAG) and learn about the clearing of unexploded bombs in the area and throughout Laos. The site is situated several kilometres southeast of Phonsavan, which is a 30-minute flight from Luang Prabang. Travellers interested in visiting can hire a driver and either a 4X4 or a small tuk-tuk for the day. More adventurous visitors can hire a motorbike and drive out themselves. Sites 1 and 2 are well signposted and 3 is easy enough to find. The drive from Phonsavan is scenic and the people living along the road are generally friendly and helpful.


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Policy Corner
Police and Excessive Force
Erin Kerrison
Assistant Professor Of Social Welfare, University Of California At Berkeley
There were no racial disparities in police susceptibility from negative stereotype perceptions.
Officer race was not shown to be associated with self-legitimacy or in interactions between stereotype susceptibility and self-legitimacy.
Age and time spent in the industry had an impact on police self-legitimacy.
Older officers and those who perceived policing as risky had higher chances of having high self-legitimacy.
Officers with more likely to have low self-legitimacy if they had more job experience or had cynicism toward the communities they served.
Officers reported lower self-legitimacy when they indicated concern about being perceived as racist.
Police officers that indicated lower self-legitimacy were more resistant to use of force in the field.
Sergeant and White officers were less resistant to use of force policies than patrol and non-White officers.
Older, sergeant, and White officers were less approving of unreasonable force when compared to younger, patrol, and non-White officers.
Female officers were more likely to support procedurally just policing than their male counterparts
In the article, "The Force of Fear: Police Stereotype Threat, Self-Legitimacy, and Support for Excessive Force," Kerrison and her co-authors examine the impact of police stereotypes on law enforcement officers. News coverage of law enforcement has focused on negative perceptions of police officers and previous research has shown that these perceptions can impact officer morale and authority. To conduct their study, the researchers surveyed more than 780 law enforcement officers using a sample from a large urban police department. The results showed that there were no racial disparities in police susceptibility from negative stereotype perceptions. Additionally, officer race was not shown to be associated with self-legitimacy or in interactions between stereotype susceptibility and self-legitimacy. Age and time spent in the industry had an impact on police self-legitimacy. Older officers and those who perceived policing as risky had higher chances of having high self-legitimacy. Officers with more likely to have low self-legitimacy if they had more job experience or had cynicism toward the communities they served. Officers reported lower self-legitimacy when they indicated concern about being perceived as racist. Police officers that indicated lower self-legitimacy were more resistant to use of force in the field. Sergeant and White officers were less resistant to use of force policies than patrol and non-White officers. Older, sergeant, and White officers were less approving of unreasonable force when compared to younger, patrol, and non-White officers. Finally, female officers were more likely to support procedurally just policing than their male counterparts. In conclusion, the authors note that further research is needed on ways to reduce the impact of stereotypes on police officers as well as determine to what extent the stereotypes impact policing.
View Full Research
Democratic Policing Globally
Meta-Analysis of Offender Profiling
Interrogation Legislation
Wrongful Convictions & Police Investigations
Sex Offenders and Transitional Housing
Comparative Criminal Justice Research
Adolescent Precursors of White-Collar Crime
Race, Gender, and Offense on Probation Outcomes
Citizen Oversight Complaints
©2019 Crime and Justice Research Alliance


Indicrat: Piers Corbyn - The Man That Predicts Weather Better Than ANYONE!
Piers Corbyn - The Man That Predicts Weather Better Than ANYONE!
Mocked Meteorologist Gets Last Laugh - Piers Corbyn Wins Again! Astrophysicist and meteorologist, Piers Corbyn, has a prediction success rate of roughly 85%...better than any of the "man made" climate change activists and proponents in the field of climate science. He obtained a first-class honours degree in physics at Imperial College London....He's not your everyday weatherman with a conspicuously displayed photocopy of a check for £2,291 hanging on his wall. Unique among meteorologists, Corbyn bets on his forecasts. Unusual among bettors of any stripe, he wins regularly. The check on the wall is a payout from London bookmaker William Hill on one of their monthly bets.
It is said book makers will not take his bets any longer for fear of losing.
On Dec. 27, 2010 Corbyn predicted Europe's winter of discontent shown in the video below.
Corbyn is well known for his opposition to the idea of anthropogenic global warming. On his website www.WeatherAction.com he writes about his views, which include the idea the that the world is experiencing cooling.
He says proponents of "man made "climate change theory are using "junk" science and that their theory is "rubbish".


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FYI: Orientation is 10-11 am and also 7-8 pm that same date.
We're getting ready to kick off another year of Great Lakes education!
This fall, over 700 District 65 6th grade students will take a closer look at our precious resource, the Great Lakes watershed: where water goes, what pollutes it and why this matters. We are looking for community volunteers to join students, teachers and Pipes and Precipitation partners at upcoming field trips to Evanston beaches to study the land and water.
We are holding an Orientation to fill in volunteers on all you will need know to be a confident guide on the field trips. Orientation is REALLY important since our time with students is brief–but memorable–! At that Orientation, you will have the opportunity to sign up for the field trip(s) that best fits your schedule. Trips will take place on weekday mornings in late September and early/mid October.
Let me know if you're able to make it on the 19th and PLEASE share this volunteer opportunity!


More information on PA Events can be found at http://pay.scdpaevents.co.uk/ where tickets/merchandise can also be purchased.
Tickets are still available following the link above for our annual quiz night - always a fantastic night out and a great opportunity to pit your wits against the teachers!
If you would like to be in with a chance of winning one of the 17 cash prizes drawn throughout the year and raise money for the school at the same time, please fill out our form which is available to download at the bottom of this page.
The PA Committee is a fun, vibrant team of committed parents. We have several roles available on the committee and we are always looking for volunteers to support our events. Please contact us on scdpavolunteers@gmail.com if you feel you could spare a bit of time to support the PA and the School.


text:
Base de datos FAOLEX
Perfiles de país
Recopilaciones Temáticas
Bases de datos Asociadas
Dominica - Perfiles de país
Constitution of Dominica.
National Resilience Development Strategy Dominica 2030.
Intended Nationally Determined Contribution (INDC) of the Commonwealth of Dominica .
Fourth Medium-Term Growth and Social Protection Strategy (GSPS) 2014 – 2018.
Dominica National Biodiversity Strategy and Action Plan 2014-2020.
Commonwealth of Dominica Third Medium-Term Growth and Social Protection Strategy (GSPS) 2012-2014.
National Integrated Water Resources Management (IWRM) Policy.
National Tourism Policy 2020.
Desarrollo agrícola y rural
Emergency Powers (Disasters) Act (Cap. 15:03).
Date of original text: 17 December 1987 (1991)
Development Levy Act (Cap. 67:10).
Date of original text: 27 July 1987 (1991)
Dominica Agricultural Industrial and Development Bank Act (Cap. 74:03).
Date of original text: 01 January 1982 (1992)
Caribbean Agricultural Research and Development Institute Act (Cap. 28:10).
Emergency Powers Act (Cap. 15:02).
Date of original text: 07 May 1951 (1990)
Small Charges Act (Cap. 10:39).
Date of original text: 01 March 1892 (1991)
Small Trespass Act (Cap. 7:05).
Climate Resilience Act No. 16 of 2018.
Protection of New Varieties of Plants Act (Act No. 14 of 1999).
Plant Protection and Quarantine Act (Cap. 58:40).
Date of original text: 1986 (1991)
Pesticides Control Act (Cap. 40:10).
Dominica Banana Marketing Corporation (Divestiture and Restructuring) Act (No. 18 of 2002).
Banana (Protection and Quality Control) Act (Cap. 58:41).
Dominica Banana Growers Association Act (Cap. 58:03).
Sale of Produce Act (Cap. 82:02).
Ninguna legislación disponible
Solid Waste Management Act 2002 (No. 1 of 2002).
