text:
Vermeer Dies - History
In 1675- Jan Vermeer a Dutch painter died. He was best known for his careful use of light. Some of his best known works include Servant Pouring Milk and View of Delft.
A Timeline of Vermeer's Life 1632&ndash1640 Childhood
Modern art enthusiasts should always keep in mind the twentieth-century art world has little in common with that of Johannes Vermeer. There existed no private art galleries, no queuing up to major international exhibits, no critical reviews in newspapers and painfully little art writing at all. Dutch painters wrote next to nothing about themselves or their work since most considered themselves little more than skilled artisans. The Dutch population at large was hardly aware of the &quotGolden Age of Dutch Painting" in the way we are today and art lovers spoke in different terms about the paintings we so treasure today.
The material evidence for seventeenth-century Dutch artists, including Johannes Vermeer, consists chiefly of depositions, business transactional and other documents drawn up by notaries and municipal clerks that force us to consider a person's life from a particular angle closer to his adversarial than to his amicable relations with his fellow men. Notorial depositions such as these give us a partial view of individual personalities not only because they emphasize the controversial side of their activities but because they are by and large woefully one-sided and incomplete. Only major events of Vermeer's life, baptism, marriage and burial-were recorded in the vellum-bound registers of the Old or the New Church which are preserved now in the Delft archives.
After Vermeer's baptism in 1632, little or nothing is known of the artist himself until he marries Catharina Bolnes in 1653. However, surviving archival from the following years documents provide an interesting picture and while little can be deduced about the artist's personality, his family background and immediate social milieu is fairly well defined.
John Michael Montias' invaluable Vermeer and His Milieu: A Web of Social History was used for the great part of the information contained in this timeline which concerns the artist Vermeer. Montias' book currently constitutes the basis on which all other research regarding Vermeer's life and immediate social milieu is founded and should be read by anyone interested in Vermeer of the artistic milieu of that period. During the course of his research, Montias was surprised to learn that the scholarship on one of his favorite artists, Vermeer, was far from exhausted. He began a quest to uncover the life of the artist, considered one of the most enigmatic and mysterious. In this book, Montias traced the artist's life through notary records, discovering that Vermeer's grandfather was a convicted counterfeiter that his grandmother ran illegal lotteries and that the artist himself fathered 13 children and died at the age of 43, completely destitute.
Vermeer and His Milieu: A Web of Social History
John Michael Montias
Another colorful book which fleshes out in a highly readable fashion is Vermeer: A View of Delft by Anthony Bailey. Bailey effectively retells much that is known about many of Vermeer's contemporaries, such as the scientist Anton Van Leeuwenhoek, and speculates on his apparent Catholic faith in the Protestant Netherlands. Organized around individual paintings, Bailey's essay begins with the great gunpowder explosion of 1654 and ends with the reverberations of Vermeer's art in the writings of Marcel Proust and the forgeries of Han van Meegeren. Highly recommended for general collections and also for art history collections for its broad view and effective style.
In order to insure reasonable loading time, this timeline has been divided into five sections.
Johannes Vermeer van Delft is considered to be the most famous Dutch artists of the Golden Age, second only to Rembrandt. His life was not long, since he died at age 43 and only left around 34 paintings that have been verified as truly his own. His work continues to mesmerize the world today. He did not truly become famous until he was recognized in the 19th century by Gustav Friedrich and a fellow French art critic, and they first believed that up to 66 paintings had been created by Vermeer.
Johannes Vermeer's life was characterized by many hardships and a rich family life. Growing up in Delft, he was largely influenced by his father, who was a middle-class worker in the silk industry. His father became an art dealer, and after his death, Johannes inherited the family art dealing business from his father when he was only 20 years old. In less than a year after leading this art dealership, he married Catharina Bolenes, who was a Catholic. He also converted to Catholicism just before their wedding, and he enjoyed financial support from his new mother-in-law.
Shortly after marriage, the couple moved into the large home of Catharina's mother, where Johannes would continue to paint for the rest of his life. His wife gave birth to a total of 14 children altogether, and unfortunately four of those children died very young, even before being able to be baptized in the Catholic custom. It is a topic of great speculation as to who Johannes actually studied painting with. Many believe he may have been self-taught entirely. There are some who believe another Catholic man named Abraham Bloemaert may have tutored him, but there is little evidence and records from Johannes Vermeer's life that can justify any claims of the source of his artistic influence, which remains largely a mystery.
The Professional Life and Struggles
What has been well documented is the entry of Johannes into an artist's trade association called the Guild of St. Luke when he was 21 years old. During this time the plague was spreading throughout Europe and the Netherlands where he lived, and although most members of this artist's guild would normally pay a membership fee, Johannes had apparently been exempted from this charge, probably due to the common financial hardships of the time and his talent. Around this time, he met a patron who loved and bought most of his artwork. The patron was Pieter van Ruijven, whose financial support was critical to Vermeer and his family. As Vermeer matured in his artwork, he was elected head of the St. Luke's Guild four times, beginning at age 30. His artwork gained attention within Delft, but did not spread much beyond the city.
During 1672 in the Netherlands, there was a severe economic collapse due to the French invasion and the Franco-Dutch war. Due to these events, among other things, Vermeer was forced to borrow money from sources in Amsterdam in the last year of his life. He was clearly struggling to support himself and his large family, and died from frenzy, an old medical term no longer used today which included symptoms such as high fever and sometimes hallucinations. His wife suggested it had been caused by the tremendous financial pressures, and she was able to use his artwork to help the family pay off some of its debts and was able to appeal to the courts for other debts to be forgiven.
Famous Artworks
The Girl With The Pearl Earring
Allegory of Faith
The Lacemaker
Woman Holding a Balance
The Girl With the Wineglass
The Astronomer
The Music Lesson (a.k.a. Lady at the Virginals With a Gentleman)
View of Delft
The Painting Style
The most common subjects of Vermeer's work were usually middle-class women, and they were exceptionally detailed portraits as well as candid scenes depicted with a high degree of realism. He stood apart from other artists by his use of light in the paintings to highlight his subjects in deeply expressive ways. His style was extraordinarily lifelike, portraying intimate scenes of women indoors. He used very rich colors in ways to create deep impact for the viewers, and he would further add tiny white spots in certain places to create a feeling of more texture and sparkle where it was needed.
Originally the artwork of Johannes Vermeer featured historical topics, both Biblical and mythological. After these much larger oil paintings, he shifted to commissioned artworks like cityscapes, using a combination of light and shadow with a partially cloudy sky to bring out depth. His greatest focus was on women performing their habitual daily activities, although his most famous work, the Girl With The Pearl Earring, is uniquely set against a solid black background.
It has been said that Vermeer used a typical technique of the time period referred to an underpainting, where the entire scene is painted in grays and earth tones only first and left to dry before adding color on the next layer. Underpainting, while time-consuming, added volume and an almost three-dimensional depth to paintings, distributing light and dark tones to portray illumination in the final painting. It is also evident that Vermeer often worked on only small sections of a painting at a time, with only one or two pigments at a time. His choices of paint brushes varied from stiff bristle brushes to badger brushes. Vermeer had to hand-grind the paints he would use daily, like other painters of his time. The luminosity that comes across so strongly in Vermeer's artwork is also due to a final layer of glazing, or painting a transparent layer of paint across the final painting. Glazing techniques were also used to create certain vibrant colors when one color was painted over another, resulting in deep purples and varieties of orange, for instance.
The Artist Johannes Vermeer
Johannes Vermeer, sometimes known as Jan Vermeer, was born in Delft, Holland in 1632 and is most commonly associated with the Baroque movement of art. Yet, although the Baroque style is famous for its religious painting, Vermeer is best known for works that capture a brief moment of everyday life. Thirty-five works are attributed to Vermeer and he is considered one of the great masters of Western art, yet his work did not achieve this stature for him until roughly two hundred years after his death.
During Vermeer's era of history, Holland was living in a golden age of political, economic, and social progress. The town of Delft was growing in fame for its artistic pottery—blue and white or tin-glazed pottery known even today as Delft pottery. Artists like Vermeer and Rembrandt were beginning to turn away from painting the religious and mythic scenes so popular during the Renaissance, but instead began to paint intensely realistic scenes that captured a maid, a domestic scene, or even the back of a house. The objects and people of daily life were the subjects of Vermeer's extraordinary body of work.
Although Vermeer was concerned with realistic depictions of common scenes, his fascination with light and its use in his paintings is generally viewed as the brilliance that sets his work apart. The infused light playing on the colorful tablecloth and the pitcher in Young Woman with a Water Jug seems to stop time in mid-action—it makes a perfectly common occurrence a scene of pure enchantment. In Lady Writing a Letter with Her Maid, even the subject is attracted to the light as revealed by the maid stealing a glance toward the sunlit window from behind her patron's shoulder.
Other simple scenes of ordinary life that capture the artist's genius for light include A Lady Weighing Gold, Girl Interrupted at Her Music, and The Milkmaid, one Vermeer's signature paintings. Of course, he is also best known for his masterpiece Girl with a Pearl Earring, a painting that recently inspired a best-selling novel (The Girl with a Pearl Earring by Tracy Chevalier) and a film adaptation of the novel. Vermeer's genius is also said to be evident in his use of underlying layers of color that produced dramatic results when another color is applied above it. While the artist sought to portray his work realistically, many critics believe the scenes he painted were rendered more beautifully than they would have truthfully existed.
Little is known about Vermeer's life. In the art world he is known as "The Sphinx of Delft." Records indicate precious few pieces of information, but he married Catherina Bolnes in 1653—a union that produced fourteen children (four are believed to have died before baptism). Vermeer died in 1675. Art historians argue about his possible use of a camera obscura to obtain his unusual perspectives, but no one denies his painting mastery.
The gesture [of holding the balance] requires precise coordination of delicate physical and mental calculations—the same capacities that Vermeer's art demanded from him.
Lisa Vergara, &quotPerspectives on Women in the Art of Vermeer," 2001
Woman Holding a Balance offers a superb example of Johannes Vermeer 's exquisite sense of order and rhythm. A woman dressed in a blue jacket with fur trim stands serenely at a table in a corner of a room. The jeweler's balance in her right hand rests at equilibrium. A large painting of the Last Judgment, framed in black, hangs on the back wall of the room. A shimmering blue cloth and an open jewelry box with two strands of pearls and a gold chain lie on the sturdy table. Soft light coming through the window illuminates the scene. The woman's deep introspection causes the viewer momentary hesitation about intruding on this private, contemplative moment.
The woman's gaze at the balance, when considered in the context of the Last Judgment on the wall behind her, suggests that Vermeer, a Catholic, sought to infuse this work with religious and spiritual significance. Saint Ignatius of Loyola instructed the faithful to examine their consciences and weigh their sins as if facing Judgment Day. Only such deliberation could lead to virtuous choices along the path of life. Poised between the earthly treasures of gold and pearls before her and Last Judgment painting's stark reminder of the eternal consequences of her actions, this woman personifies the values of materialism and morality that jostled for dominance in 17th-century Dutch society.
The painting's subtext is reinforced by Vermeer's refined composition and lighting. For example, the delicate hand holding the balance is placed directly in front of the frame's dark corner, while the scales are set off against the bare plaster wall—an effect that Vermeer created by manipulating reality. Note that the bottom of the Last Judgment's frame is slightly higher to the left of the woman than it is behind her back.
Related Works by Vermeer in the Collection
Johannes Vermeer, A Lady Writing, c. 1665, oil on canvas, Gift of Harry Waldron Havemeyer and Horace Havemeyer, Jr., in memory of their father, Horace Havemeyer, 1962.10.1
Attributed to Johannes Vermeer, Girl with a Flute, probably 1665/1675, oil on panel, Widener Collection, 1942.9.98
Johannes Vermeer, Girl with the Red Hat, c. 1665/1666, oil on panel, Andrew W. Mellon Collection, 1937.1.53
Arthur K. Wheelock Jr., &ldquoJohannes Vermeer,&rdquo NGA Online Editions, https://purl.org/nga/collection/constituent/1951 (accessed June 18, 2021).
The life and art of Johannes Vermeer are closely associated with the city of Delft. He was born in Delft in 1632 and lived there until his death in 1675. His father, Reynier Vermeer, was a silk weaver who produced caffa, a fine satin fabric, but in 1631 he also registered in the Saint Luke's Guild in Delft as a master art dealer. By 1641 he was sufficiently prosperous to purchase a large house, the "Mechelen," which contained an inn on the market square in Delft and from which he probably also sold paintings. When Reynier died in 1652 Johannes apparently inherited his business. By that time he must have already decided on a career as a painter. It is assumed that he trained in Delft, perhaps with Leonard Bramer (Dutch, 1596 - 1674) , who seems to have had close associations with Vermeer's family, or with Carel Fabritius (Dutch, c. 1622 - 1654) . No documents, however, exist about his artistic training or apprenticeship, and he may have studied elsewhere, perhaps in Utrecht or Amsterdam.
Vermeer, who was baptized on October 31, 1632, in the Reformed Church in Delft, was raised a Protestant. In April 1653, however, he married into a Catholic family and seems to have converted to Catholicism shortly before that date to placate his future mother-in-law, Maria Thins, who lived in the so-called Papenhoek (Papists' Corner) of Delft, adjacent to the Jesuit church on the Oude Langendijck, one of two hidden churches where Catholics could worship. Vermeer and his wife, Catharina Bolnes, eventually moved into her house. They named their first daughter Maria and their first son Ignatius, after the patron saint of the Jesuit order.
Vermeer became a master in the Saint Luke's Guild on December 29, 1653. His early aspiration was to be a history painter, and his first works were large-scale mythological and religious paintings. Shortly thereafter he began to paint the genre scenes, landscapes, and allegories for which he became so renowned. Although Vermeer's subject matter changed in the mid-1650s, he nevertheless continued to imbue his later works with the quiet, intimate moods he had preferred in his early history paintings.
Very little is known about Vermeer's relationships with other painters who might have influenced the thematic and stylistic directions of his art. He apparently knew Gerard ter Borch the Younger (Dutch, 1617 - 1681) , with whom he cosigned a document in 1653. Another artist who may well have had an impact on his work during the 1650s was Pieter de Hooch (Dutch, 1629 - 1684) , who painted comparable scenes in Delft during that period. Vermeer remained a respected artist in Delft throughout the rest of his life. He was named hoofdman of the Saint Luke's Guild in 1662, 1663, 1670, and 1671.
Vermeer's few works—they number about thirty-five—were not well known outside of Delft. It has been postulated that many of his paintings were concentrated in the collection of a patron in that city who seems to have had a special relationship with the artist.[1] When Vermeer died, however, he was heavily in debt, in part because his art-dealing business had suffered during the difficult economic times in the Netherlands in the early 1670s. He was survived by his wife and eleven children, ten of whom were minors. His wife petitioned for bankruptcy the following year. Antonie van Leeuwenhoek, the famed Delft microscopist, was named trustee of the estate.
