Childhood and early career.

Heade was born (in 1819) and raised in Lumberville, Pennsylvania, a small hamlet along the Delaware River in Bucks County, Pennsylvania. Until the mid-1850s, his family ran what is now called the Lumberville Store and Post Office, the village's sole general store. The family spelling of the name was Heed.  Heade received his first art training from the folk artist Edward Hicks, who lived in nearby Newton, and possibly also from Edward's cousin, Thomas Hicks. Heade was painting by 1839; his earliest known work is a portrait from that year. He traveled abroad and lived in Rome for two years. He first exhibited his work in 1841, at the Pennsylvania Academy of the Fine Arts in Philadelphia, and again in 1843 at the National Academy of Design in New York. Heade began exhibiting regularly in 1848, after another trip to Europe, and became an itinerant artist until he settled in New York in 1859.

Transition to landscape painting.

Around 1857 Heade became interested in landscape painting, partly by meeting the established artists John Frederick Kensett and Benjamin Champney in the White Mountains of New Hampshire. Heade moved to New York City and took a studio in the Tenth Street Studio Building, which housed many of the famous Hudson River School artists of the time, such as Albert Bierstadt, Sanford Gifford, and Frederic Edwin Church. He became socially and professionally acquainted with them, and struck up a particularly close friendship with Church. Landscapes would ultimately form a third of Heade's total oeuvre.

Tropical subjects.

Heade's interest in the tropics was piqued at least partly by the impact of Church's monumental painting "Heart of the Andes" (1859), now in the collection of the Metropolitan Museum of Art. Heade travelled in Brazil from 1863 to 1864, where he painted an extensive series of small works, eventually numbering over forty, depicting hummingbirds. He intended the series for a planned book titled "The Gems of Brazil", but the book was never published due to financial difficulty and Heade's concerns about the quality of the reproductions. Heade nevertheless returned to the tropics twice, in 1866 journeying to Nicaragua, and in 1870 to Colombia, Panama, and Jamaica. He continued to paint romantic works of tropical birds and lush foliage into his late career.

Salt marsh scenes.

Heade's primary interest in landscape, and the works for which he is perhaps best known today, was the New England coastal salt marsh. Contrary to typical Hudson River School displays of scenic mountains, valleys, and waterfalls, Heade's marsh landscapes avoided depictions of grandeur. They focused instead on the horizontal expanse of subdued scenery, and employed repeating motifs that included small haystacks and diminutive figures. Heade also concentrated on the depiction of light and atmosphere in his marsh scenes. These and similar works have led some historians to characterize Heade as a Luminist painter. In 1883 Heade moved to Saint Augustine, Florida and took as his primary landscape subject the surrounding subtropical marshland.

Later life and still lifes.

Heade married and moved to St. Augustine, Florida in 1883. He remained there and continued to paint until his death in 1904. During his later years in St. Augustine, Heade painted numerous still lifes of southern flowers, especially magnolia blossoms laid on velvet. This was a continuation of an interest in still life that Heade had developed since the 1860s. His earlier works in this genre typically depict a display of flowers arranged in an ornate vase of small or medium size on a cloth-covered table. Heade was the only 19th-century American artist to create such an extensive body of work in both still life and landscape. Heade died in St. Augustine in 1904.

Heade and the Hudson River School.

Art historians have come to disagree with the common view that Heade is a Hudson River School painter, a view given wide currency by Heade's inclusion in a landmark exhibition of Hudson River School landscapes at the Metropolitan Museum of Art in 1987.  The leading Heade scholar and author of Heade's catalogue raisonné, Theodore E. Stebbins, Jr., wrote some years after the 1987 exhibition, "Other scholars—myself included—have increasingly come to doubt that Heade is most usefully seen as standing within that school."  According to the Heade catalogue raisonné, only around 40 percent of his paintings were landscapes. The remaining majority were still lifes, paintings of birds, and portraits, subjects unrelated to the Hudson River School. Of Heade's landscapes, perhaps only 25 percent treated traditional Hudson River School subject matter.  Heade had less interest in topographically accurate views than the Hudson River painters, and instead focused on mood and the effects of light. Stebbins wrote, "If the paintings of the shore as well as the more conventional compositions...might lead one to think of Heade as a Hudson River School painter, the [marsh scenes] make it clear that he was not."

Legacy and collections.

Heade was not a famous artist during his time, and for much of the first part of the 20th century was nearly forgotten. A re-awakening of interest in 19th-century American art around World War II sparked new appreciation of his work. Heade's work in particular received critical attention with the exhibition in 1943 of his painting "Thunderstorm Over Narragansett Bay" (1868), as part of the show "Romantic Painting in America" at the Museum of Modern Art. Art historians have come to consider him as one of the most important American artists of his generation. His work has inspired contemporary artists such as David Bierk and Ian Hornak.  His works are in most major American museums, including the Museum of Fine Arts in Boston, Massachusetts, which owns the nation's most outstanding collection of his works, including about 30 paintings as well as numerous drawings and sketchbooks; the Metropolitan Museum of Art in New York City; and the National Gallery of Art in Washington, D.C.  In 1955, Robert McIntyre, art historian and director of the Macbeth Gallery, donated a cache of Heade's personal papers to the Archives of American Art, part of the Smithsonian Institution. These papers included, among other things, Heade's sketchbook, notes, and letters from his friend and fellow artist Frederic Edwin Church. In 2007, these papers were digitized and made accessible on the Web as the Martin Johnson Heade Papers Online.  In 1999 and 2000, Heade was the subject of a major exhibition organized by Theodore E. Stebbins, Jr. It traveled from the Museum of Fine Arts in Boston to the National Gallery of Art in Washington, ending at the Los Angeles County Museum of Art.  In 2004, Heade was honored with a stamp from the U.S. Postal Service featuring his 1890 oil-on-canvas painting, "Giant Magnolias on a Blue Velvet Cloth." As Stebbins notes in his writings, Heade's work has also been copied and forged extensively. Since Heade was not popular during his lifetime, there were few contemporaries who emulated his work. 20th century copies are therefore readily apparent as fakes, since it takes oil paint decades to dry out and harden.

Discoveries of works by Heade.

Theodore Stebbins, Jr., now curator of American art at the Harvard University Art Museums, writes, "...one of the things that has always made the study of Heade's work exciting is the way his paintings continue to turn up in garage sales and other unlikely places all over the country, in a manner that the paintings of Frederic E. Church and John F. Kensett do not." Stebbins speculates the reason for this was Heade's popularity with middle-class buyers, and his willingness to distribute his works widely across the country. Among the more spectactular Heade discoveries are:

Martin Johnson Heade (August 11, 1819 – September 4, 1904) was an American painter known for his salt marsh landscapes, seascapes, and depictions of tropical birds (such as hummingbirds), as well as lotus blossoms and other still lifes. His painting style and subject matter, while derived from the romanticism of the time, are regarded by art historians as a significant departure from those of his peers.

Martin Johnson Heade, né le à, Pennsylvanie, et mort le à Saint Augustine, Floride, est un peintre américain célèbre pour ses paysages, ses oiseaux tropicaux et ses natures mortes.


History.

When the Spanish occupied Jamaica, Montego Bay was an export point for lard, which was obtained from wild hogs in the forests. In many of the early maps of Jamaica, Montego Bay was listed as "Bahia de Manteca" (Lard Bay). The parish was given the name "St. James" in honour of King James II by Sir Thomas Modyford, the island's first English Governor. At the beginning of the English rule, the parish was one of the poorest; it had no towns, few inhabitants and little commerce, except for the exported lard. However, after the treaty with the Maroons in 1739, St. James became one of the most important sugar-producing parishes. Annually, more than 150 ships arrived in Montego Bay bringing slaves and supplies, and taking sugar. Commerce developed as wealthy merchants and planters erected many elaborate town houses. In 1773, Montego Bay had the only newspaper outside of Kingston - "The Cornwall Chronicle".  Fire, in 1795 and again in 1811, destroyed much of Montego Bay. After being rebuilt, it was again destroyed in 1831 by a rebellion led by Sam Sharpe. This rebellion was as a result of slave owners' reluctance to free the slaves, even after England proposed an end to slavery. Sam Sharpe had advocated passive resistance but this was met by violence. As a result, a group of slaves responded in turn with and began setting fire to buildings and the surrounding plantations and cane fields. As a result of being the main planner of the rebellion, Sam Sharpe was hanged in the Montego Bay market place, which is today known as Sam Sharpe Square.  After emancipation in 1834, the fortunes of the town and parish declined until the banana trade was promoted by J. E. Kerr and Co. This prompted the start of tourism in Jamaica. A Freeport was constructed in the 1960s, and later, a cruise ship terminal was opened. Montego Bay was accorded city status on 1 May 1980. The Sangster International Airport, the busiest airport in Jamaica and the Anglophone Caribbean and one of two international airports on the island, is located in Montego Bay.

Geography.

The parish is bordered by Trelawny in the east, St. Elizabeth in the south and Hanover and Westmoreland in the west. It covers an area of 594.9 km2, making it one of the smallest parishes in Jamaica. The population was 184,662 in 2012.  About two-thirds of the parish consists of limestone. The Nassau Mountains, which rise from St. Elizabeth, south of the parish, extend diagonally across St. James. The range then declines to a point just south of Montego Bay. Its highest point is approximately 1524 metres above sea level.  Great River, which serves as the boundary between St. James and its neighboring parishes Hanover and Westmoreland, and the Montego River, which rises in central St. James and flows north, then west to Montego Bay, are the two main rivers.  The city of Montego Bay may be roughly divided into two sections: the tourist area, which occupies the northern section of the bay along the shore line, and the commercial and industrial sections, which are second only to Kingston in size and volume of trade.

Commerce.