Noxious and Dangerous Substances (Control) Act (Cap. 40:09).
Date of original text: 01 February 1982 (1991)
Solid Waste Management (Validation) Act 2006 (No. 1 of 2006).
Montreal Protocol (Substances that Deplete the Ozone Layer) Act, 2006 (No. 14 of 2006).
Environmental Health Services Act (No. 8 of 1997).
Noise Abatement Act (Cap. 40:99).
Date of original text: 30 September 1993 (1995)
Litter Act (Cap. 40:61).
Fisheries Act 1987.
Territorial Sea, Contiguous Zone, Exclusive Economic and Fishery Zones Act, 1981 (Cap. 1:11).
Date of original text: 25 August 1981 (1991)
Protection of Fishermen Act (Cap. 61:61).
Hunting and Fishing (Open Season) Notice 2015 (SRO No. 27 of 2015).
Forestry and Wildlife (Fees) Regulations 2014 (SRO 19 of 2014).
Fisheries (Berthing) Regulations (S.R.O. 23 of 2001).
Fisheries (Marine Reserve) Regulations (S.R.O. No. 7 of 2001).
Environmental Health Services (Food Hygiene) Regulations 2003 (S.R.O. No. 58 of 2003).
Fresh Produce Export Quality Control Act 2009 (No. 2 of 2009).
Tourism Regulation and Standards Act (No. 19 of 2005).
Protection of Geographical Indications Act (No. 13 of 1999).
Standards Act (Act No. 4 of 1999).
Food and Nutrition Council Act.
Date of original text: 08 October 1981 (1991)
Forests Act (Chapter 60:01).
Forestry and Wildlife Act, 1976.
Forest Industries Development Corporation Act, 1977 (Cap. 85:01).
Bush Fires Act (Cap. 42:61).
Date of original text: 16 April 1915 (1991)
Forest Rules, 1972.
Tierra y suelos
Physical Planning Act, 2002 (Act No. 5 of 1992).
Conveyancing and Law of Property Act (Cap. 54:01).
Land Survey (Amendment) Act, 2005 (No. 12 of 2005).
Aliens Landholding Regulation Act, 1995 (No. 17 of 1995).
Title by Registration (Amendment) Act (No. 17 of 1994).
Land Survey Act (Cap. 53:04).
Date of original text: 17 November 1988 (1991)
Tenancies and Rent Control Act (Cap. 54:72).
Animals Diseases Act (Cap. 61:02).
Protection of Animals (Cap. 61:01).
Use of Oestrogens, Arsenical or Antimonial Substances Prohibition Act (Cap. 40:11).
Pounds Act (Cap. 61:03).
Antibiotics Act (Cap. 40:06) No. 8 of 1958.
Dominica Air and Sea Ports Authority Act, 2006 (No. 8 of 2006).
International Maritime Act, 2000 (No. 9 of 2000).
Registration of Ships Act (Cap. 48:01).
Carriage of Goods By Sea Act (Cap. 48:02) No. 7 of 1926.
Communication with Vessels Act (Cap. 49:01) No. 2 of 1890.
St.Joseph Village Council Sanitation By-law, 1991 (By-law No. 1 of 1991).
Water and Sewerage Act (Cap. 43:40).
Central Water Authority (Repeal and Vesting of Property) Act 1986 (No. 19 of 1986).
Power Craft Prohibition (Designated Rivers) Act, 2001 (No. 10 of 2001).
Prescription Act (Cap. 7:02).
Environmental Health Services (Control of Mosquitoes) Regulations 2006 (S.R.O. No. 2 of 2007).
Water Tariffs (Atkinson/Carib Territory) Regulations, 2003 (S. R.O. No. 31 of 2003).
Sewerage Regulations (S.R.O. No. 61 of 1997).
Especies silvestres y ecosistemas
National Parks and Protected Areas Act, 1975.
National Parks Regulations (S.R.O. No. 54 of 2003).
Wild Birds Protection Ordinance.
Premium Site Regulations, 2012 (S.R.O. No. 24 of 2012).
Agreement establishing the Caribbean Community Common Fisheries Policy.
Protocolo al Convenio para el Establecimiento de la Zona de Turismo Sustentable del Caribe (ZTSC).
Agreement Establishing the Caribbean Regional Fisheries Mechanism.
Convenio para el Establecimiento de la Zona de Turismo Sustentable del Caribe (ZTSC).
Agreement on fisheries between the European Economic Community and the Government of the Commonwealth of Dominica.
Protocol on conditions relating to reciprocal access for fishing vessels of both Parties.
Agreement establishing common fisheries surveillance zones of participating member States of the Organisation of Eastern Caribbean States, 1991.
Alerta de estafa
Reportar mala conducta
Órganos rectores
Oficina del Inspector General
Oficina Jurídica y de Ética
Departamentos y oficinas de la FAO
Oficina Regional para África
Oficina Regional para Asia y el Pacífico
Oficina Regional para Europa y Asia Central
Oficina Regional para América Latina y el Caribe
Oficina Regional para el Cercano Oriente y África del Norte
Oficinas subregionales


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text:
Interview: James Forrest on climbing all of Ireland's mountains
James Forrest on climbing all of Ireland's mountains, coping with relentless bad weather, and stinking out an Airbnb with his smelly socks…
Not content with having climbed all the 2,000ft peaks in England and Wales last year, TGO contributor James Forrest decided to head across to Ireland to polish off a major mountain tick-list there too. Intrigued by his stunning photos of summit temperature inversions on social media, we got in touch to find out more.
Please introduce yourself. Who are you and what do you do?
"My name is James Forrest. I'm a former newspaper journalist turned adventure travel writer. I live in the Lake District and I'm passionate about hiking, wild camping and climbing mountains. I used to live in a city and work in an office – but I hated it. So in 2016 I quit my job, sold my house, moved to the Lake District and set about living the most adventurous life I could. It's the best decision I ever made."
Tell us about your latest challenge.
"I challenged myself to climb all 273 mountains over 600m in Ireland – the so-called 'Vandeleur-Lynams' – in the fastest ever time. It took me 56 days with 10 rest days, so 46 walking days in total. I walked 1,129km and climbed the height of Everest every week for eight weeks in a row. It was the adventure of a lifetime – simultaneously incredibly tough and amazingly rewarding."
Where did you first get the idea of climbing all 273 mountains in Ireland, and what did the planning and training involve?
"In 2017 I climbed all 446 mountains over 2,000ft in England and Wales – the so-called 'Nuttalls' – in just six months, the fastest ever time. It was my first ever major peak-bagging expedition and I loved it. It was a life-affirming experience; a challenge that changed my life really. I wanted to go on a similar adventure in 2018 and the idea of Ireland popped into my head. I'd never hiked in Ireland so I was drawn to the idea of new experiences and exciting landscapes, especially in the wild, rugged, remote west and south-west of Ireland.
"To be honest, I really didn't train for the challenge, simply because I walk a lot in my everyday life, so I was already fit for hiking. And, similarly, I didn't spend loads of time planning. I love the unpredictability of adventures and the joy of 'going with the flow', so I've never been one to over-plan. All I did really was jam-pack my car full of expedition food and camping gear (especially chocolate and Nutella) and plan routes on my phone using a GPS app. Simple."
Exploring the MacGillyCuddy Reeks
© James Forrest
What one item of gear did you rely on the most during your journey?
"Definitely the GPS navigation app on my phone. Many of the mountains of Ireland are pathless and, in poor weather, navigation is very tricky. My GPS certainly got me out of a few tricky situations – I might still be lost in the remote Dunkerrons in County Kerry if it hadn't been for the wonders of GPS pinpointing. I used my phone as my primary navigation tool for all 273 mountains and it never let me down."
Any low moments? What were the biggest challenges you faced on your trek?