Vermeer's works were appreciated during the eighteenth century, but his fame did not develop until the late nineteenth century, partly a result of enthusiastic appraisal by the French critic Théophile Thoré, whose pseudonym was William Bürger.[2]
[1] John Michael Montias, Vermeer and His Millieu: A Web of Social History (Princeton, 1989), 246, has proposed that Pieter Claesz van Ruijven (1624–1674) may have been Vermeer's patron.
[2] Théophile E. J. Thoré (William Bürger), &quotVan der Meer de Delft," Gazette des Beaux-Arts 21 (October–December 1866): 297–330, 458–470, 542–575.
In 1653, Vermeer registered with the Delft Guild as a master painter. There&aposs no record of who he may have apprenticed under, or whether he studied locally or abroad. Vermeer definitely had at least a friendship with leading Delft painter Leonard Bramer, who became one of his early supporters. Some experts also believe that Vermeer may have been influenced by the works of Rembrandt through one of Rembrandt&aposs students, Carel Fabritius.
The influence of Caravaggio is apparent in Vermeer&aposs early works, including &quotThe Procuress" (1656). The painter also explored mythology in &quotDiana and Her Companions" (1655-56) and religion in &quotChrist in the House of Mary and Martha" (c. 1655). By the end of the decade, Vermeer&aposs unique style began to emerge.
Many of Vermeer&aposs masterworks focus on domestic scenes, including &quotThe Milkmaid" (c. 1657-58). This depiction of a woman in the midst of her work showcases two of his trademarks: his realistic renderings of figures and objects, and his fascination with light. Many of his works have a luminous quality, including the portrait &quotGirl with a Pearl Earring" (1665).
Vermeer enjoyed some success in Delft, selling his works to a small number of local collectors. He also served as head of the local artistic guild for a time. However, Vermeer was not well-known outside of his community during his lifetime.
Biography of Jan Vermeer Van Delft
Relatively little is known about Vermeer's life. He seems to have been exclusively devoted to his art. The only sources of information are some registers, a few official documents and comments by other artists it was for this reason that Thore Burger named him &quotThe Sphinx of Delft". Vermeer became the subject of a biography by John Michael Montias: Vermeer and his milieu: a web of social history (Princeton, 1989), where the social history covers up for the elusiveness of the central character.
Johannes Vermeer was born in the city of Delft in the Netherlands and after a few days he was baptised in the Reformed Church on October 31, 1632. His father, Reynier Janszoon, was a middle-class silk or caffa worker. In 1615 he married Digna Baltens, a woman from Antwerp. In 1620 a daughter, Gertruy, was born. In 1625 Reynier Janszoon was involved in a fight with a soldier, who died from his wounds five months later. Around 1631 Reynier Janszoon leased an inn called The Flying Fox and started to deal in paintings. As a sideline, he continued to work as a weaver. In 1641, when the lease ran out, he bought a larger inn at the market square, named after the Belgian town &quotMechelen". Vermeer's only sister, Gertruy, worked at the inn helping her parents, serving drinks and making beds. In 1647 she married a frame maker. When Vermeer's father died in 1652, Vermeer replaced him as a merchant of paintings.
Despite the fact that he came from a Protestant family, Vermeer married a Catholic girl named Catherina Bolnes, in a nearby village called Schipluiden. For Vermeer it was a good match: his mother-in-law, Maria Thins, was significantly wealthier than he, and it was probably she who insisted Vermeer convert to Catholicism before the marriage in April 1653. Some scholars doubt Vermeer became Catholic, but one of his paintings, The Allegory of Catholic Faith, made between 1670 and 1672, reflects belief in the Eucharist. It was probably made expressly for a Catholic patron or for a schuilkerk, a hidden church. At some point the couple moved in with Catherina's mother, who lived in a rather spacious house at Oude Langendijk, close to a Jesuit church. Vermeer lived there for the rest of his life, producing paintings in the front room on the second floor. His wife gave birth to fourteen children: three sons and seven daughters four were buried at an early stage and their names and genders are not known. The youngest child, Ignatius, was named after the founder of the Jesuit order.
It is not certain where Vermeer was apprenticed as a painter, nor with whom. It is generally believed that he studied in his home town and it is suggested that his teacher was either Carel Fabritius or more likely Leonaert Bramer. It is possible he taught himself or had information from one of his father's connections.
On December 29, 1653, Vermeer became a member of the Guild of Saint Luke, a trade association for painters. The guild's records make clear Vermeer did not pay the usual admission fee, a hint that his financial circumstances were difficult. In 1657 he might have found a patron in the local art collector Pieter van Ruijven, who lent him some money. In 1662 Vermeer was elected head of the guild and was reelected in 1663, 1670, and 1671, evidence that he was considered an established craftsman among his peers.
Vermeer worked slowly, probably producing three paintings a year, and on order. When Balthasar de Monconys visited him in 1663 to see some of his work, the diplomat and the two French clergymen who accompanied him were sent to a baker, probably Hendrick van Buyten, who owned one painting he was very proud of.
In 1672 a severe economic downturn (the &quotYear of Disaster") struck the Netherlands. Not only did a French army under Louis XIV invade the Dutch Republic from the south (known as the Franco-Dutch War), but an English fleet, in the Third Anglo-Dutch War and two allied German bishops attacked the country from the east, trying to destroy its hegemony. Many people panicked, and shops and schools were closed. Some years passed before circumstances improved. The collapse of the art market damaged Vermeer's business as both a painter and an art dealer, as his wife stated later. With a large family to support, Vermeer again was forced to borrow money.
In December 1675 Vermeer fell into a frenzy and died within a day and a half. In a written document Catharina Bolnes attributed her husband's death to the stress of financial pressures. She, having to raise eleven children, (underlined in the original) asked the High Court to allow her a break in paying the creditors.
The Dutch microscopist Antonie van Leeuwenhoek, who sometimes worked for the city council, was appointed trustee. The house, with eight rooms on the first floor, was filled with paintings, drawings, clothes, chairs and beds. (Vermeer did own three paintings by Fabritius.) In his atelier there were among rummage not worthy being itimized, two chairs, two painter's easels, three palettes, ten canvases, a desk, an oak pull table and a small wooden cupboard with drawers. Nineteen of Vermeer's paintings were bequeathed to his wife and her mother. Catherina sold two more paintings to the baker in order to pay off the debts.
In Delft, Vermeer had been a respected artist, but he was almost unknown outside his home town, and the fact that a local patron, van Ruijven, purchased much of his output reduced the possibility of his fame spreading. Vermeer never had any pupils and his relatively short life, the demands of separate careers, and his extraordinary precision as a painter all help to explain his limited output.
Review: 'Vermeer's Hat' traces global economy
Stories of ethnic cleansing, human trafficking and illegal immigration, of corporate power and the uneven effects of free trade, have become so prevalent as to define our understanding of the post-Cold War world. But, as Timothy Brook shows in his elegant and quietly important book, "Vermeer's Hat," such stories have been with us for centuries, and our global world is much older than we typically think.
The paintings of the Dutch master Johannes Vermeer, who died more than three centuries ago, would seem a strange place to go in search of the roots of today's globalized era. Even Brook, a distinguished scholar of Chinese history, admits that the decision is personal and arbitrary. But in Brook's hands, Vermeer's canvases, together with a painting by a second-rate contemporary and an old chipped Delft plate, are just bright lures to catch our attention before embarking with us on a rich, suggestive tour of the 17th century world.
An oversize hat in Vermeer's painting "An Officer and a Laughing Girl" leads to a history of the trade in North American beaver pelts a brightly colored dish in "Young Woman Reading a Letter" launches an examination of the European craze for Chinese porcelain an image of an old Chinese man puffing on a pipe prompts a discussion of the tobacco trade. Maps, a balance and an African boy become points of departure for chapters on the growth of international trade, the role of silver in the world economy, and the explosion of travel and movement of peoples around the globe.
According to Brook, the thread that ties all these elements together, and gave birth to the global age, was China, specifically the lure of its mythical wealth, which, he claims, "haunted the seventeenth-century world." (Brook regrettably abandons himself on occasion to such grand if empty pronouncements as declaring the 17th century "the age of improvisation." Was "the fire within seventeenth-century souls" really "to pawn one's place of birth for the world of one's desire"?) It was the hope of finding a passage to China through North America that inspired the explorations of Samuel Champlain, explorations that were supported by the beaver trade, the quality of whose felt was prized for making hats. It was the European demand for Chinese porcelain that unleashed a cutthroat competition among the Dutch, Portuguese and Spaniards to control the trade. It was the need to pay for Chinese goods that fed the feverish mining of silver in the Andes, most of which ended up in the new entrepots of Macao and Manila.
"Vermeer's Hat" illuminates the unpredictable give-and-take that occurred between societies and how objects acquired new meanings and uses when brought to distant lands. The Dutch filled their homes with a cheap type of imported porcelain that most Chinese found vulgar. In one of the many curious ironies of cross-cultural interaction that Brook explores, so great was the market for such porcelain, that Chinese producers not only changed their production to supply it but even began to favor such porcelain for their own homes, viewing it as a new status symbol that reflected their owner's exotic, European aesthetic sensibility.
The world Brook depicts is one coming alive with movement, of diverse peoples and cultures engaging in sustained contact for the first time. Many of these interactions were bloody, and "Vermeer's Hat" doesn't shy away from them - Champlain's battles against the Mohawks, the Spaniards' brutal treatment of the Indians in South America, the massacre of 20,000 Chinese in Manila in 1603.
Yet, just as important, what Brook does to great effect is show the myriad ways people from different parts of the world managed to work together, to see how their lives intersected in such a manner that cooperation trumped killing. Intermarriage, alliances and friendships were no less a part of the story than were naked conquest and subjugation.
In the end, this is the book's ultimate lesson. In recounting these tales of international trade, cultural exchange and foreign encounter, Brook does more than merely sketch the beginnings of globalization and highlight the forces that brought our modern world into being rather, he offers a timely reminder of humanity's interdependence.
"If we can see," he concludes, "that the history of any one place links . ultimately to the history of the entire world, then there is no part of the past - no holocaust and no achievement - that is not our collective heritage."
John Montias, 76, Scholar of Economics and of Art, Is Dead
John Michael Montias, an economist who became one of the foremost scholars on the painter Johannes Vermeer and a pioneer in the economics of art, died on Tuesday at a hospice in Branford, Conn. He was 76 and lived in New Haven.
The cause was complications from melanoma, said his son, John-Luke Montias.
Part of the Annales school of economists and historians, Mr. Montias was among those who, in the early and mid-20th century, promoted a new form of history by replacing the examination of major leaders and events with the microstudy of ordinary people and occurrences.
Through the scrupulous analysis of common documents ranging from notes and letters to receipts and legal papers, Mr. Montias peeled back the layers in the life of Vermeer, one of his favorite artists -- and one of the world's most enigmatic. His work opened the door for a new genre of art history in which artists were analyzed in the context of their societal and economic surroundings and not merely their works.
&quotI think he was important for all of us," said Egbert Haverkamp-Begemann, the John Langeloth Loeb professor emeritus at New York University's Institute of Fine Arts. &quotWhen he started this in the 1960's and 70's, there was no one who approached the history of art from that point of view. His work was pioneering -- accurate, extremely convincing, with many novel insights. What was not considered to be relevant to the work of art in the past, we all have subsequently used."
Mr. Montias's research was a primary source for Tracy Chevalier's 2000 novel &quotGirl With a Pearl Earring," about Vermeer's relationship with the model for his iconic work, and for the 2003 film adaptation.
Mr. Montias began teaching at Yale University in the late 50's, where he specialized in the economic systems of the Soviet bloc during the 1960's and 70's and served as a consultant to high-ranking government officials. His analysis of the economies of Eastern European countries at times drew suspicion, perhaps never more so than during his visits to Czechoslovakia and Hungary from 1963 to 1965 he was shadowed and eventually expelled from Hungary on suspicion of espionage. But if his work was economics, his passion was art, particularly that of the 16th- and 17th-century Netherlands.
&quotI came to Vermeer 'sideways,"' he said in a 2003 interview for the Essential Vermeer Web site (www.essentialvermeer.20m.com), explaining the genesis of his second career. Having won a summer grant in 1975 to write a comparative study of Dutch art guilds, he traveled to Delft, where he discovered that no in-depth study of a guild existed.
&quotIn the course of this research, I realized that, contrary to my expectations, previous scholarship on Vermeer's life had not exhausted the subject," he said.
And so began his quest to uncover the life of one of the world's most mysterious artists, with Mr. Montias unearthing and poring over 454 documents related to Vermeer and his family that lay, long undisturbed, in the archives of no fewer than 17 Dutch and Belgian cities.
In 1989 he published &quotVermeer and His Milieu: A Web of Social History" (Princeton University Press), in which he revealed secrets of Vermeer's life: that Vermeer's grandfather was a convicted counterfeiter that his grandmother ran illegal lotteries and that the artist himself fathered 13 children and died at the age of 43, destitute.
Reviewing the book in The New York Times, the art critic John Russell wrote that Mr. Montias had previously &quotproved that there is a great deal more to art history than shuffling slides in a library."
&quotHis new book does not crack the code of Vermeer's personality, let alone the code of his inner experience," the review continued. &quotBut as detective work, and as a portrait of an era, it ranks high."
In fact, Mr. Montias's midlife obsession had adolescent roots. Born on Oct. 3, 1928, in Paris, he was sent in 1940, alone and by ship, by his Jewish parents to the safety of the United States -- and an Episcopalian baptism -- just as the Germans were preparing to invade France. He boarded at the Nichols School in Buffalo, where as a 14-year-old volunteer in the small library of the Albright-Knox Art Gallery, he came across Wilhelm Bode's gilt-edged folio volume of Rembrandt and was immediately captivated.
Mr. Montias's curiosity resurfaced in 1954 when, as a Ph.D. candidate in the economics department at Columbia University, he considered writing his dissertation on the prices of Dutch paintings at auction. He failed to get financial support for his project, perhaps thought frivolous during the cold war.
Things changed when Mr. Montias met Mr. Begemann in the mid-1960's, when they were both at Yale. A specialist in Dutch and Flemish art, Mr. Begemann gave Mr. Montias his first lessons in connoisseurship, and soon after he began to study the genre's history methodically. His first project in the field -- the 1975 summer grant -- required Mr. Montias, already a gifted linguist, not only to learn modern Dutch but also to read 17th-century manuscript sources in old Gothic script.
&quotHe decided to attack the archives in Delft, knowing that they had been scoured for information on Vermeer," recalled Otto Naumann, a Manhattan art dealer who studied under Mr. Montias. &quotWith the confidence that only a true genius can posses, he decided that he could do better, without first learning Dutch."
It took Mr. Montias one week to find an unpublished document that mentioned Vermeer and but another to decipher it, Mr. Naumann said.
Mr. Montias published three more books about the 17th-century Dutch art market: &quotArtists, Dealers, Consumers: On the Social World of Art" (Hilversum: Verloren, 1994) &quotPublic and Private Spaces: Works of Art in 17th-Century Dutch Houses" (Zwolle, 2000), with John Loughman and &quotArt at Auction in 17th-Century Amsterdam" (Amsterdam University Press, 2003).
In addition to his son, of Manhattan, he is survived by his wife, Marie, of New Haven, and his mother, Giselle de la Maisoneuve, of Paris.
Copyright © salvadoryoscar.com | Vermeer Dies - History...