Today, Saint James is one of the fastest growing parishes on the island with large credits going to Montego Bay, because it is seen as an alternative to the overpopulated Kingston and Saint Andrew Corporate Area.  Agricultural activities include forestry, and the production of sugar cane and other domestic crops. There are approximately 60 manufacturing establishments in the south of the parish, mainly for garment, woodwork, and food processing. There are also many industrial zones, including The Montego Free Zone, Bogue Industrial Estate and Ironshore.  Tourism is the main source of employment in the parish; one in four persons are employed in tourism. The major forms of employment in tourism are:

Hotels.

There are many famous hotels located in the parish of St. James, most of them in the Rose Hall area, including Doctors Cave Beach Hotel,Riu Hotels, Wyndham Rose Hall, Sandals and Beaches Resorts, the Ritz Carlton Hotel, Hyatt Ziva, Riu, Holiday Inn, Half Moon Hotel and the Iberostar Hotel located in Lilliput.

St. James is a suburban parish, located on the north-west end of the island of Jamaica in the county of Cornwall. Its capital is Montego Bay (derived from the Spanish word "manteca" (lard) because many wild hogs were found there, from which lard was made). Montego Bay was officially named the second city of Jamaica, behind Kingston, in 1981, although Montego Bay became a city in 1980 through an act of the Jamaican Parliament. The parish is the birthplace of the Right Excellent Samuel Sharpe (died 1833), one of Jamaica's seven National Heroes.

Saint James est une des 14 paroisses de la Jamaïque. Elle est située au nord-ouest de la Jamaïque, dans le comté de Cornwall. Son chef-lieu est Montego Bay.


Biography.

Fitz Henry Lane was born on December 19, 1804, in Gloucester, Massachusetts. Lane was christened Nathaniel Rogers Lane on March 17, 1805, and would remain known as such until he was 27. It was not until March 13, 1832, that the state of Massachusetts would officially grant Lane's own formal request (made in a letter dated December 26, 1831) to change his name from Nathaniel Rogers to Fitz Henry Lane.  As with practically all aspects of Lane's life, the subject of his name is one surrounded by much confusion—it was not until 2005 that historians discovered that they had been wrongly referring to the artist as Fitz Hugh, as opposed to his chosen Fitz Henry. The reasons behind Lane's decision to change his name, and for choosing the name he did, are still very unclear; although, one suggestion is that he did it "to differentiate himself from the well-known miniature painter Nathaniel Rodgers".  From the time of his birth, Lane would be exposed to the sea and maritime life—a factor that obviously had a great impact on his later choice of subject matter. Many circumstances of his young life ensured Lane's constant interaction with various aspects of this maritime life, including the fact that Lane's family lived "upon the periphery of Gloucester Harbor's working waterfront," and that his father, Jonathan Dennison Lane, was a sailmaker, and quite possibly owned and ran a sail loft. It is often speculated that Lane would most likely have pursued some seafaring career, or become a sail-maker like his father, instead of an artist, had it not been for a lifelong handicap Lane developed as a child. Although the cause cannot be known with certainty, it is thought that the ingestion of some part of the Peru-Apple—a poisonous weed also known as jimsonweed—by Lane at the age of eighteen months caused the paralysis of the legs from which Lane would never recover. Furthermore, it has been suggested by art historian James A. Craig that because he could not play games as the other children did, he was forced to find some other means of amusement, and that in such a pursuit he discovered and was able to develop his talent for drawing. To go a step further, as a result of his having a busy seaport as immediate surroundings, he was able to develop a special skill in depicting the goings-on inherent in such an environment. Lane could still have become a sail-maker, as such an occupation entailed much time spent sitting and sewing, and that Lane already had some experience sewing from his short-lived apprenticeship in shoe-making. However, as evidenced in this quote from Lane's nephew Edward Lane's "Early Recollections," his interest in art held much sway in his deciding on a career: "Before he became an artist he worked for a short time making shoes, but after a while, seeing that he could draw pictures better than he could make shoes he went to Boston and took lessons in drawing and painting and became a marine artist."  Lane acquired such "lessons" by way of his employment at Pendleton's Lithography shop in Boston, which lasted from 1832 to 1847. With the refinement and development of his artistic skills acquired during his years working as a lithographer, Lane was able to successfully produce marine paintings of high quality, as evidenced in his being listed, officially, as a "marine painter" in the Boston Almanac of 1840. Lane continued to refine his painting style, and consequently, the demand for his marine paintings increased as well.  Lane had visited Gloucester often while living in Boston, and in 1848, he returned permanently. In 1849, Lane began overseeing construction of a house/studio of his own design on Duncan's Point—this house would remain his primary residence to the end of his life. Fitz Henry Lane continued to produce beautiful marine paintings and seascapes into his later years. He died in his home on Duncan's Point on August 14, 1865, and is buried in Oak Grove Cemetery.

Training and influences.

However ambiguous many aspects of Lane's life and career may remain, a few things are certain. First, Lane was, even in childhood, clearly gifted in the field of art. As was noted by J. Babson, a local Gloucester historian and contemporary in Lane's time, Lane "showed in boyhood a talent for drawing and painting; but received no instruction in the rules till he went to Boston." In addition to confirming Lane's early talent, this observation also indicates that Lane was largely self-taught in the field of art—more specifically drawing and paintings—previous to beginning his employment at Pendleton's lithography firm at the age of 28. Lane's first-known and recorded work, a watercolor titled "The Burning of the Packet Ship "Boston,"" executed by Lane in 1830, is regarded by many art historians as evidence of Lane's primitive grasp of the finer points of artistic composition previous to his employment at Pendleton's.  Lane may have supplemented his primary, purely experimental practices in drawing and painting with the study of instructional books on drawing, or more likely, by the study of books on the subject of ship design. Some study of the literature on the subject of ship design seems highly plausible, given that Lane would have had easy access to many such texts, and, more importantly, the most certain necessity of such a study in order for Lane to be able to produce works of such accurate detail in realistically depicting a ship as it actually appeared in one of any given number of possible circumstances it faced in traversing the sea.  At the time when Lane began his employment at Pendleton's, it was common practice for aspiring American artists—especially those who, like Lane, could not afford a more formal education in the arts by traveling to Europe or by attending one of the prestigious American art academies, such as New York's National Academy of Design or Philadelphia's Pennsylvania Academy of Fine Arts—to seek work as a lithographer, this being the next logical step in their pursuit of a career in the arts. As for why such employment was beneficial to the budding artist, art historian James A. Craig, in his book "Fitz H. Lane: An Artist's Voyage through Nineteenth-Century America", the most comprehensive account of Lane's life and career, offers this illuminating description of the career evolution of the typical lithographer: "... an apprentice's schooling presumably began with the graining of stones, the making of lithographic crayons, and the copying of the designs and pictures of others onto limestone. As his talents developed, the apprentice would find himself gradually taking on more challenging tasks, from drafting and composing images (the role of the designer) to ultimately being permitted to draw his own original compositions upon limestone (that most prestigious of ranks within the litho shop, the lithographic artist). Since the compositional techniques employed in lithography differed little from those taught in European academic drawing, and the tonal work so necessary for the process to succeed was akin to that found in painting (indeed, when his studio began in 1825 John Pendleton specifically sought out painters for employment in his establishment due to their habits of thinking in tonal terms), an apprenticeship within a lithographic workshop like Pendleton's in Boston was roughly equivalent to that offered by fine art academies for beginning students."  Working in the lithography shop, Lane would have been taught the stylistic techniques for producing artistic compositions from the practiced seniors among his fellow employees. As noted above, because Pendleton specifically sought painters to work in his shop, Lane would most likely have received the benefit of working under and with some of the most skilled aspiring and established marine and landscape painters of his day. The English maritime painter Robert Salmon, who, historians have discovered, came to work at Pendleton's at a period coinciding with Lane's employment therein, is regarded as having had a large impact, stylistically, on Lane's early works.  Beginning in the early 1840s Lane would declare himself publicly to be a marine painter while simultaneously continuing his career as a lithographer. He quickly attained an eager and enthusiastic patronage from several of the leading merchants and mariners in Boston, New York, and his native Gloucester. Lane's career would ultimately find him painting harbor and ship portraits, along with the occasional purely pastoral scene, up and down the eastern seaboard of the United States, from as far north as the Penobscot Bay/Mount Desert Island region of Maine, to as far south as San Juan, Puerto Rico.

Style.

From one of his first copied lithographs, "View of the Town of Gloucester, Mass" (1836), to his very last works, Lane would incorporate many of the following arrangements and techniques consistently in the composition of his art works, both his lithographs and paintings:  Perhaps most characteristic element of Lane's paintings is the incredible amount of attention paid to detail—probably due in part to his lithographic training, as the specific style of lithography that was popular at the time of his training was characterized by the goal of verisimilitude. In terms of Lane's influences and relations to the artistic tradition of Luminism, Barbara Novak, in her book "American Painting in the Nineteenth Century", relates Lane's later works to Ralph Waldo Emerson's Transcendentalism (which she relates directly to the emergence of Luminism), claiming that "[Lane] was the most 'transparent eyeball", and that this was evidenced by Lane's balancing of what Novak describes as the "contributions of the primitive and the graphic traditions to his art", the primitive being what he learned on his own by first observing and interacting with the surrounding environment he sought to depict, and the graphic being those skills Lane acquired through working as a lithographer. This balance does indeed seem to support the connection of Lane's works with Luminism, as one definition of luminist art is that "characterized by a heightened perception of reality carefully organized and controlled by principles of design. As one of the styles of landscape painting to emerge in the nineteenth century, luminism embraced the contemporary preoccupation with nature as a manifestation of God's grand plan. It was luminism more than any other of the schools that succeeded in imbuing an objective study of nature with a depth of feeling. This was accomplished through a genuine love and understanding of the elements of nature—discernible in the intimate arrangement of leaves on a bough—and their arrangement to reveal the poetry inherent in a given scene."

Legacy.

