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Archive for the 'Winslow Homer: Making Art Making History' Category
Critic's Corner: Saco Bay and West Point, Prout's Neck
Posted in Winslow Homer: Making Art Making History on August 15, 2013| 3 Comments »
Though Winslow Homer is today regarded as one of America's preeminent artists, he didn't always meet with such universal critical approval during his career. In fact, some of the paintings that are now popularly regarded as masterpieces were panned by critics when they first came out. Do you agree with the reviewers? Disagree? Leave your thoughts in the comments section below!
Winslow Homer, Saco Bay, 1896. Oil on canvas, 23 13/16 x 37 15/16 in. (60.5 x 96.4 cm). The Clark, 1955.5
Saco Bay, 1896
"[I]t has strong points in its composition and good passages in its painting, but the falsity of the crimson-edged clouds, which do not stay in place and are lacking in atmosphere, destroy the harmony of the work and make it a painting that is not satisfactory. It is signed by a great painter, but it is one of his slips"—William A. Coffin, "Society of American Artists. Pictures at the 19th Annual Exhibition," New York Sun, 31 March 1897.
Winslow Homer, West Point, Prout's Neck, 1900. Oil on canvas, 30 1/16 x 48 1/8 in. (76.4 x 122.2 cm). The Clark, 1955.7
West Point, Prout's Neck, 1900
"…[Winslow Homer] has one good marine with stormy waves dashing against rocks [Eastern Point], but its companion [West Point, Prout's Neck], a buff colored sea with an inch of scarlet sunset between it and a buff sky, and some rocks pounded by spray that throws itself at one point into a stiff column, is hard in its lines, without air, disagreeable and cheap in color and altogether mournful"—"Fine Arts. Society of American Artists," Brooklyn Daily Eagle, 31 March 1901
Reviews are excerpted from Winslow Homer: The Clark Collection, ed. Marc Simpson (Williamstown, MA: Sterling and Francine Clark Art Institute, 2013), pages 102 and 114.
Your Favorite Homer: Lydia Ross
Posted in Winslow Homer: Making Art Making History, tagged James Russell Lowell, the Clark, Winslow Homer on August 13, 2013|
Winslow Homer, An' Wal, He Up an' Kist Her, publ. in The Courtin', 1874. Heliotype, 12.1×11.4 cm, The Clark, ND237H6.3c5
As a former librarian, Lydia Ross was particularly interested in Homer's illustrations for James Russell Lowell's 1874 poem The Courtin'. "These silhouettes are unique in the exhibit," she said, "which is one of the reasons why I like them."
For Lydia, another part of the silhouette's appeal lies in their intricacy. " I just think they're really beautiful," she said. "Think how hard it would be to do those shoelaces!" Despite their precision, the advantage of the silhouettes is that they're not overly detailed. "You understand instantly what's going on," Lydia said, "rather than studying all the details, like in [Homer's] etchings."
Lydia also appreciated Homer's ability to convey the poem's setting in a very subtle way. While the figures themselves are intentionally general, she feels that the accessories in the illustrations help establish the poem's setting. "The clothing, the apple she's peeling, the Windsor chair—it's very New England-y," she said.
Winslow Homer, There Sot Huldy All Alone, 'Ith No One Nigh to Hender, publ. in The Courtin', 1874. Heliotype, 11.4×9.2 cm, The Clark, ND237H6.3c2
But the most interesting element of these pieces for Lydia is the context in which they were produced. According to Lydia, Homer, a life-long bachelor, was likely smitten by Helena DeKay, a young artist who served as Homer's model in the 1870s—see Portrait of Helena DeKay (1871)—before marrying another man. Although there's little evidence to support it, it's possible that DeKay served as a model for these illustrations as well. Through this lens, the silhouettes take on a whole new meaning. "I think he really loved her," Lydia said. "The fact that he never got married but still made this kind of picture is another reason why I like them so much."
For more on the possible relationship between Homer and DeKay, check out this article from Smithsonian Magazine.
Lydia Ross is a research analyst at the Clark. A trained librarian, she has worked in the past for literacy foundations and as a research librarian for consulting firms. She has been at the Clark since June of 2012.
Critic's Corner: Undertow and Shepherdess of Houghton Farm
Posted in Winslow Homer: Making Art Making History, tagged the Clark, Winslow Homer on August 8, 2013|
Though Winslow Homer is today regarded as one of America's preeminent artists, he didn't always meet with such universal critical approval during his career. This week, we take a look at some positive reviews and comments. Do you agree with the reviewers? Disagree? Leave your thoughts in the comments section below. Next week, we'll highlight some not-so-positive reviews. Stay tuned!
Winslow Homer, Undertow, 1886. Oil on canvas, 75.7 x 121 cm. The Clark, 1955.4
Undertow, 1886
"Though not remarkable for powerful drawing nor for any especially beautiful quality of color, this picture has a force about it, an air of truth, a fine sculpturesque quality of modeling that puts it far beyond the ordinary well-done sort of work that we are bound to praise for its honesty, but which does not excite our enthusiasm. In this picture there is a breath of great art…[Homer's] 'Undertow,' by its virility, its truth, its sincerity of intention, outranks every picture in the Academy exhibition."—"Fine Arts. The Academy Exhibition—I," The Nation 44 (14 April 1887): 327
Winslow Homer, Shepherdess of Houghton Farm, 1878. Watercolor and graphite, with additions in ink and gouache, on cream wove paper, 27.9 x 48.3 cm. The Clark, 1955.1483
Shepherdess of Houghton Farm, 1878
"Mr. Homer has started and has well under way a watercolor drawing taken from the studies, which is admirably composed. In shadow on the crest of a ridge in gently rolling country lies stretched on the grass, a young girl, surrounded by her sheep. The adjoining rise, on which are a few trees, is in full sunlight, up against which the foreground figures are sharply defined"—"Fine Arts. Studio Notes," New York Herald, 11 November 1878
"McDonald called—Said 3 Winslow Homer watercolors would be there for me to see….The Winslow Homers came—A 'Log Jam' excellent but $3000—A Beach Scene not finished—A pastoral scene with 'Sheep, Pasture & a Girl 1878'–$1000—I never saw one with sheep before—It was very poetic!!!!!!! [sic]"—Sterling Clark Diary, 29 September 1942 (74)
Reviews are excerpted from Winslow Homer: The Clark Collection, ed. Marc Simpson (Williamstown, MA: Sterling and Francine Clark Art Institute, 2013), pages 86 and 74.
Your Favorite Homer: Julie Schwartz
Posted in Winslow Homer: Making Art Making History, tagged the Clark, Winslow Homer on August 6, 2013| 1 Comment »
Winslow Homer, Saved, 1889. Etching on cream wove paper, 42.8 x 76.4 cm. The Clark, 1972.16
For Julie Schwartz, the etching Saved immediately transports her back to the year she spent living on Nantucket. "On the island, your life is very governed by weather, and in the nineteenth century you can imagine how much more important it would have been," she said.
Though Saved is not set on Nantucket, the life-saving technique Homer depicted was used on the island in the nineteenth century. "They would shoot ropes out to sinking ships with a gun," Julie said, "then literally have a pulley that they used to haul people and goods off boats. Nantucket was one of the first ports to have several of these life-saving stations because shipwrecks were such a problem."
The perils of the sea are a frequent theme in Homer's paintings, and Julie suspects that it may have been a popular subject of the era. "People seemed to be very into the life-saving theme at the time, like Géricault's The Raft of the Medusa."
Julie noted that much like the carefully posed figures in Géricault's 1819 painting, there is a strong classical inspiration for the female form in Saved. "I feel like you can see some real parallels with the Elgin Marbles in the British Museum," she said. "The figures are so dramatic."
The heightened sense of drama in the etching is no accident. For his etchings, Homer generally based his composition on an earlier piece of art—in this instance The Life Line (1884)—but refocused the etching on the most dramatic moment of the painting or watercolor in a sort of nineteenth-century close-up.
Julie Schwartz is Director of Advancement Initiatives, a position she has held since March. Prior to arriving at the Clark, she spent a year on Nantucket with the Nantucket Artists' Association and worked at Carnegie Hall. Originally from Stockbridge, Massachusetts, she says the Clark has always been her favorite museum.
Location, Location, Location: Prout's Neck, Maine
Posted in Winslow Homer: Making Art Making History, tagged Prout's Neck, the Clark, Thomas Denenberg, Winslow Homer on August 1, 2013|
When talking about Homer, it never takes very long for someone to mention Prout's Neck. The two are linked in the popular imagination, probably for all time. It might be said that it was here, among the rocky coastline and pine trees, that Homer did his most fully realized work—paintings like Eastern Point and West Point, Prout's Neck capture the Maine coast in a way that few other artists have been able to. They are beautiful paintings, but they're also savage, visceral representations of the power of the sea.
Winslow Homer (American; 1836–1910); Eastern Point; 1900. Oil on canvas; 30 1/4 x 48 1/2 in. (76.8 x 123.2 cm). The Clark; 1955.6