"There were, naturally, loads of lows: falling violently ill (stomach problems) after my first week in the wild; losing my wallet in Killarney (only to luckily get it back after it was handed into the police); being berated by an angry Airbnb owner for 'making his house smell of old socks' after stashing my hiking gear in the room (one of the most awkward and cringy moments I've ever had!); and forgetting my lighter on a multi-day wild camping trip meaning I couldn't use my stove (luckily a kind man gave me one on day two!).
"But easily the biggest challenge was the weather. I faced so much rain and wind and cloud it was utterly gut-wrenching. At one point I hiked for 10 days in a row, climbing over 50 mountains, and it was torrential rain every day and I didn't see a view from a single summit. It was horrific. I felt like giving up so many times. It was demoralising and I felt broken mentally. But I persevered, as I didn't want to be a quitter, and I'm so pleased I kept going."
And what about the best moment?
"There were so many highs and ecstasies: the freedom and escapism of the mountains, the nature, the fresh air, the simplicity of your only goal for the day being to walk from A to B, the solitude and tranquility of walking alone, the magic of sleeping wild under the stars, the sense of achievement that comes with a big challenge, the happiness-inducing endorphins of exercise, the heartwarming generosity and kindness of the strangers who gave me lifts when I was hitchhiking around, the unpredictability of a big adventure (and the joy of overcoming the mishaps and obstacles in my way), and the beauty of the wild landscapes of Ireland.
Waking up above the clouds on Knockowen
"But my most euphoric moment was waking up to a perfect cloud inversion on a mountain called Knockowen in the Beara Peninsula. I unzipped my tent and couldn't believe my eyes. It was truly beautiful, like waking up heaven. I will remember that moment forever."
Anything you can tell us about your next expedition – or are you taking the chance to rest and recover for a bit first?
"Well, I've now climbed all of the mountains in England and Wales in 2017, and all of the mountains in Ireland in 2018. So, perhaps, the past 719 mountains have just been training for the inevitable – an attempt on the Munros in 2019 maybe. But, for the time being, I'm planning on spending a lot of time with my sofa, watching Netflix and eating Dominos pizzas. I think I deserve the rest! Haha."
Where can our readers follow and support you?
Instagram: www.instagram.com/jamesmichaelforrest
Facebook: www.facebook.com/jamesmichaelforrest
Twitter: www.twitter.com/jamesmforrest
James makes it to his final summit, Knocknadobar, to complete his challenge
Glen Coe image wins Landscape Photographer of the Year 2018
Photo gallery: Trekking Beyond – Walk the World's Epic Trails


Give your 0.5mm Tritium, Genesis.XGi, and XSi airbrushes the ability to spray in a fan pattern. This kit includes the fan spray cap as well as the needle, nozzle and nozzle cap.
Inspired by full-sized spray guns, the Grex Fran Spray Cap transforms your airbrush into a "mini spray gun" allowing for more efficient, quicker and even coverage of larger areas. This changes the standard round spray pattern of an airbrush into an elongated fan spray pattern of a spray gun. A very useful and desired trait for laying down even coverage with fewer passes.
*Note: Using the 0.5mm Grex Fan Spray Cap will require more airflow than the standard nozzle cap. You may need to use a larger compressor. Please consult the chart below.
- Includes installation and usage instructions.


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BlackRapid.com is a website that offers fashionable camera and photography accessories at a great price. They also offer accessories in several different patterns and designs.
One winner will receive a gorgeous Classic Floral Women's Strap.
I like the Lens Bling.


just wondering, beth, if these are organized in the book by date or how you know what prayer corresponds with what week.
Great question! It's actually a bit complicated… The readings are on a two-year cycle (year A and year B), and they are laid out based on the week of the church calendar (for instance, this is the week "Proper 9," the ninth week of the Season after Pentecost). The collects are arranged in a separate table, organized by the church calendar as well. This week's prayer is the "Proper 9" Collect ("O God, who has taught us to keep…"). Thankfully, the internet makes this all much easier to organize!


So, my Christmas happen already in November. Last two plugins are 3D related and shows my interests in next year - I finally want to create also something in 3D!
my first book "Create procedural endless runner in Phaser with TypeScript" reached 80 sales.
Here is first of last two income reports. I decided to end it in December to close year 2016. It started as income report from mobile games, but it is more and more about HTML5 games as income from mobile ones is still pretty low. Picking such a small figures from many internet consoles is boring and I decided to invest saved time into writing more tutorials and technical articles next year.
As usually, the highest income is from ads.
Income from HTML5 hired work and HTML5 licences for November is $1 480,9.
Income from my book for November is $198,8.
Total income for November is $1 787,0. It is 28,3% decrease, compared to October ($2 490,8).
In December I am again working on some client projects. Beside it, I am rewriting Pirates into Unity and making new levels for it.


Founded in 2010 as a response to a call to use "citizen participation, collaboration and expert analysis to inform and improve decision-making on issues involving science and technology", ECAST is a collaboration among university, informal science education, and policy research partners to establish a non-partisan, independent, flexible, and proactive technology assessment capability in the United States. ECAST engages experts, stakeholders representing diverse perspectives and everyday citizens in assessing the responsible design and use of emerging developments in science and technology through a mix of formal and informal methods. Working with partners in government, industry, academic, and non-governmental settings, as well as with experienced colleagues in other nations, ECAST will conduct innovative, inclusive, and participatory assessment activities in a transparent and democratic fashion on a range of scientific and technological issues, and will broadly share and disseminate the results with policymakers, media, and the general public.
The Expert and Citizen Assessment of Science and Technology (ECAST) network is a distributed network of institutions that creates peer-to-peer public deliberations to inform citizens about and solicit their input to science and technology policy issues, in an effort to more fully inform policymaking. Such peer-to-peer methods are designed to enable participants to distill their own questions and share feedback so that policymakers may better understand and take into account a broader understanding of the societal implications of emerging developments in science and technology. The ECAST network brings together academic research, informal science education, citizen science programs and non-partisan policy analysis to engage citizens on decision-making related to science and technology policy. ECAST's founding membership are: Consortium for Science, Policy and Outcomes, Arizona State University; the Museum of Science, Boston; SciStarter.com and Science Cheerleader; the Loka Institute; and, the Science and Technology Innovation Program, Woodrow Wilson International Center for Scholars.
ECAST was formally introduced in April of 2010 through a briefing event at the Woodrow Wilson International Center for Scholars. The event marked the release of a report by Richard Sclove, "Reinventing Technology Assessment: A 21st Century Model." It generated broad interest and was attended by representatives from the White House, Congress, and other governing bodies.
Following the report, ECAST continued to explore different approaches for participatory TA and, in 2012, the network undertook and completed its first large-scale demonstration project, the coordination of the U.S. component of the World Wide Views on Biodiversity (WWViews). This global citizen consultation – organized by the Danish Board of Technology and conducted in 25 countries and four US cities (Boston, Washington, Denver and Phoenix) on September 15, 2012 – provided input to the Eleventh Council of Parties of the UN Convention on Biological Diversity (CBD) that took place the following month. In December, ECAST released its project report, "Technology Assessment and Public Participation: From TA to pTA" through a follow–up event at the Wilson Center. The report examines the process and results of WWViews as a means of understanding the challenges and opportunities for expanding the practice of pTA in the U.S.
ECAST continues to seek opportunities to inform policymakers and punctuate citizen science efforts by creating an on-ramp for citizens to articulate and share their views with decision makers.


text:
What Do We Want from Artists' Houses?
Article by Christopher Reed
Rudolph De Cordova, The Hall of Panels, Casa Alma-Tadema (detail), in "The Panels in Sir Lawrence Alma-Tadema's Hall" by Rudolph De Cordova, The Strand Magazine (December 1902).