Other findings have shed new light onto not only Lane's artistic process but have also revealed him to have been a staunch social reformer, particularly within the American temperance movement. As well, the long-held suspicion that Lane was a transcendentalist has been confirmed, and it has been uncovered that he was also a Spiritualist. Sensational claims that Lane was "a somewhat saddened and introspective figure... often prone to moodiness with friends", and that his existence was one of "quiet loneliness", have been proven fallacious with the full quotation of the testimony of John Trask, a patron, friend, and next door neighbor of the artist, who states that Lane "was always hard at work and had no moods in his work. Always pleasant and genial with visitors. He was unmarried having had no romance. He was always a favorite and full of fun. He liked evening parties and was fond of getting up tableaux."  Long believed to have given instruction to only one artist during his career—a local lady of limited artistic abilities named Mary Mellen—it has now been established that Lane was the instructor and mentor to several other artists, most importantly Benjamin Champney and America's other great 19th century marine painter, William Bradford.  A contemporary of the Hudson River School, he enjoyed a reputation as America's premier painter of marine subjects during his lifetime, but fell into obscurity soon after his death with the rise of French Impressionism. Lane's work would be rediscovered in the 1930s by the art collector Maxim Karolik, after which his art steadily grew in popularity among private collectors and public institutions. His work can now command at auction prices ranging as high as three to five million dollars.  The largest collection of his work is currently held by the Wallace Family of Boston, Massachusetts where his work is on display throughout their family offices, private homes, and estates.

Fitz Henry Lane (born Nathaniel Rogers Lane, also known as Fitz Hugh Lane) (December 19, 1804 – August 14, 1865) was an American painter and printmaker of a style that would later be called Luminism, for its use of pervasive light.

Fitz Henry Lane (né Nathaniel Rogers Lane, également connu sous le nom de Fitz Hugh Lane), né le à Gloucester (Massachusetts) et mort le ) à en Californie, est un peintre américain de style luministe.


Early life and education.

Bunny was the third son of Brice Frederick Bunny, a British Victorian county court judge, and his German mother, Marie Hedwig Dorothea Wulston. He was born in St Kilda, Melbourne. He had an affluent and privileged upbringing.  During his childhood, Bunny had an extended trip in Europe, which lasted two years. He returned to Australia trilingual, in English, French and German.  In early 1881, Bunny was enrolled into the University of Melbourne, intending to study civil engineering. Instead, Bunny began his artistic training in 1881 to 1883 in Melbourne at the National Gallery School of Design under O.R. Campbell and George Folingsby. He studied alongside artists such as Fred McCubbin, Aby Altson and John Longstaff. In 1884, at age 20, he moved to London to continue his artistic education. He studied under Phillip Calderon at St Johns Wood Art School for 18 months. Upon meeting the French academic history painter Jean-Paul Laurens in London, Bunny enrolled in Laurens' atelier in Paris, where he studied for 2 years until 1886. Finishing his artistic training, he studied under Pierre Paul Léon Glaize at the Académie Colarossi in 1890.  Critics give responsibility to his cosmopolitan childhood for his ability to assimilate easily into Parisian society and its artistic circles, unlike many other expatriates. He was well respected in Paris, where he remained until 1932.

Career.

Bunny had a traditional and academic education in the arts under Calderon and Laurens. Despite this, Bunny's artistic practice was heavily influenced by, and imitated, his contemporaries. Whilst he was not an avant gardist, Bunny was a modern artist. His early works, before the turn of the century, are described as 'neo-classical style touched with Pre-Raphaelitism' or as symbolist. Mythology, both Christian and classical, provided the subjects for these paintings, seen in the paintings (circa 1890) and "The Descent From the Cross" (circa 1898). The paintings showed an amalgamation of his traditional training, through the technicality, with the more experimental style of the Europeans at the time, seen in the sensibility.  Meeting his wife, Jeanne Heloise Morel, in 1895, his style shifted to a Pre-Raphaelite depiction of romantic, indolent female figures. Morel was continually depicted in these paintings, and has been referred to as Bunny's "eternal muse", such as in the works "" (1906) and "" (1902). These depictions of angelic women suggested the influence of British Pre-Raphaelites John Everett Millais and Dante Gabriel Rossetti.  In 1901 he left the Salon de la Société des Artistes Français for the Société Nationale des Beaux-Arts. This saw a change in Bunny's style. With growing critical and financial success, Bunny began exploring modernity in his works such as "" (circa 1909). The leisure and languor of the belle-epoque pervaded his paintings, which almost exclusively depicted beautiful women. Bunny married More in 1902, and, in both style and sensibility, his works became distinctively more French. Continually adjusting his oeuvre to reflect the changing styles seen in Europe, especially Paris during the early 20th century, Bunny's artistic style changed again. As art critic John McDonald stated, "He was not a painter of timeless masterpieces, but a versatile professional, ever alert to the changing currents of art fashion." Particularly influenced by Matisse and Sergei Diaghilev's Ballet Russes", "Bunny's works developed into compositions with "heightened colour and abstracted, rhythmical forms". This is seen in many works including "Salomé" (circa 1919)", " (circa 1920) and" " (circa 1921)"." His painting " ("circa 1913) was described by artist and critic George Bell as "a glorious riot of colour from the finest imaginative Australia has produced". Towards the 1920s, Bunny revisited mythology as his subject, this time in a modernist style.  In the late 1920s, Bunny painted many landscapes, including "" (1929) and "Cemetery, South of France" (1920s).  Music was a significant influence over Bunny's art. His mother was a "talented" piano player, and friend of Clara Schumann and Bunny has been described as an "exceptional" piano player himself. In his career, he painted many portraits of notable musicians, including Nellie Melba, Percy Grainger and Ada Crossley. He also produced works such as "Nocturne [The Distant Song]" (circa 1908), "" (circa 1910), and "" (circa 1907), with obvious allusions to music.  Bunny's art continually spoke to a cosmopolitan, cultured audience. His subject matter which portrays mythology, musical and literary allusions and modern dance are suited to "a leisured class of viewers". This was a meditated choice, and is evidence of Bunny's understanding of the market his artworks targeted, namely the middle and upper classes.  Like many artists living and working in Paris during the early 20th century, Bunny had an interest in the Orient. He painted a portrait of Japanese actress Madame Sadayakko, titled "Madame Sada Yakko as Kesa" (circa 1900), which depicted the actress in character from "Kesa," an adaptation of a Kabuki play entitled "Endo Musha." The portrait was praised by "Le Figaro"'s critic for its accurate tone. "By employing a lexicon of orientalism and Japonisme, Bunny tapped into a timeless, borderless belle époque mood".

Later life.

In 1895, Bunny met his wife Jeanne Morel, a fellow art student, who he married in 1902, at age 38. Deborah Edwards states that Bunny was a homosexual, however, as she explicates, "the fin de siecle's two most famous homosexual men, Oscar Wilde and Marcel Proust, demonstrated liaisons with and love of women do not exclude homosexuality." The happiness of his relationship with his wife is unknown. "Some say it was terrible, others are highly romantic."  Bunny led a cosmopolitan lifestyle in Paris, mixing with artists and musicians such as Claude Debussy, Auguste Rodin, Nellie Melba, and Sarah Bernhardt. Sharing his studio with Alastair Cary-Elwes, the grandson of an English baronet, Bunny was continually networking. Whilst still studying under Laurens, Bunny continually attended his teacher's open studios, which allowed him to meet many 'high-society figures'. Additionally, he attended the salons of the well connected artist Jacques-Émile Blanche, Emmi de Némethy and her grandmother the Countess Schärffenberg, the Hungarian poet József Kiss' wife and Madame Ayem, a collector of Gustave Moreau. Thus, Bunny was well connected and supported in Paris. In 1911, Bunny visited Australia with his wife. For many years afterwards, Bunny travelled back and forth between Australia and France. Morel died in 1933. Following almost 50 years living overseas, Bunny moved back to Australia permanently in 1933. He lived on Toorak Road in South Yarra, Victoria. The Depression, his own economic hardship and his wife's death were factors in his relocation to Australia.  Bunny assimilated into the art scene in Melbourne easily, and continued to show his work. This included an annual exhibition in the Macquarie Gallery. He rejected the invitation to join the Australian Academy of Art from Robert Menzies in 1939. Instead he became the Vice President of the Contemporary Art Society established in 1939 in Melbourne.  Bunny died in a private hospital on 25 May 1947, at age 82.

Accolades and achievements.

Deborah Edwards, curator of "Rupert Bunny: Artist in Paris", said Bunny is "unquestionably the most successful artist we (Australia) had in Paris". He regularly exhibited works in Parisian salons. Incomparable to other expatriates, he had a deep intimacy and familiarity with the Parisian art scene. As Australian art critic John McDonald stated, "It is no exaggeration to say that Bunny had the greatest international reputation of any Australian-born painter". He began exhibiting works in the Salon de la Société des Artistes Français in 1888. Bunny also exhibited in the New Salon, the Old Salon and the Salon D'Automne. He was the first Australian to receive an honourable mention in 1890 at the Salon de la Société des Artistes Français for the painting "The Tritons" (circa 1890)"." He also exhibited works internationally, including in Australia, America and England. "Sea Idlyll", exhibited in the Royal Academy, was bought by Alfred Felton, who gave it to the National Gallery of Victoria in 1892. This was to be the first painting of Bunny's that an Australian gallery obtained.  In 1894 Bunny became a member of the Royal Society of British Artists. Engaging in many 'transnational' relationships with other expatriates and cosmopolitans, Bunny extensively networked, particularly with Americans, who formed the majority of expatriates in Paris. Thus, in 1900, he became a member of the American Art Association of Paris. He also frequented the American Club. Also in 1900, his work "Burial of St Catherine of Alexandria" was awarded a bronze medal in the Exposition Universelle, Paris. In 1901, Bunny exhibited two paintings in the Victorian Gold Jubilee Exhibition 1851–1901 in Bendigo, in which he was awarded the gold medal for Best Painting. In 1904 the French government bought his work titled "Aprés" "le Bain" from the New Salon exhibition for the Musee de Luxembourg, Paris. He was the first Australian artist to have works acquired by the French government. Throughout his career, the government acquired 13 of his works, the most acquired from a foreign artist living in Paris by the government. This included "Endormies" (circa 1904), now exhibited in the National Gallery of Victoria, "Summertime" (circa 1907) and "A Summer Morning" (circa 1908), both now exhibited in the Art Gallery of New South Wales.  In 1905 he became a "membre associe" of the Société Nationale des Beaux-Arts. In 1906, the French government purchased its second painting, "Endormies". In 1910, he was on the jury of the Salon d'Automne, which accepted Matisse's "Danse and Musique." Major art critic Gustave Geffroy was a 'prestigious critical admirer' of Bunny's work. In 1939 he became Artist Vice President of the Contemporary Art Society in Melbourne. The National Gallery of Victoria held a retrospective exhibition of Bunny's works, curated by Mary Eagle, which was the first exhibition to honour a living artist in this way. Since his death, there have been several major retrospectives of Bunny's work including "Rupert Bunny: Artist in Paris," curated by Deborah Edwards, which travelled from the Art Gallery of New South Wales to many galleries including the National Gallery of Victoria and the Art Gallery of South Australia in 2010. It showed over 100 of Bunny's works, including monotypes, paintings and drawings. Some of which had never been exhibited in Australia before. "Rupert Bunny: Last Fine Days, A focus exhibition" was curated to compliment Edwards’ "Rupert Bunny: Artist in Paris" in the regional Newcastle Art Gallery.