Though Homer spent the final decades of his life in Maine, he wasn't the only member of his family to reside there. His brother Arthur built a house in Prout's Neck in 1881, and Charles Homer, Sr. bought a home there in 1883. By then, the Homer family owned most of the peninsula. Today, a large part of the peninsula is devoted to a bird sanctuary, preserving the area's untamed beauty.
Homer's studio was purchased by the Portland Museum of Art in 2006 and renovated to return it to its appearance circa 1910. To do that, bedrooms had to be removed from the upper floor, which had an open layout when Homer lived there, and the enlarged kitchen was reduced to its original size. The studio opened to the public for the first time in 2012, allowing visitors to not only experience the atmosphere of Homer's studio, but also to see tangible evidence of the artist's occupation—Homer's notes to himself are scrawled on the walls and preserved for visitors.
Winslow Homer (American, 1836–1910), West Point, Prout's Neck, 1900. Oil on canvas, 30 1/16 x 48 1/8 in. (76.4 x 122.2 cm). The Clark, 1955.7
The central feature of Homer's studio is the second floor deck he had built in order to observe the ocean. The incredible panoramic view from the "piazza", as he affectionately nicknamed it, may have even overwhelmed him a bit, which could be why he was once quoted as saying "never paint more than two waves in a picture; it's fussy."[1]
If you're interested in exploring the relationship between Homer and Prout's Neck a little further, Tom Denenberg, director of the Shelburne Museum in Shelburne, Vermont, will deliver a free lecture at the Clark entitled Winslow Homer and the Poetics of Place on Sunday, August 4 at 3 pm. Denenberg, who has published two monographs on Homer, oversaw the restoration of Homer's studio during his time as chief curator and deputy director at the Portland Museum of Art.
[1] http://portlandmuseumofart.org/Images/6890/Quotations_Sept%202012.pdf
Your Favorite Homer: Laura Bonito
Posted in Winslow Homer: Making Art Making History, tagged An October Day, the Clark, Winslow Homer on July 30, 2013|
One of the great things about visiting Winslow Homer: Making Art, Making History is that everyone who looks at Homer's works reacts to them in a different way. They evoke different emotions, stories, and sentiments from every viewer. With Your Favorite Homer, we'll ask some of the Clark's employees to share their reactions to their favorite work of art in the exhibit.
Winslow Homer, An October Day, 1889. Watercolor over graphite, with scraping, on cream wove paper, 14 1/16 x 19 3/4 in. (35.7 x 50.2 cm). The Clark, 1955.770
For Laura Bonito, An October Day is one of Homer's most articulate watercolors. "You first see the mixture of colors in the landscape, and then there's the challenge of painting the water because it's reflecting both the sky and the colors of the leaves," she said. "It's a very American landscape, but the mountains remind me of the mountains where my parents were born outside of Naples [Italy], so everything seems very familiar to me, but also very strange."
It's also a complicated piece. "If you look at the landscape you could think it's a peaceful scene," she said. "But it's really very dramatic—the representation of a struggle between life and death." The contrast between the beauty of the landscape and the tension of the action is what initially drew Laura to the watercolor. The painting's composition, however, leaves little doubt in Laura's mind as to which side the artist was on. "I think Homer is trying to paint from the perspective of the deer rather than the hunters," she said.
In Laura's opinion, "the landscape is the protagonist of the painting." The hunter, on the left-hand side of the painting, and his dog, rendered as a few black and white spots on the right-hand shore, don't appear to be the focus of the work, and the human element is both literally and metaphorically put in the background. Instead, the watercolor seems to be primarily a meditation on nature and mortality. "You see the same theme in John Constable's Cenotaph to the Memory of Sir Joshua Reynolds in the National Gallery in London," she said. "It's sort of the European example of this type of painting."
Laura Bonito is a curatorial intern originally from Italy. She is at the Clark for the summer as a part of Massachusetts College of Liberal Arts' BHIP internship program, which pairs students interested in museum work with area museums. She graduated last year from the University of Pisa, and is taking the opportunity to travel and enrich her CV while working on her PhD.
Worth a Thousand Words: Surry of Eagle's-Nest
Posted in Winslow Homer: Making Art Making History, tagged American Civil War, John Esten Cooke, the Clark, Winslow Homer on July 25, 2013|
After Winslow Homer, Combat Between Mordaunt and Fenwick, publ. in Surry of Eagle's-Nest c. 1866. Wood engraving on beige wove paper, sheet: 18.8 x 12.4 cm. The Clark, 1955.4453C
Homer's career as a commercial illustrator was in full bloom when he was tasked with illustrating John Esten Cooke's novel Surry of Eagle's-Nest; or The Memoirs of a Staff-Officer Serving in Virginia, a gripping and romantic tale of the Civil War.
A native of Virginia, Cooke was a voracious consumer of the popular literature of his day—including works by Sir Walter Scott, Washington Irving, and Alfred, Lord Tennyson. He fought for the Confederacy during the Civil War, initially with the 1st Company Richmond Artillery, and later as an aid to cavalry commander J.E.B. Stuart. Surry of Eagle's-Nest draws on his war experiences as well as his taste for romantic literature, and his post-war novels strive to reconcile the gritty reality of Civil War combat with the swashbuckling chivalry of Ivanhoe and Rob Roy.
This same attempt at reconciliation is, to a certain extent, visible in Homer's illustrations. Gone are the large-scale depictions of hectic battle sequences found in Homer's work for Harper's Weekly. Instead, his illustrations for Surry of Eagle's-Nest feature sabres, plumed hats, and capes. If the caption to Gen. Jackson's Escape were deleted, the illustration could be used in any number of Romantic war novels. These illustrations are more cavalier, in every sense of the word, than the majority of Homer's Civil War work.
The collaboration of a New York-based artist and a Virginian novelist the year after the Treaty of Appomattox was signed shows just how swiftly some elements of reunification proceeded. However, the fact that a novel that unrepentantly glorified the Confederacy was immensely popular all over the country is in turn a testament to how slowly other aspects of reunification progressed.
After Winslow Homer, Gen. Jackson's Escape publ. in Surry of Eagle's-Nest c. 1866. Wood engraving on beige wove paper, image: 8.9 x 12.1 cm. The Clark, 1955.4453B
Your Favorite Home: Alison Tinsdale
Posted in Winslow Homer: Making Art Making History, tagged Frank Leslie's Illustrated Newspaper, Ice Skating, the Clark, Winslow Homer on July 23, 2013|
After Winslow Homer, Our National Winter Exercise–Skating, Publ. Frank Leslie's Illustrated Newspaper 13 Jan 1866. Wood engraving on newsprint, Sheet 41.9 x 59.4 cm. The Clark, 1955.4694
Though Homer's oil paintings and watercolors receive a lot of attention—and rightly so—Alison has always found herself drawn to the artist's wood engravings. "I think wood engravings are often overlooked, so I'm really pleased that there's a whole room in the exhibition devoted to this medium," she said. "The paintings are beautiful, but I just feel like these tell more of a story."
The narrative in Our National Winter Exercise is a multi-faceted one. "You can see how playful it is," Alison said. "This woman fell and her muff has gone flying and her skirts are up so you can see the hoop skirts underneath. But you're also very much aware of being an observer because everyone's backs are turned to you—there's a sense of anonymity because you don't see most of the people's faces."
Although an illustration for a newspaper rather than an iconic painting, the engraving is still very much a work of art in Alison's eyes. "Even though the women are wearing skirts, I still think it's a study of human form and movement," she said. "You can still see Homer's painterly technique—the way he manipulates the brush, his precision."
Depicting the human body in motion is a trend Alison has noticed in other engravings by Homer. "The repetition of the four people holding hands in Snap-the-Whip (1873) is a bit like the group of skaters in the background in Our National Winter Exercise. These are older people, but in a sense they are still children, just dressed as adults."
Alison Tinsdale is the assistant to the Chief Advancement Officer. She completed her graduate work in art history at the Courtauld Institute of Art in London and has been at the Clark since September 2012.
Posted in Winslow Homer: Making Art Making History, tagged the Clark, Winslow Homer on July 16, 2013| 2 Comments »
Your Favorite Homer: Dana Audia
Posted in Winslow Homer: Making Art Making History, tagged Harper's Weekly, the Clark, Winslow Homer on July 11, 2013|
After Winslow Homer, Snap-the-Whip publ. in Harper's Weekly 20 Sept. 1873. Wood engraving on newsprint, Sheet 40.2 x 56.3 cm. The Clark, 1955.4354
One of the great things about visiting Winslow Homer: Making Art, Making History is that everyone who looks at Homer's works will react to them in a different way. They evoke different emotions, stories, and sentiments from every viewer. With Your Favorite Homer, we'll ask some of the Clark's employees to share their reactions to their favorite work of art in the exhibit.
Dana Audia, Snap-the-Whip (1873)