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History And Values4sure2022-01-27T13:28:03+10:00
Five visionary Principals have led Cannon Hill Anglican College
The seeds of Cannon Hill Anglican College were first planted by a group of enthusiastic, visionary and determined educators and community members, who first gathered on 15 April 1987 to discuss the concept of new private co-educational college.
Two years later, in 1989, the College opened its doors with 79 students and three buildings, and since that time, has become a positive influence on the lives of thousands of people.
In 1994, the College became an Anglican school in the Diocese of Brisbane. This union further strengthened the College's philosophy of offering a balanced approach to education encompassing the holistic development of the whole person: intellectual, social, physical, emotional, aesthetic and spiritual.
Since its journey began, Cannon Hill Anglican College has had the privilege of being led by five visionary Principals: Mr Rod Wells, the College Founder, Ms Suzanne Bain, Mr Greg Wain, Mrs Robyn Bell, and current Principal Mr Gary O'Brien, who commenced the role in January 2019.
Cannon Hill Anglican College now caters for over 1300 students from Prep to Year 12. Those values on which the College was founded – vision, innovation, courage, determination and a strong sense of community and compassion – remain central to College life today, and will continue to inspire its further progress.
Our Guiding Framework
Cannon Hill Anglican College – distinctively innovative, successful and sustainable Anglican co-education.
Cannon Hill Anglican College is a dynamic Christian learning community which strives to offer a balanced and holistic educational environment, in order to develop the intellectual, social, physical, emotional, aesthetic and spiritual dimensions of each of its members.
Cannon Hill Anglican College is based on the principles and traditions of the Anglican Church and fosters among its students, staff and parents a lifestyle based on Christian values. These principles are outlined in the Summary Ethos Statement for Anglican Schools in the Province of Queensland. As learning communities of excellence, Anglican Schools in the Diocese of Brisbane are called to share the mission of the church to proclaim the good news of the kingdom of God through: Faith, Vocation and Service.