Rupert Charles Wulsten Bunny (29 September 186425 May 1947) was an Australian painter. Born and raised in Melbourne, Victoria, he achieved success and critical acclaim as an expatriate in "fin-de-siècle" Paris. He gained an honourable mention at the Paris Salon of 1890 with his painting "" and a bronze medal at the Paris Exposition Universelle in 1900 with his "Burial of St Catherine of Alexandria". The French state acquired 13 of his works for the Musée du Luxembourg and regional collections. He was a "sumptuous colourist and splendidly erudite painter of ideal themes, and the creator of the most ambitious Salon paintings produced by an Australian."

Rupert Bunny ( – ) est un peintre australien né à St Kilda, état de Victoria, près de Melbourne qui séjourna à Paris à la Belle Époque.


Production.

"Cubix" was created by the Korean company called Cinepix and licensed by 4Kids Entertainment in North America, and aired for two seasons during the Kids' WB! children's block on The WB, lasting from August 11, 2001 to May 10, 2003. To help provide their affiliates a half-hour of educational and informational programming credit, the series was later re-broadcast on FoxBox (owned by 4Kids Entertainment, later renamed 4KidsTV) from August 30, 2003 to June 12, 2004. The show remained off the air until July 24, 2010, when it resurfaced on 4Kids' then-current block The CW4Kids (later renamed Toonzai) on The CW. In 2012, the license for "Cubix" was purchased by Saban Brands and aired on the Vortexx block, but was removed from the block after four weeks on September 22, 2012 and replaced with another episode of "Rescue Heroes". Since September 2007, the show has been streaming online, being uploaded in its entirety as of early 2008, first on the now-defunct 4Kids.TV website and now on Hulu.  Both seasons were broadcast in the UK on Cartoon Network UK. As of May 2010, the series is airing in the UK on kids' TV channel Pop.  The show has been the theme of three video games:, Clash 'n' Bash, and Race 'n' Robots.

Plot and setting.

"Cubix", set in the futuristic year 2044, is the story of a bright-eyed young boy named Connor with a deep fascination for robots. His father, Graham, who dislikes all robots, has never truly been supportive of his efforts. That is, until they move to Bubble Town, a city with "as many robots as people," and the location of RobixCorp. The reason for RobixCorp's global success is the EPU (Emotion Processing Unit), which allows a robot to develop their own unique personality, just like a human being.  Now that Connor's dream has finally come true, he finds himself with one really big problem: everyone in Bubble Town owns a robot, except him. Shortly after his arrival, he meets his nosy neighbor Abby, who sends her flying pet robot, Dondon, to spy on him. Graham, being not so fond of a robot spying on him, attempts to capture Dondon. During his escape, he crashes into Connor, knocking him out. A worried Abby, along with Connor, hop onto her hover scooter, rushing for the one place in town that can fix her friend.  Here, Connor meets Hela, who runs a repair shop called The Botties' Pit. However, to become an employee, he has to fix a robot in less than 24 hours. Of all the robots he could have chosen, Connor picks Cubix, a one of a kind test model referred to as the 'Unfixable Robot.' The Botties all tried to repair him, especially Hela, who could never quite throw him out. Cubix is the one memory left of her father, Professor Nemo, who invented the EPU. Sadly, he vanished after an experiment with a highly volatile substance known as Solex.  Suddenly, a rogue robot inventor named Dr. K runs off with a stolen robot, leaving the Botties' Pit on the verge of collapse. Connor races back inside in a final effort to save Cubix, leaving him trapped inside. This act of kindness jumpstarts Cubix's EPU, bringing him back to life. With only a moment to spare, Cubix saves Connor from the collapsing building. It was never a matter of hardware; rather, of heart, that fixed the 'Unfixable Robot'. Therefore, Connor passed the test, earning him a place in the club.  That was not the only surprise Cubix had in store, with his amazing design he can transform into virtually anything. Along with their new friends, Connor and Cubix face up against Dr. K to take back the kidnapped bot.  This series follows the adventures and discoveries of the group, as they unravel Dr. K.'s conspiracy and the disappearance of Professor Nemo.

Solex.

Solex was said to have been discovered after an alien spacecraft crashed outside of RobixCorp, shortly before Prof. Nemo's disappearance. It has two forms: the glowing electric blue liquid form prone to random energy fluctuations and the second, more stable crystallized form used in most robots. The story suggests that it has a psychic nature as it reacts to sentient thoughts and emotions, even those of robot's EPUs. Solex in both liquid and crystallized form is capable of producing immense power. Its "radioactive" glow (in crystallized form) is similar to pure isolated radium.

Solex in the first season.

In the first season, Dr. K collects Solex from infected robots to utilize in his ultimate plan with the aid of an alien disguising himself as Raska, the RobixCorp spokeswoman. It is suspected that the Solex was originally discovered by Prof. Nemo, but fearing the misuse of its power, separated the liquid Solex into small doses, placing them in random robots (or that the explosion in his lab the day he disappeared caused the Solex he was experimenting with to be transferred into the robots that were in his lab at the time).  The liquid Solex, however, produces unexpected effects in robots; this is referred to as Solex infection. As the EPU is placed under heavy stress or emotions, the uncontrollable energy reaction of the liquid Solex causes them to malfunction and go berserk. Besides the behavioral malfunction, the infected robot also gains extreme power far beyond its normal capabilities. However, this extreme power could overload the host and cause self-destruction unless the Solex is removed, the robot is deactivated, or its energy returns to normal levels.  In the beginning of the first season, the Botties were unaware of K's reasons for chasing after robots, but eventually learned of the existence of Solex and soon began racing Dr. K in the search, intercepting the last few robots to possess it before he could extract it. Dr. K's plans were delayed when Kan-It unintentionally absorbed half the Solex he had collected, which ended up in the possession of the Botties. Needing more, K launched an attack on the Botties Pit to get the Solex in their possession, only for Cubix to drive them off while revealing that he possessed crystallized Solex. Changing tactics, Dr. K and the Alien devised a plan to deactivate Cubix and take some of his Solex crystals. Adding it to what he possessed, Dr. K was able to power a humongous EPU he had created, which he then used to transform his HQ into the Kulminator. In the end, Cubix sacrificed himself to defeat Kulmintor and destroy the Solex within them both. Cubix would then be revived by the last remaining traces of Solex (obtaining the ability to speak on his own in the process), ending the threat of Solex for good.

Characters.

The titular Cubix is a one of a kind robot built before Professor Nemo's disappearance, who is found deactivated without visible damage, but no way to reactivate him either. He is introduced as part of Connor's initiation ceremony as the robot he chooses to fix. However, he cannot get Cubix to work until Dr. K appears to retrieve Solex from a robot. Connor brings Cubix back to life, just as the building they are in starts to fall apart. His body is made out of a number of cubes, giving him a versatile modular function- by restructuring himself and using different gadgets within the cubes, he can transform into a hover bike, an airplane, a helicopter and plenty more. He can even fly causing not need to transform into a vehicle. Hidden in each cube there is a different gadget with a solution to almost every serious situation. When it comes to fighting, Cubix is exceptionally strong, but often relies on his transformational ability and eccentric strategies to win. He is powered by a generator that runs off crystallized Solex, which is rumored to be the ultimate power source, but nobody knows exactly how it works. Cubix's body is also constructed out of a highly resistant metal that is capable of withstanding devastating amounts of damage without breaking. He also has additional parts that when added to his structure can increase his strength.  Cubix is a friendly and helpful robot, but lacks speech capability, while speaking seems to be common place among other robots. Usually he just repeats what people around him say, and uses the LED display where his eyes usually are to communicate emotions. However, later in the series this improves greatly and he becomes capable of forming sentences and dialogues, and once he regains the crystallized Solex at the end of the season 1 finale, he repossesses the capacity for independent speech. Voiced by Jerry Lobozzo.

Humans.

Botties.