This particular print, which ran in the September 20, 1873 edition of Harper's Weekly, has always caught Dana's eye. "We played this growing up, though in Texas we called it Crack the Whip," she said. It's a game familiar to generations of children: a line of players join hands and run in a zig-zag motion, trying to "snap" the last person off of the line. "The main thing," Dana said, "is that if you're the second to last person in the chain, you don't want the last person to fall off—because then you're the one on the end!"
"I think Homer shows the motion and the movement of the game really well," she continued. "He shows every part—the running, trying to hold on—and I can just see it happening."
Though the print was published just after the Civil War ended, Dana was struck by the timelessness of the image. "I was playing the same game a hundred years later," she said. "It could be happening outside right now."
Dana was also interested by the absence of adults in the piece. "Maybe Homer didn't put parents in the print because they didn't have to be close—this is a fairly restrained game for the time, I guess."
"Although today," she added with a laugh, "their parents would probably make them wear a helmet."
Dana Audia is events manager at the Clark. Originally from Amarillo, Texas, she completed her graduate work at Pepperdine University in Malibu, California and worked for many years in the hospitality industry. She started at the Clark in February after a stint working for the Norman Rockwell Museum in Stockbridge, Massachusetts.
Location, Location, Location: Cullercoats, UK
Posted in Winslow Homer: Making Art Making History, tagged the Clark, Winslow Homer on July 9, 2013| 1 Comment »
No one knows quite why Homer decided to leave the United States to travel abroad in 1881. It wasn't the first time he had left New York City to focus on his painting, but it was the first time he had spent significant time in another country to paint. Perhaps, as Franklin Kelly, deputy director of the National Gallery, has said, Homer set out for England because "he had come to feel that there was too much similarity in the people and the towns of America…he was seeking something new."[1]
Homer decided to settle in Cullercoats, a fishing village of about 2,000 people on England's northeast coast. It was among this rugged nautical environment—perhaps not that far removed in spirit from the Maine coast where he would later settle—that Homer felt he could work best.
Winslow Homer Perils of the Sea, 1888. Etching on vellum, plate 41 x 53 cm, sheet 50 x 59.7 cm. Sterling and Francine Clark Art Institute, 1955.1482
In a way, his trip to Cullercoats may have marked a turning point in Homer's career. His paintings of rugged seascapes and the stolid wives of fishermen, like in Perils of the Sea (1881), were themes that he would return to later in his career—take a look at Saco Bay (1896), which is set on Maine's coast but features women dressed similarly to Cullercoats women. Even his fascination with depicting sea rescues might be partly influenced by his time in the small village, which was home to a volunteer life-saving brigade that helped the Coast Guard rescue sailors from shipwrecks.
Homer wasn't the first artist to settle in Cullercoats. It had been a well-known location for British artists for a decade by the time he arrived, so there was already a community of other artists who were interested in recording similar subjects. The typically reserved Homer, however, seems to have kept mostly to himself.
Winslow Homer, Saco Bay, 1896. Oil on canvas, 23 13/16 x 37 15/16 in. (60.5 x 96.4 cm). Sterling and Francine Clark Art Institute, 1955.5
According to the village's website, Homer kept a room in the Hudleston Arms hotel (number 17), and a separate studio at 12 Bank Top. Unsurprisingly, Homer's studio was a very private place. Accessible only through one small door and partially surrounded by a retaining wall, it would have been difficult for passers-by to peer in while he was working. Naturally, the studio and his room at the Hudleston Arms had commanding views of the harbor below.
Both Homer's old studio and the Hudleston Arms have long since been demolished, but the legacy of Cullercoats as an artists' haven is still very much intact. A permanent Cullercoats Art Trail was recently established along the coast, allowing visitors to retrace some of Homer's steps, and locals can point out the settings of some of his paintings. The contributions of Homer and his fellow artists were also recently celebrated in an exhibition at the Segedunum Roman Fort, Baths & Museum in the nearby town of Wallsend, proving that although he stayed only eighteen months, Homer affected Cullercoats just as much as Cullercoats affected him.
[1] Franklin Kelly, "A Process of Change" in Winslow Homer, eds. Nicolai Cikovsky, Jr and Franklin Kelly, (National Gallery of Art, Washington, 1995), 173.
Your Favorite Homer: Caedy Shultz-Loomis
Posted in Winslow Homer: Making Art Making History, tagged the Clark, Winslow Homer on July 5, 2013|
Winslow Homer (American, 1836-1910), The Bridle Path, White Mountains 1868. Oil on canvas, 24 1/8 x 38 in. (61.3 x 96.5 cm). The Clark, 1955.2
Caedy Shultz-Loomis, The Bridle Path, White Mountains (1868)
It was perhaps inevitable that Caedy, who has been riding horses since she was a child, would select this Homer as her favorite. "I was just naturally drawn to this painting," she said. "I like that he's depicted the girl and her horse alone, making that the focal point of the painting." In Caedy's interpretation, Homer's compositional choice may have some symbolic weight as well. "Riding can be a very solitary kind of activity, and it can be very much about just you and the horse and the experience that you're sharing at that moment. She looks very relaxed and free, and that's one of the things I love about riding. You feel like you're removed from everything else around you."
Caedy also appreciated the artist's attention to detail—in this case, a sprig of vegetation caught in the horse's bridle. "That's cool," she said. "I can think of all the times I've been riding in the woods and you duck down under a tree, but the horse just kind of goes along and gets something stuck in his bridle. That shows me that maybe Homer was a rider himself—he gets it."
Caedy Shultz-Loomis is the Membership and Events Coordinator at the Clark. Originally from Bennington, Vermont, she attended school at Massachusetts College of Liberal Arts. Upon graduating, she knew she was interested in a career in the arts, and in 2004, joined the staff of the Clark.
Worth A Thousand Words: Harper's Weekly
Posted in Winslow Homer: Making Art Making History, tagged American Civil War, Harper's Weekly, the Clark, Winslow Homer on July 1, 2013| 2 Comments »
This summer, the Clark's blog will feature a variety of posts featuring our two new exhibitions, Winslow Homer: Making Art, Making History, and George Inness: Gifts from Frank and Katherine Martucci. We'll ask staff members to pick their favorite paintings and fill you in on some lesser-known stories behind the artists and their art. Today, we're focusing on Harper's Weekly, a newspaper that published scores of Winslow Homer's illustrations early in his career.
The well-informed citizen in nineteenth-century America would rarely have been caught without a copy of Harper's Weekly, for which Winslow Homer regularly provided illustrations throughout the Civil War. For the average reader, a publication like Harper's was indispensable—akin to a modern-day Craigslist, Huffington Post, and Tumblr rolled into one.
After Winslow Homer, The War–Making Havelocks for the Volunteers publ. in Harper's Weekly 29 June 1861. Wood engraving on newsprint, Sheet 40.6 cm x 28.4 cm. The Clark, 1955.1496
In the pre-television era, newspapers like Harper's Weekly were not only the most reliable source of information, but virtually the only source of information. Interestingly, the New York-based paper circulated in both the Union and in the Confederacy throughout the Civil War.
Harper's wide circulation meant that a cover illustration was not only prestigious, but also a good advertisement for the artist himself, something the shrewd Homer would have no doubt appreciated. Cover illustrations like The War—Making Havelocks for the Volunteers, which Homer made for the June 29, 1861 edition of the magazine, have Homer's name prominently displayed in the lower right-hand corner of the print, broadcasting the artist's talent to anyone who glanced at the cover. In a time before widespread photography, Homer was the equivalent of the photojournalist of his day.
Inside this edition of the magazine, the two-month-old Civil War was the focus of most of the news. An item entitled "Evacuation of Harper's Ferry" discussed the recent retreat of a garrison of soldiers to Manassas Junction, Virginia, "where no doubt a grand stand will be made." The first battle of Manassas (also known as the First Battle of Bull Run) would happen a month later. A poem entitled "Thirteen and Thirty-Four" offered some patriotic encouragement to Union soldiers: "Strike for the 34! Country and Home restore!" (There were thirty-four states in the Union when the war broke out in 1861.)
Harper's didn't limit itself to war coverage. This issue also contained humor columns, international news, and less patriotic poetry, as well as a range of advertisements. Not bad for a paper that cost six cents.
Speaking of newspapers, The Clark has brought them back to downtown Williamstown as of today. EXTRA!, located at 73 Spring Street in Williamstown, sells a variety of national and international news media in a laid-back and comfortable community atmosphere—equal parts reading room and newsstand. While there won't be anything available for six cents, it can't hurt to stop by and take a look!
Also, for those wondering what a havelock is, it's a piece of cloth attached to the back of a soldier's hat that protects the neck from the sun. Who knew?