redpajama_set_name: RedPajamaCommonCrawl


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Demi Lovato Sends Herself Flowers Following Henry Levy Breakup
Neilson Barnard, Getty Images
Demi Lovato is all about self-love these days.
Following news that she and boyfriend Henry Levy split up, the "Sober" singer made it clear she's focused on one thing and one thing only...herself. On Thursday (Mar. 7), she took to her Instagram to share a photo of some flowers she'd gotten for herself as a reminder that she's loved and worthy of the life she wants.
"Cause sometimes you gotta send yourself flowers… #selflove," she wrote on her IG Stories, alongside a photo of a beautiful bouquet of two dozen pink roses and a sweet hand-written note that read: "You're beautiful, you're loved, and you're worthy of a happy and healthy life."
Demi Lovato, Instagram Stories
According to E! News, Lovato and Levy broke up after she entered treatment for the second time. There was speculation the pop star had re-entered rehab because of a relapse, but sources say it's due to mental health issues. Her decision to end her relationship is so she can focus her well-being, as well as her sobriety and mental health.
"Demi and Henry decided to split because none of her family members approved of her getting into a relationship so quickly and wanted her to focus on herself and her health. Demi felt distracted and overwhelmed, and wanted to take a breather and truly get healthy," the source told shared.
Source: Demi Lovato Sends Herself Flowers Following Henry Levy Breakup
Categories: Featured


Coins were used early in jewelry making and have always been a fascination of Jewels. She collects these whenever she can find them.
This copper coin is bezeled in sterling and on a hand made sterling chain.


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Q: How can I add a GET param to some anchor elements in jQuery? I have a bunch of a elements and I want to add a GET param to their href attribute.
I want to use ? or & where appropriate.
For example, http://example.com should become http://example.com?extra=true and http://example.com?already_got_a_param=true should become http://example.com?already_got_a_param=true&extra=true.
What code would do that?

A: You could use this...
$('a').attr('href', function(index, href) {
    return href + (this.search ? '&' : '?') + 'extra=true';
})

jsFiddle.

redpajama_set_name: RedPajamaStackExchange


[ARCHIVED THREAD] - Saved an Enfield, here is some pics.
Before pic. It was a sad looking 43 BSA No.4 MK.1. Bubba did not do anything that could not be fixed. At $150 from an estate auction I figured it was worth a go. If your curious that is my 43 Savage above it. All Savage parts and U.S. property marked. Better lighting would show off it's stripes more.
Done pic. An order to Springfield Sporters and Gunparts Corp. about a weeks wait and some fifth teen parts later she's done. The parts are all British and the wood is English walnut. The stock was very dry and has the "Ishy" screw. It took a number of coats of linseed oil and still could use some more. Some minor fitting was needed and everything needed a bath in the parts cleaner. I quick trip to test fire before the latest snow storm yielded good results. I was able to hit my 300 and 400 yard plates pretty well. I forgot how smooth shooting these are compared to the magnums I shoot. I was using some Wolf Gold 174 gr. and plan to test it with my pet handload. Fun project overall and I liked how it turned out.
I know the 1907 sling is not really correct but it came with it and I used it to sling up for distance shots. It is junk and will be replaced with a proper sling.
There has been a lot of good saves in here lately.
Thanks for the comments. With winter on the way I have more planned.
excellent save. If you are worried about the sling after the rescue - well you know you did a good job.
Anyone found a lee they didn't like?


Yesterday, I learned to use a sippy cup. Go me!
Mommy and Dad Guy tried to help me use one a long time ago, but they kinda abandoned it for a while and then brought it back a couple of days ago.
Because I've grown a lot and learned so many new things!
The first time we tried, I didn't really get it.
But after helping me with it a few times, I really got the hang of it!
Now, I have a sippy of mommy-milk every day at lunchtime to go with my food. I'm such a big girl!
You ARE such a big girl! Your cousin hasn't gotten the hang of it yet, but maybe if she sees you doing it, she'll get it too! Way to go!
Silly girl how can your thumb compete with the sippy cup?????


This week was a bit of a bust at Carlsbad. I drove the E-type but not too many others attended, we had several other car events going on in San Diego that week, thus the lack of attendance. I then made my way over to Rancho Sante Fe and had a spirted drive through the back roads. It was a nice turn out with some nice cars I'm still glad I got up early.