This article, based on a plenary lecture for the conference Alma-Tadema: Antiquity at Home and on Screen, explores the attractions of the artist's house as a site of display in the late Victorian era, the early twentieth century, and today. Comparing the houses of Lawrence Alma-Tadema and Frederic Leighton with Charleston Farmhouse, home of the Bloomsbury artists Vanessa Bell and Duncan Grant, I invoke the comments of viewers from Walter Sickert to Patti Smith in order to examine the relationship between the look of surfaces and viewers' perceptions of psychological depth.
Eminent Victorians Observed
It might be said that I approach an exhibition of Lawrence Alma-Tadema's paintings at Leighton House1 from enemy territory: more specifically, from the precincts of the famous—or notorious—Bloomsbury group. Bloomsbury's members, I'm afraid, consistently cast their influential promotion of modernism as a form of antagonism toward eminent Victorians such as Leighton and Alma-Tadema.2 Thus, it was that in 1912 Vanessa Bell—who had stayed in London to recuperate from illness, while her husband and children went to his parents for the Christmas holidays—was visited by her fellow painter Duncan Grant. Describing Grant's visit in a letter to her husband, Bell wrote that he:
lay on the floor and talked in a desultory but cheering way of … how we are to turn my studio into a tropical forest with great red figures on the walls—a blue ceiling with birds of paradise floating from it (my idea), and curtains each one different. This all to cheer us through London winters. Duncan also wants a bath let into the floor, but I told him that was à la Leighton House, which made him rather cross.3
This passage exposes what seems to be a blind spot at the core of Bloomsbury's self-understanding. From our perspective a century later, it seems clear that the group's embrace of a Fauve-inflected modernism—especially in its extravagant domestic interiors so different from the chrome and leather minimalism later enshrined as the canonic look of the modern4—had more in common than they might have wished with the tastes of their Victorian forerunners.
The similarity between Bell's fantasy of a "blue ceiling with birds of paradise floating from it … to cheer us through London winters" and such Alma-Tadema titles as Under the Roof of Blue Ionian Weather suggests shared fantasies not only about Mediterranean culture but, more broadly, about art's association with leisured aesthetic delectation (Fig. 1). We might, for instance, compare Alma-Tadema's painting with one of Bell's depictions of Grant from around the time of her letter. Her Matisse Room at the Second Post-Impressionist Exhibition (Fig. 2) shows Grant admiring the blue-skied arcadias rendered by Matisse from one of the Grafton Galleries' tufted settees, which were as much a semi-public site of aesthetic contemplation as Alma-Tadema's marble benches.5
Lawrence Alma-Tadema, Under the Roof of Blue Ionian Weather, 1901, oil on panel, 55 × 121 cm. Private Collection.
Digital image courtesy of Christie's Images / Bridgeman Images.
Vanessa Bell, Matisse Room at the Second Post-Impressionist Exhibition, 1912–1913, oil on panel, 50.5 × 60.5 cm. Collection Musée d'Orsay, Paris.
Digital image courtesy of RMN / Hervé Lewandowski.
The Alma-Tadema exhibition at Leighton House highlighted another connection between Britain's late-Victorian and pioneer-modernist artists: their attention to the idea of the artist's house. Leighton, Alma-Tadema, and the Bloomsbury artists all created and publicized their domiciles as part of their artistic practice. Their homes became extraordinary sites of collection and display; self-conscious performances of their particular aesthetics; and testaments to a creativity that seemingly could not be confined in frames or on pedestals, but expanded onto walls and into gardens, making claims for art as a way of life. These ambitions link Bloomsbury with the group's late-Victorian antecedents in a shared—and arguably distinctly British—tradition. But although today Leighton House in London and Charleston Farmhouse in Sussex are both popular pilgrimage sites for those interested in British art, their connections were lost on Bloomsbury and would likely have been lost on Leighton and Alma-Tadema too had they stuck around to comment. I want to take this opportunity to explore the relationship between these artists' houses and our experience of them.
Here I invoke another instance of Bloomsbury's antagonism, this one in the form of an article by Roger Fry, who, with Bell and Grant over the winter of 1912–1913, organized the Omega Workshops to apply Bloomsbury's ideas of modernist aesthetics to domestic interiors. Fry's text appeared in The Nation in January 1913, so it shares a moment with the letter I just quoted—and it displays the same prejudices. Here Fry, fresh from debates over the Second Post-Impressionist Exhibition (1912), goaded the art establishment with a rumination occasioned by a retrospective exhibition dedicated to the recently deceased Lawrence Alma-Tadema. Fry opens by asserting his surprise that someone "so little … alive to me" had actually died, and goes on to complain:
His art … demands nothing from the spectator beyond the almost unavoidable knowledge that there was such a thing as the Roman Empire, whose people were very rich, very luxurious, and, in retrospect at least, agreeably wicked. That being agreed upon, Sir Lawrence proceeded to satisfy all the futile inquiries that indolent curiosity might make about the domestic belongings and daily trifles of those people. Not that he ever makes them real people … He does, however, add the information that all the people of that interesting and remote period, all their furniture, clothes, even their splendid marble divans, were made of highly-scented soap.6
Fry here diagnoses "The Case of the Late Sir Lawrence Alma Tadema" (this is the article's title) as "only an extreme instance of the commercial materialism of our civilization."7 His argument is neither innovative nor edifying—though it may be claimed as influential. Attacks on the commercialism of Victorian painters go back at least as far as Oscar Wilde's remark that: "in France every bourgeois wants to be an artist, whereas in England every artist wants to be a bourgeois."8 But Fry's claim that Alma-Tadema was "rewarded by a fortune" for appealing to "the culture of the Sixpenny Magazine" associated with "the half-educated members of the lower middle-class" anticipates the rhetorical strategy of Clement Greenberg's famous "Avant-Garde and Kitsch" (1939).
There is less to be learned from this all too common spectacle of a bourgeois intellectual claiming avant-garde status by accusing others of pandering to the polloi than from the flash of visual analysis Fry offers. Fry's startlingly apt comparison of Alma-Tadema's surfaces to "highly-scented soap" may allude to Millais' commercial association with Pears soap, but is poignant in light of Charlotte Gere's analysis of the social tensions that beset prominent Victorian painters. Gere traces the phenomenon of the semi-public artist's house to the custom of Sunday open houses when patrons visited the studios of Academicians to see what they were planning for upcoming shows, and argues convincingly that this form of self-advertisement became the first middle-class aesthetic to challenge aristocratic tastes from below.9 In so doing, she exposes the paradox that the position in aristocratic social circles of middle-class painters, no matter how prominent, rested on craftsmanship yet required them to efface any evidence that they worked with their hands.10 From this perspective, the finish of Academic painting reads as a register of anxiety.
DOI The soap-like smoothness of Alma-Tadema's art, however, condemned it in the eyes of modernists for whom the brushstroke authenticated the defining attribute of art: its status as individual self-expression. To make this case, I'm afraid I must adduce another rude remark about Alma-Tadema, this one from the painter and critic Walter Sickert, who occupied a position both chronologically and ideologically between the late Victorians and the Post-Impressionists. Sickert's review of the Academy Exhibition of 1890 criticized Alma-Tadema's portrait of his fellow Academician Ernest Albert Waterlow (Fig. 3) by complaining of something artificial about its surface:
The ear of this profile is no nearer to the spectator than the nose, nor both than the wall. All he does is to give us a highly polished map of the surface of the sitter's skin … That this should be so, is, I suppose, the logical consequence of a life-time spent in compiling pictures of Roman life from every document but the essential one, namely, personal observation.11
Sickert's complaint, anticipating Fry's, identifies something meretricious in Alma-Tadema's surfaces, which renders his paintings artificial, like scented soap or polished maps, instead of—well, that's the question: Instead of what?