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To help your family combat these air contaminants, our team offers whole house filtration systems to trap them and prevent them from spreading throughout your home. For individuals with even higher air quality needs, our specialists offer purification systems that can even neutralize airborne pathogens (such as viruses and bacteria). To speak with one of our indoor air quality experts and get a quote for your home, give us a call at (817) 945-3601.


for the modern oncology practice.
Carevive's cloud-based technology can interface or integrate with enterprise EHRs and clinical information systems. We embed our cancer care planning system — including patient-reported outcomes — into clinical workflow, keeping patients at the center of the oncology care process.
Our EHR integration solution delivers current, patient-specific oncology information, such as normalized diagnosis and treatment data plus detailed and discrete staging data that is typically absent, even today, from near real-time data exchanges among clinical systems.
The ability for providers and clinicians to use Carevive care management and patient engagement tools within their EHR system, with the automatic transfer of specific oncology clinical EHR data, differentiates Carevive from other software platforms.
As a result, clinicians will be able to spend more time with cancer patients and their families and less time on administrative burdens and data entry. The portability of data for analytic purposes also is critical to researchers advancing cancer science.


Rolex Manuals Guide book Set V1227-13. ROLEX DATEJUST×21 YOUR ROLEX OYSTER×18 YOUR ROLEX OYSTER×32 (Oyster instruction Japanese ver) (Oyster instruction Japanese ver) ROLEX WATCH SERVICING AROUND THE WORLD : A 10-STEP GUIDE×4 OYSTER PERPETUAL : EXPLORER OYSTER PERPETUAL : DATEJUST×2 ROLEX SUBMARINER Factory Service(Gold one) Rolex Explorer(white one) Rolex Submariner Date (white one) ×2 ROLEX(Official Kronometer attest) Instruction Manual (Rolex's instruction Japanese ver) ROLEX (Rolex's instruction Japanese verGuaranty page) Card case holder -Condition. Surface has scratches and stains. You may not receive any notification prior to item being re-listed. Please check with your country?
We get a business license from Japanese Police Department to deal with the antique and second handed luxury designer goods. Our all items are appraised by our professional appraiser. All of our items have been inspected by a Brand item expert that has more than 10 years experience with brand bags.
The item "Rolex Guaranty Operating Instructions Datejust Explorer Manuals Guide book Set" is in sale since Thursday, December 27, 2018. This item is in the category "Jewelry & Watches\Watches, Parts & Accessories\Parts, Tools & Guides\Manuals & Guides".
The seller is "umeboshi-of-kishu" and is located in Minamidai Nakano-ku, Tokyo. This item can be shipped worldwide.