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Waypoint, site-specific installation in Bellingham by Mutuus Studio
Starring: Mutuus Studio,
Photographer: Benjamin Benschneider,
City: Bellingham, Washington, USA,
Section: Installation, Architecture/Landscape/Urbanism,
TAGS: Landscaping, Refurbishment,
The design team from have Mutuus Studio transformed the Acid Accumulator from the defunct Georgia Pacific mill on Bellingham's waterfront into a new art installation placed in the new Waypoint Park along Whatcom Waterway, funded by the City's One Percent for the Arts programme.
Bellingham is the most populous city in Whatcom County in the U.S. state of Washington. It is located between two major metropolitan areas, 140 km north of Seattle, 84 km southeast of Vancouver, British Columbia, and 34 km south of the Canada-US border. The Bellingham waterfront served as an industrial centre for more than a century, where the Georgia-Pacific pulp-and-paper mill operated until 2001, and industry had a huge impact on the city's development. This was particularly true after 1965 when a Chlor-Alkali facility was built to service paper production and became a major source of mercury contamination in the Whatcom Waterway and on the uplands of the site for decades.
The clean-up and redevelopment site of approximately 30 ha was divided into two areas: The defunct pulp-and-paper mill area and the chemical plant area. This forms the context for the site-specific installation by Seattle-based Mutuus Studio that transforms the acid accumulator of the former Georgia Pacific paper mill into public art. Their entry won the city of Bellingham' international Call for Proposals as part of its "One Percent for the Arts" programme for the design, fabrication of a project for the "Acid Ball", also known as the accumulator ball, once part of a system that broke down wood chips with pressure and acid. In their entry, Mutuus Studio ticked all the boxes of the project criteria: use the existing shape and details of the acid ball, draw people into the site to explore, approach, and appreciate the artefact, reimagine uses for commodity materials and technology in a creative way, implement the project within the intended timeline and available budget, and create a dynamic visual impact.
As Mutuus Studio partner Saul Becker said, "There's a real desire to understand these objects and carry them into the future so that people can understand not just an industry but the movement of time itself." They asked themselves what was the smallest big move they could make to acknowledge both its history and its new life, and transformed the industrial relic into an installation called Waypoint: a stopover on the journey towards the future of Bellingham.
The metal sphere was constructed in 1938 and is approximately nine metres in diameter. It was moved more than 300 metres from its original location near the historic Granary Building to the new Waypoint Park, built on the old brownfield. The recently opened waterfront park covers 13 hectares. Positioned on the water's edge, the acid ball has become beacon from land and sea, attracting people to a place that connects the urban fabric with the waterfront. They covered the acid ball with the same durable, low maintenance, vandal and weather resistant coating used on highways and roads, making Waypoint interact with the light around it, from a flashlight to the headlights of a passing car, from a sunbeam to a waning moon, so it changes through every season, throughout the day and night. As Kristen Becker of Mutuus Studio explains that this was really important for Waypoint, "not just this piece that you see once (...) but something that you'd want to come back to and experience in a different light". This is a lo-fi but high design concept that sets up an emotional and long-lasting connection with the site.
Christiane Bürklein
Progetto: Mutuus Studio - https://www.mutuus-studio.com/
Luogo: Bellingham, Washington, USA
Immagini: Benjamin Benschneider
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Dead Horse Point State Park Travel Guide
Dead Horse Point is a must-stop destination on our list of Utah State Parks if you'll be in the Moab area.
Use this Dead Horse Point State Park travel guide to plan your time at this unique location: what to pack, where to stay, things to do and more!
The park is located near the Canyonlands National Park Island in the Sky entrance. Dead Horse Point is known for its stunning views of the Colorado River, dramatic vertical cliffs, canyons, and vista views.
Some of the links on this site are affiliate links, meaning if you book or buy something through one of these links, we may earn a small commission – at no extra cost to you! Read the full Disclosure Policy.
WHERE TO STAY NEAR DEAD HORSE POINT
There are no lodging facilities in the park (only camping). You'll find all types of accommodations in the nearby town of Moab, Utah.
READ OUR FULL GUIDE: Where to stay in Moab
Holiday Inn Express Hotel & Suites Moab – we enjoyed our stay and highly recommend this hotel due to its location close to Arches.
Purple Sage – our all-time favorite place to stay in Moab – walking distance to shopping, full kitchen, and only 8 units so you don't feel lost in a large hotel.
Red Cliffs Lodge – rooms up to 6 people – located 17 miles from Moab, this lodge is known for its beautiful location, winery and activities like horseback riding, fishing and more!
Vacation Rentals – we really like rentals with a kitchen, washer and dryer and amenities like a swimming pool and hot tub.
Rent an RV – have it dropped off at your vacation destination!
Camping at Dead Horse Point State Park
Camping at Dead Horse Point State Park can be a great way for guests to fully immerse themselves in the natural beauty of this amazing place.
Some of the best Dead Horse Point camping spots include:
Wingate Campground – Perched atop a mesa with exquisite, panoramic views of the surrounding landscape, Wingate Campground has 31 campsites in total, 20 of which have electrical hookups, for RVs and tent campers, and 11 of which are hike-in, tent only sites.
Additionally, all sites at this campground have access to fire-pits, picnic tables under shelters, modern bathrooms with running water, and a communal dump station near the campground entrance. If a campsite is not reserved then they can be bought on a first come-first serve basis on the day of arrival.
Wingate Yurts – The Wingate Campground has four yurts for guests to enjoy. Each yurt can hold up to six people. As the park's version of glamping, all yurts include heat, air conditioning, electricity, a bunk bed with a full mattress on top and a queen mattress on the bottom, a futon, indoor/outdoor tables, and a BBQ on the deck. However, please remember that cooking, flames of any kind, and pets are ALL not allowed in the yurts. Light cleaning is also required before checking out of the site.
Kayenta Campground – Nestled inside a charming little juniper grove is this peaceful little campground. It has 21 campsites to choose from, all of which include lighted shade structures, picnic tables, fire rings, and tent pads. Additionally, all sites are equipped with RV electrical hookups (20/30/50 AMP) and have full access to modern restroom facilities.
Moenkopi Yurts – Hidden along the Intrepid Trail System, these five, private yurts are the perfect place to go and escape the chaos of the city. Experience stunning sunrises amidst the area's beautifully dynamic natural landscape, and all without forsaking any of the comforts of home. Not only can each yurt accommodate up to six people, but each one also includes a bunk bed , a pullout futon couch, an outdoor propane grill, heating, air conditioning, and electrical outlets. Modern restroom facilities are also located within walking distance, making this a fun and luxurious way to get back to nature.
We hope these travel tips help you to plan a visit to Dead Horse Point State Park. It's definitely worth a stop!
You are more than welcome to CONTACT US if you have any questions about planning your trip. We love to help people enjoy their time in Moab, Utah.
Definitely add this stunning state park to your list of places to visit in Utah.
Located near the adventure town of Moab, Dead Horse Point is known for its ever-changing landscape and exquisite views of the Colorado River. It's filled with dramatic vertical cliffs, austere canyons, and stunning vista views.
If you're planning to visit Canyonlands National Park Island in the Sky, this is a must-see side trip!
When to Visit Dead Horse Point
While there isn't a bad time to visit Dead Horse Point State Park, some seasons are better for exploring this Utah state park than others.
If you plan to do hiking or biking, the best time to go to Dead Horse Point State Park is spring or fall, when weather conditions are ideal. In contrast, temperatures throughout the summer can get quite high which aren't ideal for doing Dead Horse Point State Park hikes.
On the opposite end of the spectrum is winter, where temperatures routinely dip below freezing, making snow likely, and a difficult obstacle to overcome when exploring the area.
Dead Horse Point Operating Hours
Dead Horse Point State Park is open year round, between 6:00 am and 10:00 pm.
Fees for Visiting Dead Horse Point
If you're planning to visit Dead Horse Point State Park for the day, please be aware that all day-use park entries are valid for three consecutive days. Check the website for current fees. If you are a Utah resident, we recommend purchasing the Utah State Parks pass BEFORE YOU GO.
The US National Park pass is not valid here since this is a Utah State Park.
But we feel the additional fee to visit this park is well worth it to view this iconic scene you can't see at Canyonlands.
Weather at Dead Horse Point State Park
Because the Southeastern portion of Utah is part of the Colorado Plateau, this region is regarded to be a "high desert"climate. As such, Dead Horse Point State Park regularly experiences huge temperature fluctuations, of up to 40 degrees, in a single day.
That's why the most temperate, and best time to visit the park, is during the spring (between April and May) and the fall (between mid-September and October). Throughout these seasons, daytime highs usually average between 60º and 80ºF (15º and 26ºC) while nighttime lows usually average between 30º and 50ºF (-1º to 10ºC) .
In contrast, summer temperatures regularly exceed 100ºF (37ºC), making strenuous activities difficult. Late summer monsoons also bring violent storms to the areas can cause dangerous flash floods.
Winter weather in the park is similarly extreme, with highs between 30º and 50ºF (-1º to 10ºC) and lows between 0º and 20ºF (-17º to -6ºC). Although heavy snowfall is rare, even trace amounts of snow and ice can make local trails and roads virtually impassable.
→ Winter clothing guide to stay warm while exploring the park!
Dead Horse Point Pet Policy
Like many other Utah state parks, Dead Horse Point is dog friendly and welcomes pets on all of the area's hiking trails and in the campground. That being said, to protect both your pets and the area's indigenous wildlife, pets must be leashed at all times and are not allowed on any of the Intrepid Mountain Biking trails.
Pets are also not permitted in yurts and must never be left in vehicles, where temperatures can routinely exceed 140ºF on a semi-warm day. Owners are also required to clean up after their pets, and can easily do so using the park's many dog waste bag dispensers.
Goods and Services at Dead Horse Point State Park
Gift Shop – Located inside the visitor center, and this store offers visitors a variety of quality souvenirs including shirts, hats, postcards, mugs, magnets, art work, pottery, snacks, and more! Both the gift shop and visitor center are open daily between 9:00 am and 5:00 pm.
Pony Expresso Coffee Shop – Open between March and October (right in time for the park's busy season), this charming little coffee shop is located just outside of the Dead Horse Point State Park Visitor Center and offers guests an assortment of warm beverages as well as various food items that you can take with you on any, Dead Horse Point State Park hike.
Camping – See below.
Dead Horse Point State Park Map
CLICK HERE for an interactive map.
HOW TO GET TO DEAD HORSE POINT STATE PARK
From Grand Junction, Colorado, take I-70 west and follow the highway until Thompson Springs. Take exit 182 and follow US-191 south towards Moab. Continue along US-191 until you reach UT-313 and turn right. It should take about 2 hours to travel 124 miles.
From Salt Lake City, Utah, take I-15 south until exit 257 B-A for US-6 East. Continue on US-6 East and merge onto I-70 East. Take exit 182 onto US-191 south towards Moab. Continue along US-191 until you reach UT-313 and turn right. It should take 4 hours to drive 245 miles.
THINGS TO DO AT DEAD HORSE POINT STATE PARK
Hiking Trails at Dead Horse Point
Avid hikers will enjoy navigating the seven miles of trails that wind through the exquisite, desert plateau landscape of Dead Horse Point State Park. Connecting to eight scenic overlooks throughout the park, these Dead Horse Point State Park hiking trails are fairly easy and have minimal elevation change. However. Because of uneven slick rock along many of the trails, guests are advised to wear sturdy footwear.
Listed below are some of the best Dead Horse Point State Park hikes, which include:
Overlook Trail – This easy, 200 foot trail is one of the top attractions in Dead Horse Point State Park. From the overlook parking lot, you'll find a short paved pathway that culminates in breathtaking views of the Colorado River. From this outlook, paved pathways lead to additional viewpoints along the East and West Rim trail systems (these trails have steep inclines and sections of slick rock).
Visitor Center Trail – This easy, ⅛ of a mile trail is a paved pathway that is accessible from the visitor center. In addition to providing hikers with great views of the basin to the east, the La Sal Mountains, and Chimney Rock, this trail also has eight, unique, trail-side exhibits that highlight some of the common desert plants and trees that you'll see during your visit to the park..
Colorado River Overlook – This easy, 1 mile hike winds north from the visitor center and takes hikers along the east rim, eventually ending with a fabulous view of the Colorado River. Along the route, hikers will notice a series of large, seasonal pools of water that make this trail an ideal place to spot wildlife.
East Rim Trail System – This easy, predominantly flat, 1.5 to 2 mile hike starts at the visitor center and brings visitors along the eastern side of the mesa top, eventually terminating at Dead Horse Point. Along the way, hikers will enjoy panoramic views of the La Sal Mountains, the Behind the Rocks area, sagebrush flats, and juniper forests.
West Rim Trail System – This moderately difficult, 2.5 to 3.5 mile hike is one of the longest hiking trails in the park. It starts at the visitor center, passes through the campground, and follows the cliffs along the western boundary of the park. This trail is more primitive, and not as well traveled, so be sure to follow cairn-marked routes over exposed sections of sandstone and slick rock.
Bighorn Overlook Trail – This moderately difficult, 1.5 mile trail is the longest spur off the West Rim Trail and relatively isolated from the remainder of the park. As a result, you may just have this trail all to yourself and can marvel at spectacular views that rival those found at Dead Horse Point itself. Like many West Rim trails, this route follows cairns across slick rock and has short sections of moderate cliff exposure. As a result, be sure to hike with caution and wear sturdy footwear.
Biking Trails at Dead Horse Point
Similarly, mountain bikers will enjoy Dead Horse Point State Park's extensive, Intrepid Trail System. In total, this trail system covers 16.6-miles and includes only non-motorized, singletrack trails.
These various trails wind through vast juniper forests, over slickrock terrain, and offer riders stunning views of the canyons below. Additionally, the main trailhead can be accessed at the visitor center parking lot while the secondary trailhead can be accessed by turning towards the Moenkopi Yurts and then by taking the first road on your right, before you get to the yurts.
Some of Dead Horse Point State Park's top biking trails include:
Intrepid Trail – This easy, ½ mile trail takes a mere four or five minutes to complete. It's perfect for beginners since there is little elevation change over the trail's rocky terrain.. At the end of the trail, you'll also enjoy an excellent view from the Colorado River Overlook.
Great Pyramid Trail – This easy to moderate level trial is 2.2 miles long and takes between 20 and 25 minutes to complete. It takes riders along semi-rocky terrain of varied elevations and offers bikers a sweeping view of the Colorado River and the "Great Pyramid" formation in the distance.
Raven Roll Trail – This easy, fast-moving, semi-sandy, 1.7 mile trail takes between 8 and 12 minutes to complete. Along the way, riders will experience some changes in elevation and can continue on to either the Great Pyramid Trail or the more difficult, Big Chief Trail.
Big Chief Trail – This easy to moderate level, 3.6 mile trail takes between 32 and 38 minutes to complete and has plenty of slick rock and elevation changes that more advanced riders will enjoy. At its northernmost point, the trail culminates at the "Big Chief Overlook," a perfect place to enjoy incredible, panoramic views of the surrounding canyons and La Sal Mountains.
Crossroads Trail – This 1.7 mile, easy to moderate level trail takes between 11 and 15 minutes to complete. As the name suggests, Crossroads connects with Big Chief and Raven Roll in the east and with Whiptail and Prickly Pair in the west. Filled with a series of short dips and rollers, this is a fun and fast paced trail that any biker will love. However, all riders are required to dismount from their bikes as they cross the park entrance road.
Whiptail – This 2.6 mile, moderate level trail takes between 22 and 26 minutes to complete. Riders along this smooth, fast paced trail will explore the park's western most boundary, with drops in elevation as you move from north to south. Bikers will also love the views from the fantastic, 1000 foot overlook, into Shafer Canyon, along the way.
Twisted Tree – This 1.5 mile, moderate to difficult level, slick rock trail takes between 15 and 18 minutes to complete. It's a fun, scenic ride that follows along the rim of Shafer Canyon.
Prickly Pair – This trail includes the 2.2 mile Prickly Trail and the 1.8 mile Pair Trail. Each of these trails should take 24 to 26 minutes and 16 to 18 minutes to complete respectively. Of the two trails, Prickly is more difficult, with a lot of slick rock and elevation changes that riders must traverse. In contrast, Pair Trail is the more moderate of the two and passes through areas of light sand and slickrock.
Geocaching at Dead Horse Point
For visitors who love Geocaching, (a game where people use handheld GPS units to locate hidden containers), Dead Horse Point has two official geocaches that are located either along trails or in day use areas. No rock scrambling or off trail hiking should be required to find either of these locations.
The official coordinates for the geocaches in the park are N 38 28.308, W 109 44.417 (Dead Horse Point main) and N 38 29.331 W 109 45.026 (Dead Horse Point west) respectively.
PHOTOGRAPHY AT DEAD HORSE POINT
Drone Regulations at Dead Horse Point State National Park
Because this small state park experiences high rates of visitation, drones are banned, between March and October, out of respect for peoples' privacy and enjoyment.
However, between November 1st and February 28th/29th of every year, drones may be used in the park, but only with proper permits. Permits can be obtained at the visitor center (you can find them online as well), where they must then be approved by park staff.
The use of drones at the main viewpoint of Dead Horse Point is always prohibited.
Dead Horse Point Sunset Photography
The best time to photograph Dead Horse Point is at sunset when the landscape gets that red glow.
We have found it best to find a spot along the trail below and to the right of the platform to capture the Dead Horse Point sunset.
There may be quite a few people there to watch the sunset, but there is plenty of room along the canyon rim for everyone to have a great view!
PHOTO TIP: Be open to other Dead Horse Point photo opportunities like the red glow on the rocks, the people watching on the rocks, or using elements in the landscape to highlight the scene.
Night Sky at Dead Horse Point State Park
With the advent of electricity and it's subsequent introduction into the modern world, the quiet, dark, and peaceful beauty of the night sky has all but disappeared from our lives.
To address this issue, Dead Horse Point State Park became an International Dark Sky Park in 2016 and a refuge for dark skies, filled with stars. As a result, Dead Horse Point State Park is now one of the best areas to go stargazing in all of Moab, especially since the park's high plateau location and distant mountain ranges help shield the area from any urban sources of ambient light.
To facilitate the stargazing experience, park staff routinely lead programs that include everything from celebrating the night sky to walks under the full moon to gazing through telescopes at objects millions of light years away.
Moab maps and travel guides
Moab Utah Tours and Resources
Moab, Utah Vacation Guide
Things To Do in Moab
Moab Hiking Trails
Best Time to Visit Moab
Moab TOURS
Post Tags: #dead horse point#Dead Horse Point biking#Dead Horse Point camping#Dead Horse Point hiking#Dead Horse Point photography#Dead Horse Point State Park#dead horse point state park utah
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Mary Krist says:
We went there three years ago. Beautiful scenary. One of the locals we met at a rest area told us about it. Well worth the visit.
I'm glad a local told you to visit – it really is spectacular!
Steve Parkhurst says:
Truly enjoyed your pics and insight! I went there back in the 70's so I can understand the beautiful vistas there ( most of my pics are on slides).
Thank you Steve. I bet when you visited in the 70's it wasn't very crowded compared to today!
We are Dave and Jamie, a husband wife team based out of Salt Lake City, Utah. For us travel and photography go hand-in-hand. We created this site to encourage you to Photograph Your Adventures! You CAN take WOW photos with any camera. So get out there and explore – take pictures & relive memories!