Connor: The main human character of the series, Connor is obsessed with robots. He moved to Bubble Town, and soon after joined the 'Botties' by fixing the 'Unfixable Robot', Cubix. Perpetually optimistic, yet kind of hard-headed, he resents his dad for not answering questions about his late mother. He is best friends with Abby, as they often play 'virtual battle' video games at her house. Him and the Botties hang out at his dad's donut shop and Hela's repair shop, the Botties' Pit. Voiced by Andrew Rannells.  Abby: Connor's 14 year old neighbor, best human friend, and fellow robot-lover, Abby was the first female person to show Connor around Bubble Town. She is a member of the Botties and her pet robot, Dondon. She is a bit impatient and a bit of a procrastinator but she has a sweet and compassionate side. Abby loves robots and looks up to Hela almost like a big sister, and secretly wishes to be just like her someday. She can often be found in her room studying robot repair manuals. Voiced by Veronica Taylor.  Chip: He may be short but at only 10, he is probably the smartest of the Botties. He knows practically everything about robots. At times he can be a know-it-all who only sees things his way. He is actually very insecure about his height and can come across as awkward or nervous. His robot, Cerebrix is a specialized calculation model. He is best friends with Mong. Voiced by Amy Birnbaum.  Mong: The taller and chubbier member of the Botties, Mong loves snacks and making puns that only he ends up laughing at. He seems dense but he is actually pretty inventive and has a big heart. Highly competitive and a bit prideful, he rushes headlong into things, sometimes ignoring the consequences. His robot is Maximix, originally a fitness trainer model. Mong converted him into a motor bike. He is best friends with Chip. Voiced by Jimmy Zoppi.  Hela Nemo: The daughter of Professor Nemo and the idol of Abby, she is the owner of the Botties Pit. Hela knows almost everything about robot repair. She is pretty even keeled, and is usually a source of advice and comfort to her young apprentices. Her robot team includes Diagnostix, Mr. Fixit, Ixpressive, and Attractix (named Kan-It). She also acts as a motherly figure to Connor and despite the arguments she has with his stubborn father it is joked about in the series that she likes him. Voiced by Rachael Lillis.

Villains.

Dr. K: The main antagonist of the series, Dr. K used to work for RobixCorp, but lost his arm in a lab explosion and now as a rogue robot inventor who uses his smarts for evil. In Season 1 he is after a substance called Solex to build the ultimate robot and destroy Bubble Town. His main robot is Kolossal, but he has his own line of evil robots such as Katastrophe, Kannon, Krab, Klawber, the Kulminator and Kilobot. It is unclear what happened to Dr. K at the end of the series finale, though it is possible that he gave up his evil ways. Voiced by Maddie Blaustein.  Raska: Bubble Town's most famous celebrity, Raska is the spokesmodel for RobixCorp. Raska does not have any robots of her own besides the Cinematixes that film her. Near the end of Season 1 it is revealed that Raska is the alien from the spaceship that crashed outside RobixCorp, and (using her human disguise) became a member of Prof. Nemo's team (most likely in order to retrieve the Solex). Raska and Dr. K are shown to be in some sort of alliance in order to acquire Solex for their own goals. For most of the season, Raska's true alien form is only seen on Dr. K's screen when communicating with him and is kept in complete silhouette. Her true from is fully shown in the final two episodes of the first season. She is killed when Dr. K's giant robot is destroyed by Cubix. Human: Voiced by Lauren Kling (ep 1-10), Megan Hollingshead (ep 11+); Alien: Voiced by Eric Stuart.

Miscellaneous.

Graham: Connor's dad, who owns and runs Bubble Town's most popular doughnut shop. He dislikes robots, especially the dysfunctional Waitrixes that work at his shop causing him continuous aggravation, yet he developed an exception for Cubix. He believes in good old manual labor and resents how robots have made people lazier over the years. He is a loving father, but has a hard time showing it. Sometimes he cannot quite express how he feels, particularly about his wife's death. This causes a bit of strain on his relationship with Connor. It is also hinted he has a crush on Hela. Voiced by Dan Green.  Taryn: Connor's late mother, who supposedly died when he was younger. Connor keeps a picture of her in his room as a memory.  Professor Nemo: The ultimate robotist, Professor Nemo was the one who built Cubix and invented the EPU. He disappeared in the aforementioned lab explosion caused by Solex, but was later found kidnapped by Dr. K. A giant sculpture of the Prof. stands in the grand hall of RobixCorp. He designed all of his robots with a yellow spiral. Also voiced by Dan Green.  Charles: A spoiled brat and the richest kid in town. Charles is the son of the Mayor and his family has important connections, so he gets all the latest models from RobixCorp. His favorite robot, Quixtreme 5000, is a rare pre-release model given to him as a special birthday gift, that will not be on the market for 10 years! Called Cheetah for short, he can transform into a cherry red Rolls Royce hover car, a cheetah, and an armored battling robot. This makes Charles think he can gain entry into the Botties. It is implied that he has a bit of a crush on Abby and is jealous of Connor. He often follows them around, showing off. Voiced by Ed Paul.

Robots.

Botties Robots.

Maximix: Maximix is Mong's robot. Maximix has a unicycle propulsion instead of legs and is also capable of transforming into a Go-kart like vehicle to provide Mong with transportation. Although not as strong as Cubix or Kolossal, Maximix has proven himself to be a formidable opponent on several occasions. He can hold his own against Kolossal or any of Dr. K's robots. Thanks to his unicycle propulsion he can reach high speeds and is quite agile. His personality is similar to his master: hot headed, competitive and a little conceited, but always reliable. Maximix's voice is similar to that of Arnold Schwarzenegger. Voiced by Frank Frankson.  Dondon: Dondon is Abby's pet robot has been her best friend since she was 6 years old. Dondon is a personal interaction and entertainment robot, outfitted with hovering capabilities allowing him to flutter about for indefinite periods of time. So, although he has wings they are more decorative. Being small and defenseless, Dondon is not a fighter, although there are times when he has shown great courage in order to protect his friends. His features include a video phone inside his chest cavity, secret recording devices, a camera, and a storage pouch. His yellow face also glows in the dark. His personality is very playful and imaginative- he sometimes pretends to be a secret agent for Abby, disguising himself with her jewelry and hair accessories. Though creative, Dondon is needy of Abby and can be quite bashful with strangers. Voiced by Eric Stuart.  Cerebrix: Cerebrix is Chip's robot. Like his master, Cerebrix is more of a thought focused character rather than feeling. Bipedal, with no arms, he is equipped with advanced memory, sensory, computing and processing systems stored in his "large head". He can also fly by means of a retractable propeller stored in an upper compartment of his head. His main functions include a huge sensory array and he is also equipped with two antennae through which he can tap into almost any communication wavelength and cause disturbances, creating confusion in his foes. Also his advanced probability computing system is capable of determining the outcomes of events before they occur. His personality and speech are much more machine-like but what he has to say is usually very important. Voiced by Jimmy Zoppi.  Kan-it: Kan-It is an Attractix model, and the only bot not to be own by a Bottie. Kan-It has a passion for singing, and as such was nicknamed Kan-It because Dr. K, his original master, did not like it. Kan-It speaks in a stereotypical British accent, saying cockney phrases like "Governor" and "Blimey". Kan-It control's his magnetic power by saying Magnet On (Positive Charge), Magnet Off! (Neutral Charge), Reverse Polarity (Negative Charge). Kan-It currently resides at the Botties Pit.

Villainous Robots.

Kilobot: First appearing in the second season, Kilobot is a vampiric robot that is far smarter than any of his cohorts. Dr. K describes him as his finest creation, developed to absorb data from other robots. Kilobot's name comes from the fact that he has the potential to copy the powers of up to 1000 other robots. As such, his power is potentially unlimited. Kilobot originally appeared in a bat-like form, but later upgraded to a bulkier body designed after Cubix's cubes. Kilobot is Cubix's new arch-enemy. In the series finale, he took control of Dr. K's robots and planned an ultimate takeover. However, he was permanently deactivated by his own Zombot.  Klank: Klank was one of Dr. K's first robots from when he was a child. Klank originally had no EPU, so when the botties found Klank in a disposal room at RobixCorp, they install one to help him adjust to the modern world. Klank's new emotions drive him to seek out Dr. K at an old abandoned house. Unlike Dr. K's other robots, Klank only appears in one episode.  Kolossal: A Frankenstein's monster-esque robot, Kolossal is the brute of Dr. K's forces. Not too intelligent and continuously relies on his master for orders but almost equal to Cubix in fighting ability, Kolossal serves as Cubix's nemesis in the early part of the show. Kolossal's equipped with various weapons but most importantly a detachable floating platform on his left shoulder where Dr. K. takes seat. Kolossal is big and strong, although bulky he is capable of limited flight and agile high jumps, his left hand is a sort of claw that can be launched to grab things from afar. Most of the time he uses only brute force to win. Without his master's continuous coordination however he can only complete basic tasks.  Krab: Squat and crustacean-like, Krab has powerful claws and shoulders that contain a variety of weapons.  Katastrophe: A robot capable of splitting into two halves. Katastrophe's top half can fly, while the bottom rolls around on a wheel.  Kannon: An artillery robot developed by Dr. K, his body is an assembly of cannons.  Klawber: Menace of the skies, Klawber is a super-fast plane that flies through the air.  Kulminator: Dr. K's second most powerful robot (behind Kilobot). It was once Dr. K's HQ as a giant advertisement tower in an abandoned area of Bubble Town. After Dr. K had gathered enough Solex, he used it to create a humongous EPU which transformed his HQ into a giant four-legged robot. Dr. K piloted it on a course for Bubble Town with intentions to destroy it. The Botties (piloting Krab, Katastrophe, Klawber, and Kannon) attempted to stop it, but it was too big. The Alien then used the Kulminator's ultimate weapon, the Solex Blaster, to destroy Cubix, but he absorbed the energy and then fired a Solex blast of his own, knocking out the Kulminator's shields. Dr. K wanted to retreat, but the Alien was determined to continue, firing the Solex Blaster at everything while Dr. K abandoned ship. Cubix then flung himself into Kulminator, striking its EPU, destroying it and the Alien.  Kontraption: Dr. K's largest automaton, Kontraption serves as his blimp headquarters after his original base is destroyed. However, Kontraption can also turn into a large robot with great destructive capability.  Zombots: Dr. K's army of duplicating machines. When defeated, their parts can regenerate into new Zombots. In addition, they can evolve into larger, stronger versions of themselves, and transform other robots into Zombots with their attacks.

DVD releases.

North American DVD releases of Cubix - Robots For Everyone were licensed by Funimation Entertainment.