text:
Roberta Gibb
Ready-to-Read Level 3
Part of You Should Meet
By Laurie Calkhoven
Illustrated by Monique Dong
Fixed Layout eBook
Get to know the first woman to ever run in the Boston Marathon in this fascinating nonfiction Level 3 Ready-to-Read, part of a series of biographies about people "you should meet!"
Meet Roberta Gibb. In 1966, Roberta was the first woman ever to run in the Boston Marathon. When Roberta applied for the event she received a letter saying women were not physically able to run marathons and therefore her request was denied. Roberta decided to run anyway, and told her mom, "This is really going to change things for women." She disguised her appearance with a blue hooded sweatshirt pulled up over her head and her brother's Bermuda shorts. Instead of being ridiculed, when the men running realized she was a woman, they cheered her on as she became the first woman to ever complete the Boston marathon!
A special section at the back of the book includes extras on subjects like history and math, plus exercise and nutrition tips for kids. With the You Should Meet series, learning about historical figures has never been so much fun!
Laurie Calkhoven
Laurie Calkhoven is the author of many books, including George Washington: An American Life and Harriet Tubman: Leading the Way to Freedom. She lives in New York City. Visit her at LaurieCalkhoven.com.
Monique Dong
Monique Dong studied to become an animator, but soon realized she had a love for illustrating children's books and has been following that dream ever since. Born in South Africa, she now lives in China with her husband and baby boy.
Publisher: Simon Spotlight (March 13, 2018)
Ages: 6 - 8
Amelia Bloomer List
Book Cover Image (jpg): Roberta Gibb
Fixed Layout eBook 9781534409736
More books from this author: Laurie Calkhoven
See more by Laurie Calkhoven
More books from this illustrator: Monique Dong
More books in this series: You Should Meet