To identify what turn-of-the-century modernists wanted in painting, I turn to another of Sickert's texts: a short essay introducing an exhibition of British Impressionists in 1889. Dismissing competing Pre-Raphaelite criteria, Sickert asks, "If we approach [a] picture, what must it reveal to us on closer examination?" He defends his answer—"Not new facts, certainly, about the subject of the picture"—by invoking exemplary paintings by Velázquez, Whistler, and, perhaps surprisingly, Leighton:
The embroidery on the cloak of Philip IV does not on examination reveal its construction or texture, nor on approaching the portrait of Lady Archibald Campbell, do we find the hairs of the fur cape evident. An examination of the surface of Sir Frederick [sic] Leighton's "Summer Moon" (Fig. 4) would reveal no new facts about the sleeping figures that could not be seen at the distance at which the picture is visible as a whole. What is it then that these works all yield in their different ways on nearer examination? It is nothing more than a subtle attribute which painters call "quality" … A certain beauty and fitness of expression in paint, apparently ragged perhaps, and capricious, but revealing to the connoisseur a thoughtful analysis of the essentials in the production of the emotion induced by the complex phenomena of vision.12
This is all a bit vague, and Sickert clarifies nothing by comparing "real quality" to "style in literature." But his key terms—the "production of the emotion" by facture that is "ragged" and "capricious"—suggest struggle, incompletion, and something not altogether under the artist's control.
Frederic Leighton, Summer Moon, circa 1872, oil on canvas. Private Collection, India.
Sickert's argument finds an antecedent, of course, in Whistler's famous riposte to John Ruskin's charge that his paintings lacked finish in which the artist claimed that his seemingly hurried facture displayed "the knowledge I have gained in the work of a lifetime."13 But this exchange, which took place in 1878, offered learning, rather than affect, as the meaning of the artist's marks. And, as Tim Barringer notes, Whistler had long defended his brushy surface in terms inimical to struggle: "The work of the master reeks not of the sweat of the brow—suggests no effort—and is finished from its beginning."14 Looking forward, Sickert's ideas play out more explicitly almost four decades later in the opening pages of Fry's adulatory book, Cézanne: A Study of His Development.
He has not the gift to seize hold directly on an idea and express it with an emphasis which renders it immediately apparent; he seems indeed hardly to arrive at the comprehension of his theme til the very end of his work; there is always something still lurking behind the expression, something he would grasp if he could … He often feels his way so cautiously that we should call him timid were it not that his tentatives prove his desperate courage in face of the elusive theme.15
Fry expands on the virtues of Cézanne's tentative, struggling method:
Cézanne is so discreet, so little inclined to risk a definite statement for fear of being arrogant; he is so immensely humble; he never dares trust to his acquired knowledge; the conviction behind each brush stroke has to be won from nature at every step, and he will do nothing except at the dictation of a conviction which arises within him as the result of contemplation.16
Fry's description of Cézanne's process, in which he eschews the conventions of "acquired knowledge" in order to struggle personally for convictions registered in each brushstroke, served as a template for the appreciation of modernist artists closer to home. The opening line of a review Fry published in 1922 is: "The first quality of Vanessa Bell's painting is its extreme honesty." He goes on to insist that "in her case the virtue shines with a special brightness because she has no trace of what would ordinarily be called cleverness in a painter," which he defines as "the power to give an illusion of appearance by a brilliant shorthand turn of the brush." In short, Bell's struggles are visible. Never attempting to appear anything she is not, Bell "follows her own vision unhesitatingly and confidingly … If the result is not very legible, she never tries to make it out any more definite or more vividly descriptive than it is." Bell's facture—what Fry calls "her 'handwriting'"—"is not elegant. It is slower, more deliberate, less exhilarating," but "She knows that 'handling' and quality of painting are only really beautiful when they come unconsciously in the process of trying to express an idea."17
I do not claim to adjudicate Fry's—or Sickert's—critical judgments. Do Vanessa Bell's brushstrokes register honest struggle? Is Leighton's handling more "capricious" than Alma-Tadema's map-like reproduction? As Elizabeth Prettejohn has documented, other critics disparaged Leighton's surfaces, complaining of their "waxiness and over-smoothness."18 We could chase these claims around forever only to conclude that Sickert's "quality" and Fry's "honesty" lay in the eye of the beholder. But what is clear is that twentieth-century viewers wanted something other than finish in painting, a quality Sickert called "ragged," indicative of struggling and striving. This is what modernists wanted from artists—and thus from artists' houses.
Post-Victorian Artists' Houses
Ragged is an apt word to describe the look of Charleston, the farmhouse shared by Vanessa Bell, Duncan Grant, and others in the Bloomsbury Group for six decades starting in 1916. Pioneering an aesthetic later commercialized as "shabby chic," Charleston in 1997 became the setting for Annie Leibovitz's Vanity Fair photo session with a suitably disheveled Nicole Kidman.19 More interestingly, the house became something of an obsession with the "poet laureate of punk," Patti Smith. Smith's fascination with the houses of historic figures is registered in photographs she takes with Polaroid Land cameras, manufactured in the 1970s. Smith says that she first took up Land cameras because of the immediacy of their self-developing and printing technology.20 But she stresses that her photographs are far from spontaneous. "There is very little Polaroid film to be had, so I can't waste film," she explains; "I have to think carefully about each picture."21 Her exhibited and published photographs—silver gelatin or inkjet prints made from the Polaroids—transform the immediacy of the initial pictures into images that register the limitations of this technology: uncertain focus, stark light/dark contrasts, unexpected aureoles and mists all redolent of older forms of photography. "If somebody asked me what kind of photographer I aspire to be, I would say a nineteenth-century amateur, that's my goal," Smith says.22
Patti Smith, Le miroir piqué, Charleston, (also published as The Pitted Mirror, East Sussex, England), 2003, gelatin silver print.
Digital image courtesy of the artist and Robert Miller Gallery, New York.
Smith's photographic aesthetic of struggle and imperfection partakes in the values Fry admired in Vanessa Bell's painting and Duncan Grant's theater designs. About the latter, Fry wrote to Bell, "I always like best these things done in an impossibly short time without pretension and with incredible makeshifts which do so much better than the proper thing."23 These words apply to Charleston—and to Patti Smith's response to the house. Recalling her first visit in 1999, Smith says,
When I came here a few years ago, I felt a real longing to document this place in the same manner that I document my own home because it is very much how I live: books everywhere, things that seem very humble, very sacred … Art wasn't just a precious thing, art was part of everyday living.24
Smith's photographs aestheticize the improvised beauty of Charleston with a power born of her identification—"it is very much how I live"—with the artists who lived there.
Smith's identification with the artists and authors whose homes she photographs is thematized in her images of workspaces (desks and studios) and objects redolent of the human limitations of sleep and death (beds and gravesites). She ascribes her turn to photography as a form of mourning, noting that in the mid-1990s, "I lost my husband, brother, Robert [Mapplethorpe], my young pianist, and my parents."25 These themes come together in a photograph titled Le miroir piqué, Charleston (Fig. 5) that Smith published with this handwritten explication:
The pitted mirror
In the farmhouse that belonged to the painter Vanessa Bell is the mirror that belonged to her mother. It is so old that the surface is pitted. It is said that her sister Virginia Woolf watched her mother die in this mirror. Virginia, as she was only thirteen, could not bare [sic] to watch her mother die, so she watched her reflection instead.26
I am using Patti Smith to exemplify what I take to be our post-Victorian perspective on the idea of the artist's house. When Princeton English professor Diana Fuss went looking into the houses of famous authors for her book The Sense of an Interior (2004), she described the "heart" of her project as "the unexplored link between the inner mind and the inner dwelling."27 What modern visitors look for in artists' houses is "interiority"—interior spaces are read psychologically, as indices of an idea of creativity manifested through perpetual struggle. What Victorian artists' houses seem to offer, in contrast, is a fantasy of surfaces: an ideal of creativity manifested in brilliance, accomplishment, and that magic Victorian term of approbation, "finish." This is as true of the Arab Hall at Leighton House as it was of the Hall of Panels, where visitors were welcomed at Casa Tadema (Figs 6 and 7).