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Ricky Swallow @ NGV
I liked Ricky Swallow's art from the first exhibition that I saw. It was one of Ricky Swallow's first solo exhibitions: "The Lighter Side of the Darkside" at Grey Area Art Space in 1998 the year after he graduated from the VCA. The exhibition was very funny. It combined record players, themes of space exploration and evolution with plasticine models the put a Darth Vader helmet on a Planet of the Apes face. I was not surprised that he went on to have a stellar career.
I was even more impressed when I saw his actual sized carving of whole table with a still life with seafood: Killing Time (2003-4). This work refers to history of still life painting and the common theme of death that Swallow frequently uses. The art history references along with the beauty of the carved wood make Killing Time a masterpiece.
So I was looking forward to Ricky Swallow's exhibition "The Bricoleur" at the NGV Fed Square but when I saw it I was under-whelmed. There was so little on exhibition that I felt as if I'd missed something. Two sparsely hung galleries with mostly recent work; there was none of his older works that used record players. The two series of his watercolour paintings in the faux naïve style did nothing for me. They appeared to be a cruder version of Elizabeth Peyton's paintings of British celebrities applied to Californian rock icons.
There are beautiful and fun works in the exhibition. The "bricoleur: is a tinkerer, a bodger, a modifier of found objects and this is a good description of Swallow's diverse approaches to finding subjects and making art. The carvings of ephemeral objects like crumpled paper in hardwood, Fig 1 (2008). The combination of barnacles on balloons echoed in casts of archery targets, the arrow holes look like barnacles. It is playful and fun, even when dealing with the theme of death.
Swallow's art has courted the attention of two both sub-cultures: goth (with all the skeletons and other references to death) and hippy. I think that the hippy side has dominated. The influence of California was evident in the movie themes that Swallow used at the start but after he moved there it is much stronger. This is not just in the paintings of Californian rock icons, but the increasing play superficial aesthetics like kitsch, corny or sentimentalism.
Much of Swallow's work questions the status of woodcarving as fine art. If kitsch is the inappropriate translation of a work of art to another media, like a Mona Lisa beach-towel, a Clement Greenberg argues in his seminal essay on kitsch. The question that Swallow's work raises is woodcarving an appropriate media and what is an appropriate subject to carve? Woodcarving is often a kitsch or corny art technique with its folk craft traditions. And carving the Woodstock logo of a bird perched on a guitar neck, as Swallow has done, is definitely corny if not kitsch.
See also Artkitiques blog entry On Ricky Swallow.
Leave a comment | tags: Melbourne CBD, National Gallery of Victoria, Ricky Swallow, sculpture, woodcarving | posted in Art Galleries & Exhibitions


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Die Liste der Biografien führt alle Personen auf, die in der deutschsprachigen Wikipedia einen Artikel haben. Dieses ist eine Teilliste mit 4 Einträgen von Personen, deren Namen mit den Buchstaben "Frez" beginnt.