redpajama_set_name: RedPajamaCommonCrawl


Munn Insurance is Looking for a Personal Lines Account Manger - Apply!
We are an innovative and progressive business that is focused on delivering a unique and innovative experience for customers positioned for rapid growth. And we are looking for a Sales Representatives to work out of our office in Halifax.
Here is that small print our industry is known for — Please don't apply if you're looking for a cozy 9-5 job with two 15 minute breaks and an hour for lunch. But, if you have that perfect combination of ivy league brains and blue-collar brawn and you're hungry to learn, love winning, and are ready to challenge yourself, give us a shout.
Munn Insurance was established in 1949, just before Newfoundland and Labrador joined confederation. So we are old and have been around a long time. But our team is young and dynamic — more than ready for our next phase of rapid growth; with plans to double in the next few years and expand into new markets! We are a team of innovators with a passion for finding new ways to add value for our customers. We are looking for smart and enthusiastic people to join our growing team.
Ok, so this is insurance; there is no hiding it! The industry is not widely known for being particularly exciting nor innovative. But that's where we are different. We are a fast growing, exciting, forward-thinking business looking for the best, brightest, talented people to help us accelerate our growth and expansion.
Every day is going to be different, and it will be exciting. You will need the right balance between ivy league intelligence and that blue-collar roll up the sleeves work ethic. While insurance knowledge would be an asset, not to worry, we can teach you everything you need to know! So, if you are a high achiever, with a passion for selling and are ready to join a winning team then we would like to talk with you.
Relentless. Selling is your passion. You will knock on every door or work a room to find sales!
Customer service focused. You always go that extra mile.
Outgoing. You know almost everyone and those you don't know probably know you!
A great communicator. You can think on your feet and talk your way into or out of any situation.
A person who thrives in a fast-paced environment. No kidding; you will be busy.
Team oriented. Together we can do anything!
Extremely eager. You are a quick learner and have a thirst for doing new things.
Intelligent. Smart and creative people will shine here.
Professional. We like to have fun but must always act like a pro!
Organized. You always prioritize and plan!
A positive people person. Life is too short to work with negative people.
Someone with a great sense of humour. We do like to have fun.
An independent self-starter. Don't wait to be told, go do it!
Love jeans. That's right. Every day is jeans day!
This is a fast paced environment. Given our great rates, strong product offering and the fact that we can provide multiple quotes for some of the best insurance markets, while most of our competitors can only give one quote, potential customers are reaching out. A lot. We have never been busier. Opportunities are pouring in online, over the phone and through the front door. You will need to manage your leads, work the phones and make outcalls as necessary to hot leads that have requested a quote. Ultimately you will sell them on Munn and save them from the competition; providing them with an amazing new home or auto policy.
Then follow that up, we want to see your sales skills. Show us on why you are the right person. Sell yourself. Creativity is a plus.
The following positions are open to qualified, compassionate individuals who are looking for a fulfilling career, and wish to join in our mandate of providing the best insurance advice and coverage to the people of our province.
And we are looking for a Sales Representatives to work out of our office in Halifax.


text:
#include "shadersyntaxhighlighter.h"
#include "assert/advanced_assert.h"

DISABLE_COMPILER_WARNINGS
#include <QDebug>
RESTORE_COMPILER_WARNINGS

// Adapted from https://github.com/GLSL-Debugger/GLSL-Debugger/blob/master/glsldb/glslSyntaxHighlighter.cpp

static QTextCharFormat toTextCharFormat(const ColorScheme::Format& f)
{
	QTextCharFormat format;
	format.setForeground(QBrush(f._color));
	format.setFontWeight(f._weight);
	return format;
}

ShaderSyntaxHighlighter::ShaderSyntaxHighlighter(ColorScheme colors, QTextDocument* parent) :
	QSyntaxHighlighter(parent)
{
	setColorScheme(std::move(colors));
}

void ShaderSyntaxHighlighter::addPatternFromList(const QStringList& list, const QTextCharFormat& format)
{
	for (const QString& pattern: list)
		_highlightingRules.push_back(HighlightingRule{QRegExp(QString("\\b") + pattern + QString("\\b")), format});
}

void ShaderSyntaxHighlighter::setColorScheme(ColorScheme colors)
{
	_colorScheme = std::move(colors);

	HighlightingRule rule;

	//////////////////////////////////////////////
	//                 RULES
	//////////////////////////////////////////////

	QStringList glslConditional;
	glslConditional.append("if");
	glslConditional.append("else");
	addPatternFromList(glslConditional, toTextCharFormat(_colorScheme._statementFormat));

	QStringList glslStatement;
	glslStatement.append("break");
	glslStatement.append("return");
	glslStatement.append("continue");
	glslStatement.append("discard");
	addPatternFromList(glslStatement, toTextCharFormat(_colorScheme._statementFormat));