Frederic Leighton, The Arab Hall, Leighton House, constructed 1877–1881. Leighton House Museum, Royal Borough of Kensington and Chelsea.
Digital image courtesy of Will Price.
Rudolph De Cordova, The Hall of Panels, Casa Alma-Tadema , in "The Panels in Sir Lawrence Alma-Tadema's Hall" by Rudolph De Cordova, The Strand Magazine (December 1902).
No wonder, then, that Sickert's modernist values prompted him to oppose the preservation of Leighton House:
It will become a white elephant, and in ten years the tired piety will turn to foolishness and embarrassment … Do not let us consecrate in perpetuity the hotel, now that the brilliant guest has gone. Do not let us prepare for ourselves the sneers of … a neo-Georgian generation, at the taste, in house decoration, of a late-Victorian President of the Royal Academy.28
This prediction introduces Sickert's rumination on the value of Leighton's preparatory drawings, which, he suggests, are superior to the paintings they preceded. Arguing that the artist "lives in his work," Sickert praises Leighton's sketches from the nude as "expressions of emotion by means of poses of the human body," but complains that this "gracious comedy of human passion" is often "sadly obscured by the swaddling of the next stage." Leighton's house, Sickert implies, is like Leighton's draperies: a form of finishing that ends up simply copying from archaeological sources or falling "into the indeterminate." If "the archaeological" is no better than its sources, the "indeterminate" is a rehearsal of contemporary convention so superficial that it "outmodes worse than any crinoline."29
Sickert's twinned critiques of Leighton House and Leighton's paintings turn on his complaint that the artist is obscured, rather than revealed, by the aesthetic of his era. Sickert's demand for an exposed and therefore authentic self (thematized in renderings of the naked body and registered stylistically in "ragged" facture) is starkly opposed to Victorian imperatives that artists represent erudition and decorum (thematized in Greco-Roman subject matter and registered stylistically through glowing surfaces suggestive of scented soap, as if to repel dirt as surely as they mask traces of labor). It is no coincidence that a recurring theme in Alma-Tadema's art is the admiration of art on these Victorian terms. These paintings propose classical sanction for the admiration of the results of the artist's labors, rather than the labor itself. In A Sculpture Gallery in Rome at the Time of Augustus of 1867 (Fig. 8) and A Picture Gallery of 1873 (Fig. 9), for instance, bronze sculptures, with their shiny surfaces, become the paradigm of the completed masterpiece. By contrast, the depicted paintings being admired in Alma-Tadema's studio scenes are turned away, invisible to our eyes.
It was Alma-Tadema's "careful obliteration of all those marks which are left on an object by the processes of manufacture" that Fry condemned as a "shop-finish,"30 a term that returns in his preface to the first Omega Workshops catalogue. Here Fry describes the convictions of the Omega's modernist artists, who "refuse to spoil the expressive quality of their work by sand-papering it down to a shop finish, in the belief that the public has at last seen through the humbug of the machine-made imitation of works of art."31 The Bloomsbury artists' many portraits and self-portraits of artists at work are as paradigmatic of their own aesthetic ideals as Alma-Tadema's images of groups admiring finished artworks were of his.
Reviewing the Victorians
Thus the battle lines were drawn: Victorians versus moderns, with the reflectivity of shiny-smooth "shop-finish" now "seen through" by modern viewers looking for the psychological reflectivity of the striving, struggling artist. This assertion of aesthetic and moral superiority continued to characterize assessments of Victorian art through much of the twentieth century. Charles Rosen and Henri Zerner's 1984 essay collection, Romanticism and Realism: The Mythology of Nineteenth-Century Art, concludes with a chapter on the "ideology of the licked surface." Here they describe the "smooth and glossy" surfaces—the "fini"—of Academic art as "an estrangement, an alienation, not only from the reality that is represented, but from the reality of art." Following Fry, they accuse Academic painters of pandering to middle-class taste: "The fini became the guarantee for the bourgeois, and especially for the great bourgeois known as the state, against being swindled."32 Ultimately, they charge, this finish is inauthentic:
if the Academic fini is work, it is shameful work. It cleans up, rubs out the traces of any real work, erases the evidence of brushstrokes, glosses over the rough edges of forms, fills in the broken lines, hides the fact that the picture is a real object made out of paint.33
We have come a long way since 1984. I quote those lines of Rosen and Zerner from Prettejohn's re-evaluation of Leighton, published in 2000. Prettejohn provocatively flips conventional claims that the blatant brushstrokes and rough edges in paintings in the modernist canon are evidence of an authenticity in which "the physical presence of paint is celebrated" and "the act of painting" is displayed as hard "work like other work (it was often said of Courbet that he painted with a trowel)," to quote Rosen and Zerner again.34 Instead, Prettejohn argues that the "flaunting" of "artifice" in the surfaces of Leighton's paintings and sculptures displays an "aestheticist yielding to the material" that, if it is not "modernist heroic struggle," is evidence of a more profound confrontation with "the impossibility of modernity." Here Prettejohn quotes a mournful line from one of Leighton's handwritten notebooks: "We can never be like the ancients—we can no longer be the unconscious voice of our times—we are introspective[,] analytic, doubts + self-consciousness beset and hamper us."35 This version of Leighton grapples with the doubts at the heart of modernism (and the conundrums central to modernist criticism) concerning the impossibility of achieving authenticity, not to mention the oxymoron of signifying it. Thus, Prettejohn rehabilitates Leighton's smooth surfaces as signs of a struggle both universal and perpetual. This move allows us to return to the subjects of Leighton's art—men battling pythons, or Daedalus preparing his son for a doomed attempt to defy the human condition—and to see this iconography as a reflection of struggle.36
If this is what we want from artists, it is also what we now seek in artists' houses. Looking around Leighton House, Jason Edwards finds similar iconographies of struggle, which he assesses as reflections of psychological interiority. Leighton's "deliberately partial or self-consciously unsuccessful" pastoralism, Edwards argues, rather than evoking the beneficence of nature, alludes to the struggle for "survival of the fittest" in both the natural world and the competitive Victorian economy. Edwards initially reads the shininess of Leighton House—its "elaborately decorated, coloured and textured, tiled and mosaic surfaces"—as the artist's defensive plea for "visitors to resist a hermeneutics of depth," but "on further reflection" finds an effect "more flirtatious, articulating a pleasurably rather than defensively, self-consciously rather than symptomatically, encrypted environment" in keeping with the house's "sublime, unexpected changes in scale and style, again resonant of potentially unpredictable riches and spaces within Leighton's subjectivity."37
Edwards directly engages the modernist correlation of ragged facture with self-expression. Acknowledging contemporaries' accounts of Leighton's "aversion to any process which obtained effects through roughness and inequality of surface,"38 Edwards suggests that "Leighton House's highly textured surfaces … designed to appeal to the hands, feet and skin more generally" open onto a more intimate sensorium involving touch, sound, and smell—senses that Leighton himself said exercised "extraordinary dominion" over him—so that the sounds of a splashing fountain and the intimations of appetite in the animals and fruits depicted in the décor become an endorsement of Walter Pater's invocations to indulge in Aesthetic pleasure. To judge by the "PLEASE DO NOT TOUCH" signs that today flank the bronze statue that gives its name to Leighton's Narcissus Hall, shininess can indeed function as an invitation to touch (Fig. 10). For Edwards, in conclusion, "Leighton's home reminds us of the importance of discovering, experiencing and articulating our own queerly eclectic, irreducibly idiosyncratic, solitary and collective erotic and aesthetic idioms."39
Bronze cast of Pompeian sculpture of Narcissus in the Narcissus Hall, Leighton House, , constructed 1877–1881. Collection of Leighton House Museum, Royal Borough of Kensington and Chelsea.