Frez

Frezz
 Frezza, Alberto (* 1989), italienischer Schauspieler
 Frezza, Andrea (1937–2012), italienischer Dokumentarfilmer und Filmregisseur
 Frezza, Fortunato (* 1942), italienischer Geistlicher und Theologe
 Frezzolini, Erminia (1818–1884), italienische Opernsängerin (Sopran)

redpajama_set_name: RedPajamaWikipedia


I am in Superior, Wisconsin today for work. A group of artists and business people are interested in creating an art district in downtown Superior.
This morning, I will be having coffee at the Red Mug Coffeehouse - one of Superior's most interesting venues for art, music, and baked goods.
Artist Carla Stetson installed Wrapped at Red Mug Coffeehouse in 2006. You know I love a wrapped tree.
Vivian Springford (1914-2003) Martinique Series (VS5), 1974, acrylic on canvas, 89 x 88 in.
My perfect birthday started with breakfast at Echo Lake Cafe with my sister, Kari and my husband, Mike. An anonymous caller phoned in a carrot cake muffin and an order of birthday huevos rancheros, "on the house."
We spent the day in Glacier National Park, making our first stop at Lake McDonald.
We continued with a four mile walk along Avalanche Gorge. In the summer months, the three of us would turn up our noses at this tourist path in favor of something more challenging. Something longer and higher. But in the peace and quiet of spring, Glacier's Avalanche trail is a great way to see the snow melt rushing down into the river.
The water has smoothed the rocks into gentle canyons over hundreds of years.
We hung out and enjoyed Avalanche Lake.
Everyone was outside enjoying the warm sunshine. There were birds.
Thank you so much for all of the lovely messages on email, Facebook, and Twitter! It made my day to hear from so many good friends!
Refnaes, originally uploaded by unionpearl.
Ancestors are often remembered for some small incident. My grandma used to tell me how her mother, my great-grandma, could knit and walk at the same time. She would knit a mitten as she covered the miles to her sister's farm. On the way home, she'd knit the thumbs.
Tanneries, originally uploaded by oliverlaumann.
Men working in Morocco's tanneries go feet first into centuries-old vats of dye.
Love is over, originally uploaded by absentbabinski.
Everything I learned about "love" in elementary school was informed by our monthly outings to the roller rink in Pontiac, Michigan. I watched the sixth graders carefully to gather information.
This early fieldwork led me to the conclusion that, someday - once I was finally old enough to wear that stretchy gold belt with the lion head buckle- a boy would give me a Speidel Ident bracelet engraved with my name.
Maybe even the one that had a secret compartment to hold a picture of the two of us, "couples skating" to eternity.
The Speidel Ident never happened for me. Did it happen for you?
It's amazing how many performers have recorded this song with Kermit. Each artist creates their own impression of this beautiful piece. Tony Bennett's beautiful duet with Kermit makes me sad. Ray Charles with full muppet backup. This version, with Lena Horne, isn't as sad, and Kermit is totally emotional with her.
But nothing really compares to how Big Bird did it in St. John of the Divine, for Jim Henson's funeral.
The Inari shrine in Kyoto, Japan. For Shinto Buddhists, fox is a messenger between good and evil.
Sluts and Studs (detail), originally uploaded by Nava Atlas.
I love artist books - its more difficult than you might think to create one. I've never managed to achieve that incredible combination of playful structure, engaging text, and divine visual. It takes planning, anyway.
See more of Nava Atlas' artist books and "readable objects" on her website.
Sharon Montrose sells prints of her animal portraints on Etsy. Click on the image to get the full effect. I love the arch and stretch of the macaw's wings in this photo. The color of his feathers against the studio white is amazing. And I love that he has his back turned. But I think the goat stole my soul.
1947. After a decade of short skirts and rationed fabric, Dior made a skirt that came to define the silhouette known as the "New Look." A full skirt with an impossibly narrow wasp-like waist.
Yards upon yards of fabric was sewn into knife pleats over a heavily padded underskirt. This dress, "Cherise", used THIRTEEN YARDS of silk. Some "New Look" skirts used nearly twenty yards of fabric.
Imagine the weight. And the time. Can you see all those tiny hand stitches at the waist? Knife pleats like feathers.
Ryan Hyde came up with the idea for the book after two men helped put out a fire in her car's engine block. In shock,she just sat in the vehicle, watching the smoke pour in from under the dashboard, scared to get out of the car in the middle of the night in LA's Echo Park neighborhood.
Ryan Hyde recounted how she saw the men approach her vehicle, one carrying a blanket. She had every expectation that she would be hurt by these two strangers. What unfolded would change the direction of her entire life. The men used the blanket to put out the fire, and had already called the fire department. They helped. In the resulting confusion, of fire trucks, tow trucks, and police reports, the two men left without giving Hyde a chance to thank them for saving her life.
The need for closure eventually led to the idea for the Pay It Forward campaign - instead of "repaying" a good turn, you can pay it forward to someone who needs your help. Ryan says that when you have received something - whether it is a great or small effort on the part of the giver - it will then be much easier for you to give something to someone else.
In the lecture, the audience also talked about how the principle works in the negative. The media often recounts how a child raised by an abuser will grow up to abuse others. For me, this example (though I know it can be true) is extreme. What troubles me more is the role modeling that happens in the "middle" space. The everyday acts of emotional violence that people act out on one another that, by society's standards, are just a "normal" part of life.
Things children are supposed to learn to cope with - emotional blackmail, teasing at home or at school, parents who withdraw their "love" if you don't do the right thing or parents who cling to their children so they don't have to be alone. Parents who project their addictions or disappointments onto their kids, teachers and caregivers who look the other way. Adults who feel compelled to point out their friends' weak spots in front of everyone, who can't seem to forget things that are better left in the past. Even those who mean well get easily overwhelmed by the need in the world and put up the blinders to the needs of others.
By coincidence, I have been reading a very good book by Harville Hendrix called Keeping the Love You Find. It's a very thoughtful book about how the love you experienced in childhood influences the way you give and receive love as an adult.
You see, one of the things I had been noticing about myself - it will probably seem funny to you - is that whenever I do yard work, I become extremely anxious. For the first three years of country life, I wouldn't work outside at all. Finally, I decided to help out but only because I "needed the exercise", but I still second guess my decisions about where to put the leaf piles or whether or not I should really pick up the dead sticks myself or wait for Mike.
I enjoy the work if I am with Mike but if I'm alone, there is this whole worried conversation going on in my head about whether or not I'm raking "properly." I realized one day that I am WAITING FOR MY FATHER TO COME OUT AND YELL AT ME as he often did when I was a kid. Obviously, this was not the "normal" yelling of a "normal" parent.
Maybe yard work seems small, but Hendrix argues that certain consistent behaviors at certain times in a child's life can dramatically alter kids' perceptions about their self-worth. Inconsistency can disturb a child's emotional development event more. Catherine Ryan Hyde said something like this in her talk. The way we perceive ourselves and the power we have in the world is "talked into us, yelled into us, you learn quickly what not to say." And it informs the rest of your life.
Thought for today: How we treat each other matters. How we treat each other in front of kids matters. How we treat kids matters the most.


Prior to Big East play, St. John's posted a whopping 1.21 points per possession (PPP) in the second half, a full 0.12 PPP more than it had in the first 20 minutes of its games. But when comparing the non-conference to the last five games, first half PPP declined by 0.04 points while second half production declined by 0.15 points. And while it is true that the Red Storm's non-conference slate was significantly weaker than the quality of its conference foes, we would expect their first half numbers to show a similar decline. In other words, this team's offense has become decidedly average at just 1.05 PPP and it doesn't help that its defense has yet to turn a meaningful corner.
Maybe the last few games are just a blip and St. John's will return to form over the next few weeks — or maybe the early season second half results were just a statistical aberration. But if it was the latter, then the team's ascension to Top 25 status was just a case of being overrated. Regardless, the alarming truth is that St. John's simply doesn't have enough depth needed to succeed over the course of a full season. Four players are logging over 30 minutes per game and the team ranks 348th nationally in bench minutes, meaning there are only five teams in the country that play their starters more often than the Red Storm. Whether under-prepared or inexperienced, the imperative still exists: Chris Mullin needs to find ways to play his bench.
This entry was posted on Wednesday, January 30th, 2019 at 1:18 pm by Justin Kundrat	and is filed under big east, feature, microsites. Tagged: st johns, st johns bench. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


You are Here : Home >> BLOGGING >> Should Bloggers Get a Business Credit Card?
Bloggers should get a business credit card if they plan to turn the blog into a publishing business. In fact, a business credit card can assist bloggers in three ways: easy funding for their blogging expenses, track expenses for tax purposes and build a strong credit history for their business. With the speed of the Internet working wonders for passionate bloggers, anyone can start their business by applying for a business credit card in the beginning. Professional bloggers have marketing plans with the intention of expanding their networks over the next three years.
With long-term planning under your belt, a credit card is a good starting point to building a publishing empire.
See Also : 7 Crazy Ways to Promote Your Blog!
What are your plans for the blog? Bloggers must create plans if they plan to make money with online advertising. Additionally, interesting concepts of owning an online business means paying for hosting space, domains, freelance writers, web design work and graphic designs. Business credit cards are a definite chance for new bloggers to get started.
According to the Wall Street Journal (2009), there are over 20 million professional bloggers in the US and it continues to grow as Internet technologies advance. Your interest in flourishing in the photosphere means managing cash flow and taking care of startup expenses. Another way to ensure success is to apply for a cash back business credit card to keep some of their money on expenses.
Track Expenses : Why Bloggers Need a Credit Card ?
According to the IRS 2011 Schedule C Publication for small business owners, sole proprietor bloggers must submit a Schedule C and Schedule SE (self-employment tax) with their 1040 forms to include income from their blogs.
See Also : How Your Social Media Post Feeds Google Search Results ?
1. Advertising costs for online ad placements and offline marketing materials.
.2 Supplies including paper, pens, mail items and ink cartridges.
3. Travel and Entertainment, including business dinners for professional interviews with experts, travel to business conferences and training events.
4. Depreciation for computers, hard drives, and printers used to manage the business.
Small business owners with little or no interest in understanding the details of expenses should consult their tax professionals after acquiring a credit card. With the professional setup of financials ready, a new blogger can function as a full-time publishing professional and pay taxes for the money earned. You may even use your business credit cards to pay the professional fees to write off under your Schedule C the following year (Motley Fool 2011).
New businesses must build their credit histories. New bloggers interested in pursuing a career in online publishing should concentrate on using their credit card to build credit for long-term purposes. Great credit card deals include cash back business credit cards and travel credit cards to manage their business growth.
Experian, a leading credit reporting bureau, suggests taking care of business credit accounts to make sure your company flourishes (2011). Bloggers, just like any other professionals, must focus on the future and work hard on managing the financial aspects of business for success. Your company, and blog, needs stable financing so why not apply for business credit cards that suit your needs?
See Also : How To Increase Traffic ? Bloggers Guide!