	QStringList glslRepeat;
	glslRepeat.append("while");
	glslRepeat.append("for");
	glslRepeat.append("do");
	addPatternFromList(glslRepeat, toTextCharFormat(_colorScheme._statementFormat));

	/* Numbers */
	rule.pattern = QRegExp("\\b\\d+(u{,1}l{0,2}|ll{,1}u)\\b");
	rule.format = toTextCharFormat(_colorScheme._numberFormat);
	_highlightingRules.push_back(rule);

	rule.pattern = QRegExp("\\b0x\\x+(u{,1}l{0,2}|ll{,1}u)\\b");
	rule.format = toTextCharFormat(_colorScheme._numberFormat);
	_highlightingRules.push_back(rule);

	rule.pattern = QRegExp("\\b\\d+f\\b");
	rule.format = toTextCharFormat(_colorScheme._numberFormat);
	_highlightingRules.push_back(rule);

	rule.pattern = QRegExp("\\b\\d+\\.\\d*(e[-+]{,1}\\d+){,1}[fl]{,1}\\b");
	rule.format = toTextCharFormat(_colorScheme._numberFormat);
	_highlightingRules.push_back(rule);

	rule.pattern = QRegExp("\\b\\.\\d+(e[-+]{,1}\\d+){,1}[fl]{,1}\\b");
	rule.format = toTextCharFormat(_colorScheme._numberFormat);
	_highlightingRules.push_back(rule);

	rule.pattern = QRegExp("\\b\\d+e[-+]{,1}\\d+[fl]{,1}\\b");
	rule.format = toTextCharFormat(_colorScheme._numberFormat);
	_highlightingRules.push_back(rule);

	rule.pattern = QRegExp("\\b0\\o*[89]\\d*\\b");
	rule.format = toTextCharFormat(_colorScheme._numberFormat);
	_highlightingRules.push_back(rule);

	/* Swizzles */
	rule.pattern = QRegExp("\\.[xyzw]{1,4}\\b");
	rule.format = toTextCharFormat(_colorScheme._swizzleFormat);
	_highlightingRules.push_back(rule);

	rule.pattern = QRegExp("\\.[rgba]{1,4}\\b");
	rule.format = toTextCharFormat(_colorScheme._swizzleFormat);
	_highlightingRules.push_back(rule);

	rule.pattern = QRegExp("\\.[stpq]{1,4}\\b");
	rule.format = toTextCharFormat(_colorScheme._swizzleFormat);
	_highlightingRules.push_back(rule);

	/* Types */
	QStringList glslTypes;
	glslTypes.append("void");
	glslTypes.append("bool");
	glslTypes.append("bvec2");
	glslTypes.append("bvec3");
	glslTypes.append("bvec4");
	glslTypes.append("int");
	glslTypes.append("ivec2");
	glslTypes.append("ivec3");
	glslTypes.append("ivec4");
	glslTypes.append("float");
	glslTypes.append("vec2");
	glslTypes.append("vec3");
	glslTypes.append("vec4");
	glslTypes.append("sampler1D");
	glslTypes.append("sampler2D");
	glslTypes.append("sampler3D");
	glslTypes.append("samplerCUBE");
	glslTypes.append("sampler1DShadow");
	glslTypes.append("sampler2DShadow");
	glslTypes.append("vec4");
	glslTypes.append("vec4");
	glslTypes.append("struct");
	addPatternFromList(glslTypes, toTextCharFormat(_colorScheme._typesFormat));

	/* Storage class */
	QStringList glslStorageClass;
	glslStorageClass.append("const");
	glslStorageClass.append("attribute");
	glslStorageClass.append("varying");
	glslStorageClass.append("uniform");
	glslStorageClass.append("in");
	glslStorageClass.append("out");
	glslStorageClass.append("inout");
	addPatternFromList(glslStorageClass, toTextCharFormat(_colorScheme._typesFormat));

	/* Functions */
	QStringList glslFunc;
	glslFunc.append("radians");
	glslFunc.append("degrees");
	glslFunc.append("sin");
	glslFunc.append("cos");
	glslFunc.append("tan");
	glslFunc.append("asin");
	glslFunc.append("acos");
	glslFunc.append("atan");
	glslFunc.append("pow");
	glslFunc.append("exp2");
	glslFunc.append("log2");
	glslFunc.append("sqrt");
	glslFunc.append("inversesqrt");
	glslFunc.append("abs");
	glslFunc.append("sign");
	glslFunc.append("floor");
	glslFunc.append("ceil");
	glslFunc.append("fract");
	glslFunc.append("mod");
	glslFunc.append("min");
	glslFunc.append("max");
	glslFunc.append("clamp");
	glslFunc.append("mix");
	glslFunc.append("step");
	glslFunc.append("smoothstep");
	glslFunc.append("length");
	glslFunc.append("distance");
	glslFunc.append("dot");
	glslFunc.append("cross");
	glslFunc.append("normalize");
	glslFunc.append("ftransform");
	glslFunc.append("faceforward");
	glslFunc.append("reflect");
	glslFunc.append("matrixcompmult");
	glslFunc.append("lessThan");
	glslFunc.append("lessThanEqual");
	glslFunc.append("greaterThan");
	glslFunc.append("greaterThanEqual");
	glslFunc.append("equal");
	glslFunc.append("notEqual");
	glslFunc.append("any");
	glslFunc.append("all");
	glslFunc.append("not");
	glslFunc.append("texture1D");
	glslFunc.append("texture1DProj");
	glslFunc.append("texture1DLod");
	glslFunc.append("texture1DProjLod");
	glslFunc.append("texture2D");
	glslFunc.append("texture2DProj");
	glslFunc.append("texture2DLod");
	glslFunc.append("texture2DProjLod");
	glslFunc.append("texture3D");
	glslFunc.append("texture3DProj");
	glslFunc.append("texture3DLod");
	glslFunc.append("texture3DProjLod");
	glslFunc.append("textureCube");
	glslFunc.append("textureCubeLod");
	glslFunc.append("shadow1D");
	glslFunc.append("shadow1DProj");
	glslFunc.append("shadow1DLod");
	glslFunc.append("shadow1DProjLod");
	glslFunc.append("shadow2D");
	glslFunc.append("shadow2DProj");
	glslFunc.append("shadow2DLod");
	glslFunc.append("shadow2DProjLod");
	glslFunc.append("dFdx");
	glslFunc.append("dFdy");
	glslFunc.append("fwidth");
	glslFunc.append("noise1");
	glslFunc.append("noise2");
	glslFunc.append("noise3");
	glslFunc.append("noise4");
	glslFunc.append("refract");
	glslFunc.append("exp");
	glslFunc.append("log");
	addPatternFromList(glslFunc, toTextCharFormat(_colorScheme._statementFormat));