Digital image courtesy of Royal Borough of Kensington and Chelsea.
Edwards' conclusion returns us to the question posed in my title: What Do We Want from Artists' Houses? The answer is: that depends on who "we" are. Edwards' invocation of an active audience inventing as much as "discovering" its experience of Leighton's "subjectivity" in the spaces and surfaces of this high-Victorian environment echoes—despite their diametrically opposed conclusions—the premises of Fry's condemnation of Alma-Tadema's "shop finish." For Fry, "shop finish," by obliterating the marks of making, corrupts viewers with the "commercial ideal" that "the customer should be saved all trouble," a principle he associates with Kodak camera advertisements that promise: "You press the button, and we do the rest."40 As Patti Smith's photographs of Charleston demonstrate, however, in the right hands, even a self-developing camera can become a tool for creative identification and interpretation.
At this point, I hope that we have enough critical distance on both the Victorians and the modernists to overcome the investments that prevented them from reading each other sympathetically. For I would argue both that their apparently opposing aesthetics are actually complementary, and that, for good and/or ill, we live in the culture they created. Our lives are torn between aspirations to polished accomplishment on the one hand and experiences of struggle and incompletion on the other. This is what we want to see reflected in artists' houses—modernist or Victorian. We want them to be places where surfaces—shiny or ragged—invite us to perceive depths conceived as the psychological interiority associated with a creativity we can imagine ourselves into. It may even be that Victorian audiences saw in shininess something of the same kinds of struggle twentieth-century audiences need rough facture to recognize. Middle-class Victorian viewers—themselves trained in methods of careful rendering that were central for male careers from science to architecture, and for female practices of "drawing room" culture—might have been much more sensitive than we are to the record of facture registered in minute detail and "licked" finish. Be that as it may, what we want from artists' houses—or what they want from us—are modes of engagement that enact creative identification with surfaces as registers of human depth.
The author thanks Elizabeth Prettejohn and Peter Trippi for inviting and responding to this conference presentation, and is very grateful to Morna O'Neill and Anna Gruetzner Robins for their astute suggestions.
Christopher Reed is Liberal Arts Professor of English and Visual Culture at the Pennsylvania State University. His scholarship over the past twenty-five years ranges widely, but has dealt in one way or another with the social significance of art and design, especially in relation to the domestic. Among the eleven books he has authored or edited are the anthology Not at Home: The Suppression of Domesticity in Modern Art and Architecture (1996), A Roger Fry Reader (1996), Bloomsbury Rooms: Modernism, Subculture, and Domesticity (2004), and, with Nancy Green, the exhibition catalog A Room of their Own: The Bloomsbury Artists in American Collections (2008). His most recent books include Bachelor Japanists: Japanese Aesthetics and Western Masculinities (2016) and, co-edited with Jongwoo Jeremy Kim, Queer Difficulty in Art and Poetry: Rethinking the Sexed Body in Verse and Visual Culture (2017).
Lawrence Alma-Tadema: At Home in Antiquity, Leighton House, July–October 2017.
Eminent Victorians is the title of Lytton Strachey's popular collection of short biographies critical of figures revered by the previous generation. Published in 1918, Strachey's book, in both style and content, helped set the tone for the rebellious youth culture of the 1920s.
Vanessa Bell to Clive Bell, 27 December 1912, in Regina Marler (ed.), Selected Letters of Vanessa Bell (New York: Pantheon, 1993), 131–132.
This is the argument of my Bloomsbury Rooms: Modernism, Subculture, and Domesticity (New Haven, CT: Yale University Press, 1994).
Donated to the French museum system by Fry's daughter in 1959, this unsigned painting was exhibited as Fry's work in the 1966 exhibition Vision and Design: The Life, Work and Influence of Roger Fry, 1886–1934, but the catalog entry concluded, "This painting, which is unsigned, has recently been attributed to Vanessa Bell." See Quentin Bell and Philip Troutman, Vision and Design: The Life, Work and Influence of Roger Fry, 1886–1934, exhibition catalogue (London: The Arts Council of Great Britain, 1966). Since then, it has been illustrated widely as Bell's work, including in the Tate Gallery's definitive The Art of Bloomsbury exhibition of 1999. Bell mentions the painting in the Grafton Gallery in a letter to Fry (17 November 1912, Tate Gallery Archive 8010.8.78), although she does not describe her painting.
Roger Fry, "The Case of the Late Sir Lawrence Alma Tadema, O.M.," The Nation, 18 January 1913, reprinted in Christopher Reed (ed.), A Roger Fry Reader (Chicago, IL: University of Chicago Press, 1996), 147–148.
Fry, "The Case of the Late Sir Lawrence Alma Tadema, O.M.," 149.
Vincent O'Sullivan, Aspects of Wilde (New York: Henry Holt, 1936), 64.
Charlotte Gere, Artistic Circles: Design and Decoration in the Aesthetic Movement (London: V&A Publishing, 2010), 59.
Gere, Artistic Circles, 18.
Walter Sickert, "The Royal Academy Exhibition," Art Weekly, 10 May 1890, reprinted in Anna Gruetzner Robins (ed.), Walter Sickert: The Complete Writings on Art (London: Oxford University Press, 2000), 63.
Walter Sickert, "Impressionism," 2 December 1889, reprinted in Walter Sickert: The Complete Writings on Art, 59–60.
Transcript of the libel trial, Whistler vs. Ruskin, quoted in Tim Barringer, Men at Work: Art and Labour in Victorian Britain (London: Paul Mellon Centre for Studies in British Art and Yale University Press, 2005), 317.
James Whistler, "Propositions—No. 2" (1834), in The Gentle Art of Making Enemies, quoted in Barringer, Men at Work, 318–319.
Roger Fry, Cézanne: A Study of His Development (Chicago, IL: University of Chicago Press, 1989 [1927]), 2–3.
Fry, Cézanne, 2–3.
Roger Fry, "Vanessa Bell and Othon Friesz," New Statesman, 3 June 1922, reprinted in Christopher Reed (ed.), A Roger Fry Reader (Chicago, IL: University of Chicago Press, 1996), 347–348.
His "handling has something of waxiness and over-smoothness which leaves the expression of a want of the manliest mastery" (Tom Taylor, "Among the Pictures II," The Gentleman's Magazine, July 1868, 151, quoted in Elizabeth Prettejohn, "Morality Versus Aesthetics in Critical Interpretations of Frederic Leighton, 1855–75," The Burlington Magazine, February 1996, 79–86).
These photographs illustrated the feature "Portrait of an Actress," Vanity Fair, October 1997.
Patti Smith, Land 250 (Paris: Fondation Cartier, 2008), 9; Patti Smith, Camera Solo (New Haven, CT: Yale University Press, 2011), 10. See also the recording of Patti Smith discussing the immediacy of Polaroids, "Land 250 Polaroid Photographs," LensCulture, www.lensculture.com/articles/patti-smith-land-250-polaroid-photographs. Accessed 18 July 2018.
Smith, Camera Solo, 13.
"Patti Smith—Charleston House and the Bloomsbury Group," The Culture Show, hosted by Charles Hazlewood, BBC 2, www.dailymotion.com/video/x303bil. Accessed 18 July 2018. See also Patti Smith, Camera Solo, 12.
Roger Fry to Vanessa Bell, 25 July 1924, Tate Gallery Archives, 8010.5.920.
"Patti Smith—Charleston House and the Bloomsbury Group," The Culture Show.
Smith, Camera Solo, 10–11.
Smith, Land 250, 198.
Diana Fuss, The Sense of an Interior: Four Writers and the Rooms that Shaped Them (New York: Routledge, 2004), 1.