Video games.

The 3DO Company produced three video games based on the series. Cubix: Robots for Everyone - Race 'N Robots was released on the PlayStation and the Game Boy Color in 2001. Cubix: Robots for Everyone - Clash 'N Bash was released on the Game Boy Advance in 2002. Cubix: Robots for Everyone - Showdown was released on the PlayStation 2 and GameCube in 2003.

Cubix (Korean: 큐빅스; retitled 로보짱 큐빅스 for the KBS broadcast; subtitled Robots for Everyone in the United States) is a South Korean animated television series created by Cinepix. 4Kids Entertainment acquired the rights for an English adaption dub to the series in 2001, retaining them until their transfer to Saban Brands (a subsidiary of Saban Capital Group) in June 2012. Following the closure of Saban Brands on July 2, 2018, it is assumed that Hasbro owns the copyright for the English dub.

Cubix (coréen: 큐빅스 ; puis renommé 로보짱 큐빅스 pour la chaîne KBS ou Cubix: Robots for Everyone) est une série télévisée d'animation 3D américano-sud-coréenne en 26 épisodes de 30 minutes, produite par le studio Cinepix du au. En France, la série a été diffusée sur TF1 dans l'émission TF! Jeunesse.


Early life and career.

Price was born in Frankfort, Indiana, on February 2, 1891, where his father, who died when Price was young, ran a grocery.  Price took the name "Jack Dillon" from the famous racehorse, Sidney Lou Dillon. Price worked at the farm/stable where the horse was housed. At his first fight, Price appeared very nervous. When asked his name, he said Sidney Dillon. The referee misunderstood him, and bawled out "Jack Dillon!".

Taking the World Light Heavyweight Championship from Battling Levinsky.

Dillon turned pro in 1908 and claimed the vacant World Light Heavyweight title with a win over Battling Levinsky on April 14, 1914 in a twelve-round points decision in Butte, Montana, though at the time his claim to the title was not universally recognized. The "Los Angeles Times" wrote of their title match that Dillon showed more aggression and tenacity than his opponent and that by the third Levinsky was showing signs of fatigue.  Dillon defeated Levinsky again on May 29, 1914 in a twelve-round points decision in Dillon's hometown of Indianapolis, Indiana. With mixed results, Dillon had met Levinsky twice in his earlier career in October 1911 in Philadelphia, and April 1913 in Rochester.

Top competitors Dillon faced.

Dillon truly fought the greatest competitors of his era, during the time of the greatest middleweights history had ever known. He rarely if ever shirked a challenge. Between 1910 and 1918, Dillon fought the great middleweight champion George Chip twelve times, often beating him in newspaper decisions. He fought hard punching German-American Middleweight Champion Frank Klaus four times between 1911 and 1913. He fought the great Billy Miske five times from 1916 to 1917 in hotly contested contests before large crowds, though Miske usually won. He lost twice to Mike Gibbons, in the decision of most newspapers, in November 1916, and September 1917. He fought Middleweight champion Al McCoy three times, impressively winning twice in ten round newspaper wins, once in Brooklyn in 1917, and once in Muncie, Indiana in August 1918. On independence Day in 1918, Dillon and McCoy fought a close fight declared a draw in Charleston, South Carolina.

Losing the World Light Heavyweight Championship to Battling Levinsky.

On October 24, 1916, Dillon lost the belt in a twelve-round points decision against Levinsky in Boston. Dillon opened strongly but weakened in the final rounds when Levinsky landed blows to his face, jaw, and body.  Still facing tough competition, Dillon faced the great Middleweight Champion Harry Greb twice, once on July 30, 1917 in Pittsburgh, and once on March 14, 1918 in Toledo, Ohio. Though losing in Pittsburgh by a wide margin, he was able to defend himself well against his opponent. Later in Toledo in 1918, Dillon was pummeled more fiercely and seemed to have lost his championship form.  Dillon retired from the ring in 1923.

Life after boxing.

Prior to prohibition, he operated a saloon in Indianapolis which eventually failed.  In retirement in Florida, Dillon lived next door to a restaurant that he owned and operated. Dillon died on August 7, 1942, at the State Hospital in Chattahoochee, Florida, where he had spent five months with an illness. He was only 51 at the time of his death.

Ernest Cutler Price (February 2, 1891 – August 7, 1942) better known as Jack Dillon, was an American boxer who held the Light Heavyweight Championship of the World. Dillon was often referred to as "Jack the Giant Killer" for his ability to handle the most dangerous heavyweights of his era. Ring Magazine founder Nat Fleischer ranked Dillon as the #3 Light Heavyweight of all-time, while boxing promoter Charley Rose placed him at #2. The International Boxing Research Organization rates Dillon as the 16th best Light-Heavyweight ever. He was inducted into the Ring Magazine Hall of Fame in 1959 and the International Boxing Hall of Fame in 1995. His managers included Sam Murbarger, and later Steve Harter.

Jack Dillon, de son vrai nom Ernest Cutler Price, est un boxeur américain né le à Frankfort, Indiana, et mort le à Chattahoochee, Floride.


Background.

On April 15, 2010, "The Guardian" reported that a number of artists, including Pet Shop Boys, Passion Pit and rock musician Marilyn Manson, have contributed to a remix album by Lady Gaga, titled "The Remix". The remixes included in the package had been previously released alongside Gaga's single releases in the past years. The album was originally released in Japan on March 3, 2010, containing sixteen of the remixes. The revised version, consisting of seventeen remixes, was released on May 3, 2010, the first market being Mexico. Manson features on the Chew Fu remix of "LoveGame", while Passion Pit remixed "Telephone" and Pet Shop Boys remixed "Eh, Eh (Nothing Else I Can Say)". Other artists who remixed Gaga's songs included Alphabeat, Frankmusik, Stuart Price, Monarchy and Robots to Mars. The album was released in the United Kingdom on May 10, 2010 and featured a different artwork for that region. The US release of the album was announced by Interscope Records in July 2010 and it was released on August 3, 2010.

Composition.

Chuck Campbell from the "California Chronicle" felt that the main "trick" adopted by the producers behind "The Remix", was to preserve the integrity of Gaga's nuances in her songs, at the same time bringing something new to her music. The second song in the track list, the "LLG vs GLG Radio Mix" of "Poker Face", features a computerized chanting of the "mum-mum-mum-mah" hook of the song. Stuart Price remixed "Paparazzi" into an electronic version, changing the original mid-tempo composition of the song. New vocals were added on top of the song, giving it a jungle-like vibe, according to Nicki Escuerdo from "Phoenix New Times". She also felt that the remix of "LoveGame" featuring Manson, changed the original composition by "giving the originally innocent and fun song an almost demonic quality".  According to Campbell, The Monarchy Stylites remix of "Dance in the Dark" "pump[ed] extra oomph" into the song, with addition of drum beats. Richard Vission's remix of "Just Dance" introduced an elastic rhythm in the song, while Frankmusik changed the soft composition of "Eh, Eh (Nothing Else I Can Say)" to a more upbeat one, also manipulating Gaga's vocals in the process. Campbell also added that the Passion Pit remix of "Telephone" felt like a "theatrical set up for a song that feels like it's going somewhere, but never does"; the remix consists of synths, with a thumping beat accompanying the song. Sound of Arrows remixed "Alejandro", changing the dark nature of its music into a bright, summery jam while "Bad Romance" was remixed by Starsmith, making it a complete dance track.

Critical reception.

Upon its release, the album met with mixed reviews. At Metacritic it holds an aggregate score of 54 out of 100 points, indicating generally mixed or average reviews. Simon Cage from the "Daily Express" gave the album three out of five stars and felt that although she "has a winning way with ostentatious hats", Gaga's true talent lies in selling the same album over and over again. "It’s great but... enough already!" Music critic J. D. Considine, while reviewing the album for "The Globe and Mail", complimented the piano and voice version of "Poker Face" adding that the latter was "the smartest track on her newest remix album". He felt that the song "brings out her inner Elton John. And yes, this move, too, is probably just another bit of calculated image management, but that doesn’t make it any less brilliant." Robert Copsey from Digital Spy noted that the release of "The Remix" was a more natural progression than music labels trying to "cash-in" by releasing something not associated with the artist. He complimented the remixers featured in the album, calling them "as vital to keeping the singer's music fresh as her Haus Of GaGa designers are to her image."  Stephen Thomas Erlewine from AllMusic gave the album three out of five stars, but felt that the track list could have been shortened. Erlewine complimented some of the remixes, including those by Pet Shop Boys and Space Cowboy, adding that "The Remix" "is not an essential addition to Gaga’s canon goes without saying... but there’s glitz and glamour to enjoy here." Mark Beech, reviewing the album for Bloomberg Television, noticed that the already familiar tracks from Gaga "are given a new sheen by the Pet Shop Boys and sometime Madonna producer Stuart Price." Nicki Escudero from "Phoenix New Times" gave a positive review saying that the songs featured in "The Remix" can be a great addition during workouts, as well as staple dance floor music. She listed the Chew Fu remix of "LoveGame" as a highlight from the album. Monica Herrera from "Billboard" complimented the album saying "Gaga has employed a collection of more-than-capable producers to make her dance-ready smashes from "The Fame" and "The Fame Monster" even more danceworthy." Giving it three out of five stars, Caryn Ganz from "Rolling Stone" noted an uneven sequencing among the tracks in "The Remix". She felt that the Passion Pit remix of "Telephone" was the best remix on the album.

Commercial performance.