	/* States */
	QStringList glslState;
	glslState.append("gl_Position");
	glslState.append("gl_PointSize");
	glslState.append("gl_ClipVertex");
	glslState.append("gl_FragCoord");
	glslState.append("gl_FrontFacing");
	glslState.append("gl_FragColor");
	glslState.append("gl_FragData");
	glslState.append("gl_FragDepth");
	glslState.append("gl_Color");
	glslState.append("gl_SecondaryColor");
	glslState.append("gl_Normal");
	glslState.append("gl_Vertex");
	glslState.append("gl_FogCoord");
	glslState.append("gl_FrontColor");
	glslState.append("gl_BackColor");
	glslState.append("gl_FrontSecondaryColor");
	glslState.append("gl_BackSecondaryColor");
	glslState.append("gl_TexCoord");
	glslState.append("gl_FogFragCoord");
	glslState.append("gl_MultiTexCoord\\d+");
	addPatternFromList(glslState, toTextCharFormat(_colorScheme._typesFormat));

	/* Uniforms */
	QStringList glslUniform;
	glslUniform.append("gl_ModelViewMatrix");
	glslUniform.append("gl_ProjectionMatrix");
	glslUniform.append("gl_ModelViewProjectionMatrix");
	glslUniform.append("gl_NormalMatrix");
	glslUniform.append("gl_TextureMatrix");
	glslUniform.append("gl_NormalScale");
	glslUniform.append("gl_DepthRange");
	glslUniform.append("gl_ClipPlane");
	glslUniform.append("gl_Point");
	glslUniform.append("gl_FrontMaterial");
	glslUniform.append("gl_BackMaterial");
	glslUniform.append("gl_LightSource");
	glslUniform.append("gl_LightModel");
	glslUniform.append("gl_FrontLightModelProduct");
	glslUniform.append("gl_BackLightModelProduct");
	glslUniform.append("gl_FrontLightProduct");
	glslUniform.append("gl_BackLightProduct");
	glslUniform.append("glTextureEnvColor");
	glslUniform.append("gl_TextureEnvColor");
	glslUniform.append("gl_Fog");
	glslUniform.append("gl_ModelViewMatrixInverse");
	glslUniform.append("gl_ProjectionMatrixInverse");
	glslUniform.append("gl_ModelViewProjectionMatrixInverse");
	glslUniform.append("gl_TextureMatrixInverse");
	glslUniform.append("gl_ModelViewMatrixTranspose");
	glslUniform.append("gl_ProjectionMatrixTranspose");
	glslUniform.append("gl_ModelViewProjectionMatrixTranspose");
	glslUniform.append("gl_TextureMatrixTranspose");
	glslUniform.append("gl_ModelViewMatrixInverseTranspose");
	glslUniform.append("gl_ProjectionMatrixInverseTranspose");
	glslUniform.append("gl_ModelViewProjectionMatrixInverseTranspose");
	glslUniform.append("gl_TextureMatrixInverseTranspose");
	glslUniform.append("gl_EyePlane");
	glslUniform.append("gl_ObjectPlane");
	addPatternFromList(glslUniform, toTextCharFormat(_colorScheme._typesFormat));

	/* preprocessor */
	//rule.pattern = QRegExp("\\s*#\\.*\\n");
	rule.pattern = QRegExp("#.*");
	rule.format = toTextCharFormat(_colorScheme._preprocessorFormat);
	_highlightingRules.push_back(rule);

	/* single line comments */
	rule.pattern = QRegExp("//.*");
	rule.format = toTextCharFormat(_colorScheme._commentFormat);
	_highlightingRules.push_back(rule);

	/* multi line comments */
	_commentStartExpression = QRegExp("/\\*");
	_commentEndExpression = QRegExp("\\*/");

	rehighlight();
}

void ShaderSyntaxHighlighter::highlightBlock(const QString& text)
{
	setFormat(0, text.length(), toTextCharFormat(_colorScheme._otherText));

	int lastMatchIndex = -1, lastMatchLength = -1;
	for (const auto& rule: _highlightingRules)
	{
		const auto& expression = rule.pattern;
		int index = rule.pattern.indexIn(text);
		while (index >= 0)
		{
			const int length = expression.matchedLength();
			assert_r(length > 0);

			lastMatchIndex = index;
			lastMatchLength = length;

			setFormat(index, length, rule.format);
			index = expression.indexIn(text, index + length);
		}
	}

	setCurrentBlockState(0);

	int commentStartIndex = 0;
	if (previousBlockState() != 1) // Comment?
		commentStartIndex = _commentStartExpression.indexIn(lastMatchIndex != -1 ? text.mid(lastMatchIndex + lastMatchLength) : text);

	while (commentStartIndex >= 0)
	{
		const int endIndex = _commentEndExpression.indexIn(text, commentStartIndex);
		int commentLength;
		if (endIndex == -1)
		{
			setCurrentBlockState(1); // Spanning comment
			commentLength = text.length() - commentStartIndex;
		}
		else
		{
			commentLength = endIndex - commentStartIndex + _commentEndExpression.matchedLength();
		}

		setFormat(commentStartIndex, commentLength, toTextCharFormat(_colorScheme._commentFormat));
		commentStartIndex = _commentStartExpression.indexIn(text, commentStartIndex + commentLength);
	}
}

redpajama_set_name: RedPajamaGithub