Sickert, "Lord Leighton's Studies", The Speaker, 26 December 1896, reprinted in Complete Writings, 120–121
Sickert, "Lord Leighton's Studies," The Speaker, 26 December 1896, reprinted in Anna Gruetzner Robins (ed.), Walter Sickert: The Complete Writings on Art (London: Oxford University Press, 2000), 120–121.
Roger Fry, Preface to the Omega Workshops Catalogue, 1914, reprinted in A Roger Fry Reader, 201.
Charles Rosen and Henri Zerner, Romanticism and Realism: The Mythology of Nineteenth-Century Art (New York: Viking, 1984), 221–222, quoted in Elizabeth Prettejohn, "The Modernism of Frederic Leighton," in David Peters Corbett and Lara Perry (eds), English Art 1860–1914: Modern Artists and Identity (Manchester: Manchester University Press, 2000), 34–35.
Rosen and Zerner, Romanticism and Realism, quoted in Prettejohn, "The Modernism of Frederic Leighton," 34–35.
Rosen and Zerner, Romanticism and Realism, 223.
Prettejohn, "The Modernism of Frederic Leighton," 33, 35, and 45.
Jongwoo Jeremy Kim, for instance, explores Leighton's "ambivalence (fear as well as longing) toward different understandings of men, conditions of their sex, their capacity for bodily desire, and their relations with one another"; see Jongwoo Jeremy Kim, Painted Men in Britain, 1868–1918 (Burlington, VT: Ashgate, 2012), 9.
Jason Edwards, "The Lessons of Leighton House: Aesthetics, Politics, Erotics," in Jason Edwards and Imogen Hart (eds), Rethinking the Interior c.1867–1896: Aestheticism and Arts and Crafts (Burlington, VT: Ashgate, 2010), 95–98.
Mrs. R. [Emilie] Barrington, The Life, Letters and Work of Frederic Leighton (London: G. Allen, 1906), quoted in Edwards, "The Lessons of Leighton House," 102.
Edwards, "The Lessons of Leighton House," 106.
Lawrence Alma-Tadema: At Home in Antiquity. Exhibition. Leighton House, July–October 2017.
Barringer, Tim (2005) Men at Work: Art and Labour in Victorian Britain. London: Paul Mellon Centre for Studies in British Art and Yale University Press.
Barrington, Mrs. R. [Emilie] (1906) The Life, Letters and Work of Frederic Leighton. London: G. Allen.
Bell, Vanessa (1912) Letter: Vanessa Bell to Roger Fry, 17 November. Tate Gallery Archive 8010.8.78.
Bell, Quentin and Troutman, Philip (1966) Vision and Design: The Life, Work and Influence of Roger Fry, 1886–1934, exhibition catalogue. London: The Arts Council of Great Britain.
Bell, Vanessa (1999) The Art of Bloomsbury exhibition catalogue. London: Tate Gallery.
Edwards, Jason "The Lessons of Leighton House: Aesthetics, Politics, Erotics." In Jason Edwards and Imogen Hart (eds), Rethinking the Interior c.1867–1896: Aestheticism and Arts and Crafts. Burlington, VT: Ashgate, 2010, 95–98.
Fry, Roger (1913) "The Case of the Late Sir Lawrence Alma Tadema, O.M." The Nation, 18 January, reprinted in Christopher Reed (ed.), A Roger Fry Reader. Chicago, IL: University of Chicago Press, 1996.
Fry, Roger (1914) Preface to the Omega Workshops Catalogue, reprinted in Christopher Reed (ed.), A Roger Fry Reader. Chicago, IL: University of Chicago Press, 1996.
Fry, Roger (1922) "Vanessa Bell and Othon Friesz." New Statesman, 3 June, reprinted in Christopher Reed (ed.), A Roger Fry Reader. Chicago, IL: University of Chicago Press, 1996.
Fry, Roger (1924) Letter: Roger Fry to Vanessa Bell, 25 July. Tate Gallery Archives, 8010.5.920.
Fry, Roger (1989 [1927]) Cézanne: A Study of His Development. Chicago, IL: University of Chicago Press.
Fuss, Diana (2004) The Sense of an Interior: Four Writers and the Rooms that Shaped Them. New York: Routledge.
Gere, Charlotte (2010) Artistic Circles: Design and Decoration in the Aesthetic Movement. London: V&A Publishing.
Greenberg, Clement (1939) "Avant-Garde and Kitsch." Partisan Review, Fall: 34–49.
Kim, Jongwoo Jeremy (2012) Painted Men in Britain, 1868–1918. Burlington, VT: Ashgate.
Marler, Regina (ed.) (1993) Vanessa Bell to Clive Bell, 27 December 1912. In Selected Letters of Vanessa Bell. New York: Pantheon.
O'Sullivan, Vincent (1936) Aspects of Wilde. New York: Henry Holt.
Prettejohn, Elizabeth (2000) "The Modernism of Frederic Leighton." In David Peters Corbett and Lara Perry (eds.), English Art 1860–1914: Modern Artists and Identity. Manchester: Manchester University Press, 34–35.
Reed, Christopher (1994) Bloomsbury Rooms: Modernism, Subculture, and Domesticity. New Haven, CT: Yale University Press.
Rosen, Charles and Zerner, Henri (1984) Romanticism and Realism: The Mythology of Nineteenth-Century Art. New York: Viking.
Sickert, Walter (1890) "The Royal Academy Exhibition." Art Weekly, 10 May, reprinted in Anna Gruetzner Robins (ed.), Walter Sickert: The Complete Writings on Art. London: Oxford University Press, 2000.
Sickert, Walter (1896) "Lord Leighton's Studies." The Speaker, 26 December, reprinted in Anna Gruetzner Robins (ed.), Walter Sickert: The Complete Writings on Art. London: Oxford University Press, 2000.
Sickert, Walter (1899) "Impressionism." 2 December, reprinted in Anna Gruetzner Robins (ed.), Walter Sickert: The Complete Writings on Art. London: Oxford University Press, 2000.
Smith, Patti (2008) Land 250. Paris: Fondation Cartier.
Smith, Patti (2011) Camera Solo. New Haven, CT: Yale University Press.
Strachey, Lytton (1918) Eminent Victorians. London: Chatto & Windus.
Taylor, Tom (1868) "Among the Pictures II." The Gentleman's Magazine, July, 151, quoted in Elizabeth Prettejohn, "Morality Versus Aesthetics in Critical Interpretations of Frederic Leighton, 1855–75." The Burlington Magazine, February 1996, 79–86.
Whistler, James McNeill Abbott (1834), "Propositions—No. 2," in The Gentle Art of Making Enemies, in Tim Barringer, (2005) Men at Work: Art and Labour in Victorian Britain. London: Paul Mellon Centre for Studies in British Art and Yale University Press.
Christopher Reed
https://doi.org/10.17658/issn.2058-5462/issue-09/creed
Christopher Reed, "What Do We Want from Artists' Houses?
A Reflection", British Art Studies, Issue 9, https://doi.org/10.17658/issn.2058-5462/issue-09/creed
Previous Laboratories of Creativity:
The Alma-Tademas' Studio-Houses and Beyond
Next The Resistant Materiality of Frederic Leighton's Arab Hall


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Our UON news
News • 5 Dec 2018
Gender equity progress earns esteemed Bronze Award
Concerted effort and commitment to improve gender equity and diversity within the workplace have earned the University of Newcastle an esteemed higher education sector award and official accreditation.
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2018 David Maddison lecture: And now for the next 40 years
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News • 8 Oct 2018
Students now collaborating on Zoom
As Zoom users among UON staff pass the 3000 mark, access has now been granted to all students. This has already delivered more flexible engagement between HDR students and their supervisors, and enhanced the experience for students on placement.
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Passport to success, engaging international students
Recognised for its outstanding support of international students, a University of Newcastle initiative has won the NSW International Student Award for community engagement in the education provider category.


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