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Jama (izvirno Yāma) je budistična skupina bogov, ki živi v istoimenskem tretjem nebesnem nadstropju. Živijo 2000 let, en njihov dan pa je enak 200 človeškim letom.

Viri

Glej tudi
 Deve

Budizem
Hinduizem
Japonska mitologija
Bogovi smrti
Bogovi podzemlja


French President Emmanuel Macron has vowed to rebuild the medieval cathedral of Notre-Dame after a major fire partially destroyed the Paris landmark. French President Emmanuel Macron has vowed to rebuild the medieval cathedral of Notre-Dame after a major fire partially destroyed the Paris landmark.
Firefighters managed to save the 850-year-old Gothic building's main stone structure, including its two towers, but the spire and roof collapsed. Firefighters managed to save the 850-year-old Gothic building's main stone structure, including its two towers, but the spire and roof collapsed.
The fire was declared under control almost nine hours after it started. The fire was declared under control almost nine hours after it started.
The cause is not yet clear but officials say it could be linked to extensive renovation works under way. The cause is not yet clear but officials say it could be linked to extensive renovation works under way.
Paris prosecutor's office said it was currently being investigated as an accident. A firefighter was seriously injured while tackling the blaze. Paris prosecutor's office said it was currently being investigated as an accident. A firefighter was seriously injured while tackling the blaze.
Visiting the site on Monday night, Mr Macron said the "worst had been avoided" with the preservation of the cathedral's main structure as he pledged to launch an international fundraising scheme for the reconstruction. Visiting the site on Monday night, Mr Macron said the "worst had been avoided" with the preservation of the cathedral's main structure as he pledged to launch an international fundraising scheme for the reconstruction.
"We'll rebuild this cathedral all together and it's undoubtedly part of the French destiny and the project we'll have for the coming years," said Mr Macron. "We'll rebuild this cathedral all together and it's undoubtedly part of the French destiny and the project we'll have for the coming years," said Mr Macron.
"That's what the French expect [and] because it's what our history deserves," he added, visibly emotional, calling it a "terrible tragedy". "That's what the French expect [and] because it's what our history deserves," he added, visibly emotional, calling it a "terrible tragedy".
Billionaire François-Henri Pinault, chairman and CEO of the Kering group that owns the Gucci and Yves Saint Laurent fashion brands, has already pledged €100m (£86m; $113m) towards rebuilding Notre-Dame, a Unesco World Heritage site. Billionaire François-Henri Pinault, chairman and CEO of the Kering group that owns the Gucci and Yves Saint Laurent fashion brands, has already pledged €100m (£86m; $113m) towards rebuilding Notre-Dame, AFP news agency reports.
The French charity Fondation du Patrimoine is launching an international appeal for funds. The French charity Fondation du Patrimoine is launching an international appeal for funds for the cathedral, a Unesco World Heritage site.
The fire started at around 18:30 (16:30 GMT) on Monday and quickly reached the roof of the cathedral, destroying its stained-glass windows and the wooden interior before toppling the spire. The fire started at around 18:30 (16:30 GMT) on Monday and quickly reached the roof of the cathedral, destroying its stained-glass windows and the wooden interior before toppling the spire.
Sections of the building were under scaffolding as part of the renovations and 16 copper statues had been removed last week. Work began after cracks appeared in the stone, sparking fears the structure could become unstable. Sections of the building were under scaffolding as part of the renovations and 16 copper statues had been removed last week. Work began after cracks appeared in the stone, sparking fears the structure could become unstable.
Mr Macron said the iconic cathedral was "for all French people", including those who had never been there, and praised the "extreme courage" of the 500 firefighters involved in the operation. Mr Macron said the cathedral was "for all French people", including those who had never been there, and praised the "extreme courage" of the 500 firefighters involved in the operation.
Emergency teams managed to rescue valuable artwork and religious items, including what is said to be the crown of thorns worn by Jesus before his crucifixion, which were stored inside the cathedral, built in the 12th and 13th centuries. Emergency teams managed to rescue valuable artwork and religious items, including what is said to be the crown of thorns worn by Jesus before his crucifixion, which were stored inside the cathedral built in the 12th and 13th centuries.
"We had a chain of solidarity, especially in saving the works of art... [They] were able to be saved and put in a safe place," said Paris Mayor Anne Hidalgo. "This is a tragedy for the whole world... Notre-Dame is the entire history of Paris." "We had a chain of solidarity, especially in saving the works of art... [They] were able to be saved and put in a safe place," said Paris Mayor Anne Hidalgo. "This is a tragedy for the whole world... Notre-Dame is the entire history of Paris."
Historian Camille Pascal told French broadcaster BFMTV that "invaluable heritage" had been destroyed. "Happy and unfortunate events for centuries have been marked by the bells of Notre-Dame. We can be only horrified by what we see". Historian Camille Pascal told French broadcaster BFMTV that "invaluable heritage" had been destroyed. "Happy and unfortunate events for centuries have been marked by the bells of Notre-Dame. We can be only horrified by what we see."
It has given its name to one of the country's literary masterpieces. Victor Hugo's The Hunchback of Notre-Dame is known to the French simply as Notre-Dame de Paris. It has given its name to one of the country's literary masterpieces. Victor Hugo's The Hunchback of Notre-Dame is known to the French simply as Notre-Dame de Paris.
Notre-Dame receives almost 13 million visitors each year, more than the Eiffel Tower.
Thousands of people gathered in the streets around the cathedral, observing the flames in silence. Some could be seen openly weeping, while others sang hymns or said prayers. Thousands of people gathered in the streets around the cathedral, observing the flames in silence. Some could be seen openly weeping, while others sang hymns or said prayers.
Several churches around Paris rang their bells in response to the blaze, which happened as Catholics celebrate Holy Week. Several churches around Paris rang their bells in response to the blaze, which happened as Catholics celebrate Holy Week.
"Notre-Dame is burning, France is crying and the whole world, too. It is extremely emotional," Archbishop of Paris Michel Aupetit said. "Notre-Dame is burning, France is crying and the whole world, too. It is extremely emotional," Archbishop of Paris Michel Aupetit said.
The Vatican expressed "shock and sadness" while UK Prime Minister Theresa May described the fire as "terrible". The Vatican expressed "shock and sadness" while UK Prime Minister Theresa May described the fire as "terrible".
Unesco said it stood "at France's side to save and restore this priceless heritage." Unesco said it stood "at France's side to save and restore this priceless heritage" visited by almost 13 million visitors each year, more than the Eiffel Tower.
Germany's Chancellor Angela Merkel called the Notre-Dame a "symbol of French and European culture". Germany's Chancellor Angela Merkel called the Notre-Dame a "symbol of French and European culture".
US President Donald Trump said it was "horrible to watch" the fire and suggested that "flying water tankers" could be used to extinguish the blaze. US President Donald Trump said it was "horrible to watch" the fire and suggested that "flying water tankers" could be used to extinguish the blaze.
In an apparent response, the French Civil Security service said that was not an option as it might result in the collapse of the entire building. In an apparent response, the French Civil Security service said that was not an option as it might result in the collapse of the entire building.
Because of the fire, Mr Macron cancelled a speech on TV in which he was due to address the street protests that have rocked France for months. Because of the fire, Mr Macron cancelled a speech on TV in which he was due to address the street protests that have rocked France for months.


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Exciting things are happening at UC Santa Cruz! In the past few years, the community of scholars engaged in archaeological research at UC Santa Cruz has grown dramatically, not just in anthropology, the traditional home of archaeology programs in many North American institutions, but across all five academic divisions. Departments in Social Sciences, Humanities, Arts, Physical and Biological Sciences, and Engineering are now home to scholars who use a wide range of theoretical and methodological approaches to generate new perspectives on the human past.
Because of this recent surge of interest in archaeological approaches to the past at UCSC, we established the Archaeological Research Center to formalize established relationships across campus, and encourage new ones. It is our greatest hope that this new institutional context will foster a new generation of creative archaeological inquiry on campus and beyond. Please join us in this exciting new venture, and I look forward to seeing you at our upcoming events.


I will be publishing 3 poems today in honor of Valentine's Day. They have been previously published in literary journals, and I'm thrilled to share them with all of you, as I have yet to share my poetry with subscribers and followers as of yet. I hope you are having a day filled with joy and love, and maybe even some chocolate and flowers too, as life's little traditions are also what we come to know as blessings.
"It's a good thing," you said, "to be apart a while,"