Following the album's release in Japan, it debuted at number nine on the "Oricon" Albums Chart. On the issue dated May 17, 2010, the album moved to a new peak of number seven and has since been certified platinum by the Recording Industry Association of Japan (RIAJ) for shipments of 250,000 copies. In Australia, "The Remix" entered the ARIA Albums Chart at its peak position of number 12 on May 16, 2010, remaining on the chart for a total of five weeks. In the United Kingdom, the album debuted at number three on the official UK Albums Chart dated May 22, 2010, and has sold 166,440 copies according to the Official Charts Company, being certified gold by the British Phonographic Industry (BPI). Across Europe, the album debuted at seven on the European Top 100 Albums chart of "Billboard". "The Remix" also reached the top of the charts in Greece, while attaining top-ten positions in Belgium (Flanders and Wallonia), Czech Republic, Ireland, the Netherlands and New Zealand.  In the United States, "The Remix" charted at number six on the "Billboard" 200 dated August 21, 2010, with 39,000 copies sold. It became Gaga's third top ten album on the "Billboard" 200. The record also debuted at number one on "Billboard"s Dance/Electronic Albums making this Gaga's third number one entry on the chart. The same week, her other releases, "The Fame" and "The Fame Monster" were at positions two and three, respectively. "Billboard" chart manager Keith Caulfield noted that Gaga became the first act to occupy the chart's top three positions, in its nine-year history. She additionally charted on the "Billboard" 200, with "The Fame" at number 12 and "The Fame Monster" at number 27, marking the first time an artist placed three concurrent titles in the top 30 since January 23, 1993, when Garth Brooks placed four sets in the top 30: "The Chase" at number two, "Beyond the Season" at number 23, "Ropin' the Wind" at number 26 and "No Fences" at number 29. According to Nielsen SoundScan, "The Remix" has sold 315,000 copies in US as of February 2018. In Canada, the album debuted at number five on the Canadian Albums Chart issue dated May 22, 2010, and remained on the chart for a total of ten weeks. "The Remix" has sold more than 500,000 copies worldwide, and it is among the best-selling remix albums of all time.

Personnel.

Credits adapted from the liner notes of UK pressings of "The Remix". Track numbers correspond to international (non-US and Japan) pressings.

The Remix is a remix album by American singer Lady Gaga. Released in Japan on March 3, 2010, it contains remixes of the songs from her first studio album, "The Fame" (2008), and her third extended play, "The Fame Monster" (2009). A revised version of the track list was prepared for release in additional markets, beginning with Mexico on May 3, 2010. A number of recording artists have produced the songs, including Pet Shop Boys, Passion Pit and The Sound of Arrows. The remixed versions feature both uptempo and downtempo compositions, with altered vocals from Gaga.

The Remix est une compilation de l’artiste américaine Lady Gaga. Elle sort d’abord au Japon le. Celle-ci contient des remixs de plusieurs chansons issues de ses deux précédents albums, "The Fame" et "The Fame Monster". Une version révisée de la liste des pistes est créée pour la commercialisation de la compilation en dehors du Japon, qui s’entame le. Différents artistes tels que Pet Shop Boys, Passion Pit et The Sound of Arrows ont produit les remixs.


History.

Christie advocated the use of lightweight tanks with long range and high speed, designed to penetrate enemy lines and attack their infrastructure and logistics capabilities.  A major problem with tanks during World War I was problems with the tracked suspension breaking down before the tank reached action. Christie's first tank design of 1919 could be driven on its wheels to get to the starting point and then the tracks fitted before it went into action. The US Tank Corps ordered a single tank from Christie's company based on this design. The tank, known as the M1919, was delivered in early 1921 and tested until Christie proposed modifying it. The modifications added coil suspension to the front wheels and removed the turret - the armament being moved to the nose of the vehicle. The tank - now known as M1921 - was tested in 1922 and 1923 but considered lacking in maneuverability and internal space and so put into the museum at Aberdeen Proving Ground in 1924.  His earlier designs in the 1920s were hampered by poor cross-country performance due to limited suspension capability. The major problem he faced was the limited vertical space for springs to move in: for a 25 cm movement it might need 50 or 75 cm of vertical space for the spring and strut, and his small designs did not offer such space.  In the late 1920s he devised a better solution. The solution was the addition of a bellcrank, which changed the direction of motion from vertical to horizontal. The road wheels were individually mounted on a pipe that could move vertically only, at the top of which the bell crank rotated the direction of motion to the rear. Springs were mounted on the end of the crank, and could be as long as needed, lying along the inside of the hull. The result was a substantial increase in range of motion, from only some 10 cm in his original designs, to 25 cm on the M1928, 35 cm on the M1930, and 60 cm on the M1932.  The M1928 weighed under 9 tons and had a 338 hp Liberty engine; this allowed it to reach on tracks and on its wheels. For context, this is comparable to a luxury/performance passenger car of the era, faster than a typical car, and faster even than a modern main battle tank that tops out at approximately. The four sprung road wheels could move 11 inches on top of the "compression due to the weight of the vehicle". Although there was interest by the Army in the design, negotiations over the requirements were drawn out and a single M1931 was delivered in March 1931 followed by an order for 7 more in June. These received official designation as "Convertible Medium Tank T3" and all seven were delivered by 1932. Four were given to the cavalry for testing. They had the main gun replaced with a heavy machine gun and were renamed "Combat Car T1". The crew of two and relatively light armour was insufficient for the infantry support function the tank was expected to have. The Army drew up a specification for an improved T3 but following disputes with Christie the order - for 5 of the "Convertible Medium Tank T3E2" was given to the American-La France company.  The most famous Christie-based tanks, the Soviet BT tank series and the T-34, used coil springs mounted vertically (on the BT) or at a slight angle from vertical (the T-34). Another feature of Christie's designs was the "convertible" drive: the ability to remove the tracks for road travel, allowing for higher speeds and better range, and reducing wear on the fragile caterpillar track systems of the 1930s. In one public test 1931 in Linden, NJ, Army officials clocked a Christie M1931 tank attaining, making it the fastest tank in the world: a record many believe it still holds. There were no return rollers for the upper track run; the tracks were supported by the road wheels. As with many track designs with center guide teeth, dual wheels were used, allowing the guide teeth to run between them.  Because large road wheels and "slack track" are characteristic of the Christie suspension, other designs with these features are sometimes misidentified as such. The real Christie suspension was used only on a few designs, notably the Soviet BT tanks and T-34, the British Cruiser tanks, including the A13's: Cruiser Mk III, Cruiser Mk IV, Covenanter, Crusader, Cromwell and the Comet, as well as some experimental Polish and Italian designs. Post-T-34 Soviet tanks, while remaining outwardly similar, have actually used torsion bar suspension, as did the German tanks with Heinrich Kniepkamp/Ernst Lehr's "Schachtellaufwerke" (interlaced running gear) suspension.  Later wartime developments simplified the suspension. By 1939, the Soviets found that the BT tank's convertible drive was an unnecessary complication which occupied valuable space in the tank, and the feature was dropped in the T-34. The original Christie suspension used large rubber-rimmed road wheels but wartime rubber shortages forced some T-34 factories to use wheels with sprung steel rims to be used instead. Most T-34s, however, continued to be built with rubber-rimmed tires.

The Christie suspension is a suspension system developed by American engineer J. Walter Christie for his tank designs. It allowed considerably longer movement than conventional leaf spring systems then in common use, which allowed his tanks to have considerably greater cross-country speed. The system was first introduced on his M1928 design, and used on all of his designs until his death in 1944.

La suspension Christie est un système de suspension développé par l'ingénieur américain Walter Christie pour ses modèles de chars. Ce système permet des mouvements de plus grande amplitude que les plus classiques ressorts à lames, jusqu'alors communément utilisés, ce qui rendait ses chars bien plus rapides en tout-terrain pour une hauteur moindre. Le système fut tout d'abord introduit sur son modèle M1928 puis sur tous les chars qu'il conçut jusqu'à sa mort en 1944.


Élections régionales boliviennes de 2010

Political parties participating.

The political parties contesting elections in each department are as follows:  Including these parties, a total of 191 political forces contested municipal elections. Only the Movement towards Socialism was involved in all 337 municipal contests. Other parties participating in large numbers of contests are as follows:

Irregularities, alleged fraud, and additional voting.

Irregularities and fraud in the voting have been alleged in at least four departments, those of the so-called "media luna", Beni, Pando, Tarija, and Santa Cruz. In all four departments, the MAS-IPSP has denounced fraud and called for legal action against those responsible, some times joined by opposing political parties. Departmental Electoral Courts have invalidated votes at a number of voting tables where fraud or irregularities have been confirmed. Voters enrolled at these tables were called to cast votes again on April 18.

Results.

Departmental results.

As of 12 Abril, with counting nearly complete, all Governor's contests were effectively decided. The MAS-IPSP won 6 governorships, in Chuquisaca, Cochabamba, La Paz, Oruro, Pando, and Potosí. Victors in other races were: Beni First's Ernesto Suárez, Rubén Costas of the Greens in Santa Cruz, and Mario Cossío of the Path towards Change in Tarija.  Complete vote totals are as follows:

Beni.

The indigenous representatives were elected separately in an Assembly of the Indigenous People of Beni held in the Pastoral Center of the Apostolic Vicarate of Beni on 22 March 2010. Lola Tabo (of the Cavineño people, nominated by the Central Indígena de la Región Amazónica de Bolivia, CIRABO) and William Cuellar (Sirionó, nominated by the Central de Pueblos Indígenas del Beni, CPIB) were elected as departmental assembly members. Inocencio Yubanure (Mojeño-Ignaciano, nominated by the Central de Pueblos Étnicos Mojeños del Beni, CPEMB) and Dolores Muiba Noza (Mojeño-Trinitario, nominated by the Central de Mujeres Indígenas Beni, CMIB) were the chosen alternates.

Mayors results.

As of 12 April, MAS-IPSP had won the Mayor's race in 229 of the country's 337 municipalities. However, among major cities (the departmental capitals plus El Alto) it won just three, Cochabamba, Cobija (Pando Department), and El Alto. Without Fear Movement candidates will be Mayors of La Paz (Luis Revilla) and Oruro. Regional candidates won in the following major cities: Jaime Barrón (PAÍS) in Sucre, Óscar Montes (Unidos para Renovar) in Tarija, Percy Fernández in Santa Cruz, Moisés Shriqui (Beni First) in Trinidad, and René Joaquino (Social Alliance) in Potosí.  Other municipal results are as follows:

The 2010 Bolivian regional elections were held on 4 April 2010. Departmental and municipal authorities were elected by an electorate of approximately 5 million people. Among the officials elected are:

Les élections régionales boliviennes de 2010 ont eu lieu le. Environ 5 millions d'électeurs étaient appelés à voter pour les autorités municipales et départementales, en particulier les gouverneurs de chaque département. Le Mouvement vers le socialisme (MAS), le parti au pouvoir d'Evo Morales (gauche), a remporté 6 des 9 départements autonomes. Le MAS n'avait que 3 régions en 2005.


Early life and college career.

Harris is a 1955 graduate of Plainfield High School (Indiana) in Plainfield, Indiana. He was inducted into the first class of Plainfield High School's Hall of Fame.  Harris graduated from Milligan College in 1959 "cum laude" with a bachelor's degree in religious studies. He was a 3-time All-Conference basketball player for Coach Duard Walker, in addition to the Honorable Mention Little All-American recognition while at Milligan. In 1965, Harris earned a master's degree in history from Indiana University.

High school coach.

He began his coaching career at the Junior High School level in Johnson City, Tennessee but is best known for his tenure in his native Indiana; in four years in the Indiana ranks he built a record of 54-15 over his last three seasons, winning two Conference titles and a Sectional title.  He coached at three different high schools in Indiana; the Roachdale Hawks, the Dale Golden Aces and the Spencer Cops; his greatest success came at Dale, as he led the Golden Aces to a 2-year record of 35-9 and a Pocket Athletic Conference title. He also coached the Dale baseball team to a PAC title and a record of 26-7; his success built using players such as Roger Kaiser and Bob Reinhart. He moved to Spencer for the 1964–65 season where they had a 19-6 record, winning another Conference title and an IHSAA Sectional title but lost in the Regional finals to Bloomington. The following year, he was hired by Earlham College.

College coach.

Harris was coach at Earlham College in Richmond, Indiana for nine seasons, building a record of 175-70 (.714) as he led the Quakers to three Conference (2 Hoosier Collegiate Conf. & 1 Hoosier-Buckeye Collegiate Conf) titles and two Top-12 rankings. His best seasons were 1967–68 when they were ranked 6th in the NAIA final polls with a 25-3 record, making him a finalist for NAIA national coach of the year, and in 1970–71, when the Quakers achieved a record of 24-5. In that year they won the HBCC and reached the National Tournament, losing in the 2nd round. He remains, today, as the Earlham coaching leader in wins and winning percentage. He led the Quakers to 15 conference or tournament titles during his tenure.

Professional coach.

Harris coached seven summers in the Superior League of Puerto Rico while at Earlham, winning three national titles while coaching against various ABA, NBA and NCAA coaches. He coached the Iberia Superstars of the European Professional Basketball League in early 1975.  After becoming acquainted with Utah Stars head coach Tom Nissalke, he was invited into the professional ranks in 1975 as an assistant coach for Nissalke at the Utah Stars of the American Basketball Association (ABA). When that franchise folded, Nissalke and Harris were hired as head and assistant coach, respectively, for the NBA's Houston Rockets at the start of the 1976–77 season. They won the Central Division that year, Nissalke earning Coach of the Year honors.  When Nissalke was let go by the club after the 1979 season, Harris was asked to take over head coaching duties for the 1979–80 season. Harris led the Rockets to the NBA Finals in the 1981 season, where they were defeated by the Boston Celtics four games to two in Larry Bird's first championship. Hall of Famer Moses Malone made Harris the Rockets' winningest coach in the first three years with 128 wins and three trips to the playoffs, but when Philadelphia acquired Malone in free agency, the Rockets sacrificed the season to get Ralph Sampson in the draft. Not signing any of their own free agents, the Rockets finished last and Harris was replaced with Bill Fitch.  Don Nelson hired Harris for the Milwaukee Bucks team, where he became head coach four years later when Nelson left for Golden State after experiencing a rift with Bucks owner Herb Kohl. A year later Harris was also named Vice President of Basketball Operations.  After his stint with the Bucks, Harris became head coach of the Los Angeles Lakers, winning NBA Coach of the Year honors in 1994–95, winning 48 games a year removed from being in the NBA lottery. In his four full seasons the Lakers won more each successive season, following 48 wins with 53, 56 and 61. In his third season the Lakers acquired 18-year-old Kobe Bryant and 24-year-old Shaquille O'Neal. Despite being the youngest team in the league and O'Neal missing 53 games due to injuries those two seasons, the Lakers eliminated the 61-win Seattle SuperSonics in the playoffs before being eliminated by the Utah Jazz with Karl Malone and John Stockton in the 1997–98 season. The Lakers fired Harris after leading them to a 6–6 start at the beginning of the lockout-shortened 1998–99 season.  Harris was an assistant coach for the Dallas Mavericks from 2000 to 2007.  On July 3, 2008, the "Chicago Tribune" reported that Harris agreed to become an assistant coach for the Chicago Bulls along with former Charlotte Bobcats head coach Bernie Bickerstaff and longtime NBA assistant Bob Ociepka. Along with Bickerstaff and Ociepka, Harris was expected to help establish a veteran presence on the coaching staff and help rookie head coach Vinny Del Negro. In June 2009, it was reported that Harris would step down as assistant coach to the Bulls, and retire after a career spanning 50 years.  On November 30, 2009, after the New Jersey Nets had lost their first 18 games and removed coach Lawrence Frank, GM Kiki VanDeWeghe asked Harris to come help him as he took over the coaching reins. Harris stayed until the week before the All-Star game and announced he would not continue on the rest of the season. He returned to his home in the Dallas area to be the General Manager of the Texas Legends of the NBA Development League, the Mavericks minor league affiliate.  On October 3, 2011, it was announced that Harris would take over as the head coach for the Dallas Mavericks' NBA Development League affiliate the Texas Legends. At age 74 he was the oldest head coach in the history of the NBA system. The following year, he returned to being GM and Eduardo Najera was named head coach. Currently Harris is the Vice President of the Legends.  Starting with the 2017-2018 season, he is serving as a pregame and postgame analyst on Mavs Live on Fox Sports Southwest.

International.

Harris coached seven seasons in Puerto Rico's National Superior League (1969–75), posting a 176-61 record and winning three national championships (1973–75). His club team, the Bayamón Vaqueros, won bronze in the FIBA Will Jones Cup in 1972 in São Paulo Brazil, the championships for World Club team. He also served as head coach of the National Team for the CentroBasket games in El Salvador in 1974, winning the first international gold in Puerto Rico's history. He also coached the team to a silver in the FIBA Copa do America X Europa in São Paulo, Brazil in 1974.  In 1994, he served as consultant for Canada and assisted head coach, Ken Shields, in the World Games in Toronto.  He was an assistant coach under Rudy Tomjanovich with the US national team in the 1998 FIBA World Championship, winning the bronze medal. The team was handicapped by only using college players as there was a lockout in the NBA.  Harris also served as the first foreigner to become coach of the Chinese national men's team, where he coached NBA All-Star center Yao Ming and led China to a surprising upset victory over Serbia and Montenegro in the 2004 Athens Olympic basketball tournament.  In the fall of 2011, Harris assisted coach John Calipari with the Dominican Republic national team. They won bronze in 2011 FIBA Americas Championship in Mar del Plata, Argentina (the first major basketball medal in the Dominic Republic's history). In winning the bronze medal they qualified for the 2012 World Olympic qualifier in Caracas, Venezuela. They finished fourth, thus missing to qualify for the Olympics by one game in both years. They did win the gold medal at the CentroBasket Games held in Puerto Rico prior to the World Qualifier, beating the host time for the first time ever on their home court.  In 2010, he was awarded the Jerry Colangelo Award for Leadership and character on and off the court at the NBA All-Star Game in Los Angeles. In 2014, he received the Coach John Wooden "Keys to Excellence" Award the NCAA Final Four in Dallas.  He is a member of the Indiana Basketball Hall of Fame, the NAIA Basketball Hall of Fame as well as those of Milligan College and Earlham College.

Personal life.

He has four sons (Alex, Larry, Stan, and Dominic) and one daughter (Carey). All of his children played basketball at the collegiate level (Eastern New Mexico, Eastern New Mexico, University of North Texas, Dallas Baptist University, and Marquette University respectively). He is the father of former Bucks general manager Larry Harris.

Legacy.

On February 15, 2019, Harris was named as one of two 2019 recipients of the John Bunn Award (with Harry Glickman), awarded by the Naismith Memorial Basketball Hall of Fame as a lifetime achievement honor for those "whose outstanding accomplishments have impacted the high school, college, professional and/or the international game."

Acting.

Harris appeared in some minor roles in Space Jam, Over the Top, In the House, and Diagnosis Murder

Head coaching record.

NBA.

! align="left" colspan="2"|Career ||1,013||556||457||.549|| ||88||38||50||.432|| |

Awards.

Harris has been inducted into the Plainfield High School (Indiana) Hall of Fame, the Indiana Basketball Hall of Fame, the Milligan College Hall of Fame, and the National Association of Intercollegiate Athletics Hall of Fame.

Delmer William Harris (June 18, 1937) is an American basketball coach who is currently the vice president of the Texas Legends, the NBA D-League affiliate of the Dallas Mavericks. He served as a head coach for the NBA's Houston Rockets, Milwaukee Bucks, and Los Angeles Lakers, as well as the Legends. He was also an assistant coach for the National Basketball Association's New Jersey Nets, Chicago Bulls, Dallas Mavericks, Milwaukee Bucks, and the Houston Rockets.

Delmer (Del) William Harris (né le à Plainfield, Indiana) est l'ancien entraîneur assistant des New Jersey Nets en NBA. Il a été entraîneur assistant des Chicago Bulls. Il a également été entraîneur des Rockets de Houston, des Bucks de Milwaukee et des Lakers de Los Angeles.