Chicken and Duck Talk

Chicken and Duck Talk () is a 1988 comedy film starring and co-written by Michael Hui. It is directed and co-written by Clifton Ko. The film deals with the conflict that ensues between the proprietor of an old-fashioned roast duck restaurant that is in trouble for health violations and the new fast food chicken restaurant that opens across the street. The film was the highest-grossing Hong Kong film released in 1988. Hui's screenplay and performance won him several awards, including a special award given by the American Film Institute in 1989.
The film also includes a celebrity cameo by Sam Hui (Michael's younger brother), as the master of ceremonies at the grand opening of Danny's Chicken, and the screen debut of Gloria Yip in a brief appearance as Hui's son's school friend. Sam Hui (as himself) speaks the title phrase, an idiom for people not understanding each other, to cut his speech short.
Plot.
Hui (Michael Hui) is the struggling proprietor of a Cantonese BBQ roast duck restaurant in Hong Kong. At the beginning of the film, Hui is visited by a health inspector, who finds a cockroach in his soup and other unsanitary conditions, and threatens to sue the restaurant. However, Hui's staff stop the inspector from leaving with evidence, allowing Hui to continue running the restaurant. While the restaurant is operated on ground floor, Hui lives upstairs with his wife and son. He receives a visit from his rich mother-in-law (Yan Pak), who is convinced that her daughter, Ah Kuen/Tammy (Sylvia Chang), has married a good-for-nothing man. Hui faces competition when a profit-oriented businessman, Danny Poon (Lawrence Ng), opens what is to be the first of a fast food chain of fried chicken restaurants across the street from him. Danny's Chicken employs a wide range of marketing techniques that makes them instantly popular, causing Hui's business to plummet. Jealous of the employees at the rival chicken restaurant and fed up with their poor pay and working conditions, Hui's staff voice their dissatisfaction and one of the employees, Cuttlefish (Ricky Hui), leaves to work at Danny's Chicken. However, he discovers while being trained at Danny's Chicken that Poon's regimen is strict and humiliating. He is made to hand out leaflets outside the shop dressed as a chicken, much to Hui's disgust. In response to Hui's dwindling business, his nagging mother-in-law offers to pay for a renovation, but Hui is at first too proud to accept. He finds out that his son visited Danny's Chicken with his girlfriend Judy (Gloria Yip), and decides to infiltrate the rival business dressed as an Indian woman, but is quickly exposed by Poon. Hui tries to turn his luck around by adopting Poon's marketing techniques and "packaging" in order to appeal to the fashionable crowd, redecorating and holding a disastrous karaoke night. He also begins to parade the street in a makeshift duck costume, leading to a physical altercation with Cuttlefish in his chicken suit that nearly gets them both arrested. His attempts only succeed in alienating his loyal customers, including a Buddhist nun whose regular order is vegetarian noodles with no lard. Poon plots a final sabotage against Hui by releasing rats into the restaurant during a health inspection. Cuttlefish returns to the duck restaurant, disillusioned with Poon's techniques to the point he even tried to foil the sabotage, and Hui refuses Poon's attempt to buy out the business that he has run for years. Hui overcomes his pride and accepts his mother-in-law's help to renovate the restaurant before she leaves for China. The renovation is a success, so much so that Danny's Chicken begins selling roast duck in imitation, but it is not as good as Hui's secret recipe. Angered that his fast food chain has been defeated, Poon resorts to an arson attempt that goes wrong and ends up setting Danny's Chicken on fire before he is rescued by Hui.
Reception.
A retrospective review in 2005 rated the film as "justly famous... well-made, it was a fresh look at ordinary urban Hong Kongers, and it's funny."


In the Forests of Siberia

In the Forests of Siberia (original title: Dans les forêts de Sibérie) is a 2016 French film directed by Safy Nebbou and adapted by Nebbou and David Oelhoffen from Sylvain Tesson's 2011 book "The Consolations of the Forest". It stars Raphaël Personnaz.
Plot.
To satisfy a need for freedom, the French media-director Teddy decides to leave the noise of the world, and settles alone in a cabin on the frozen shores of Lake Baikal.
One night, lost in the blizzard, he is rescued by Aleksei, a Russian murderer on the run, who has been hiding in the Siberian forest for several years.
Between these two men, who are opposed to each other, friendship will be born as sudden as essential.


Wishcraft

Wishcraft is a 2002 American slasher film directed by Richard Wenk and starring Michael Weston and Alexandra Holden. The screenplay concerns a teenager who receives a talisman that gives him three wishes.
Plot.
A high school student named Brett Bumpers (Weston) receives a mysterious package one day. It contains a bull penis totem with a note explaining that it will grant him three wishes. His first wish is for Samantha (Alexandra Holden) to go with him to a spring dance. The next day, Samantha invites him to the dance, and he suspects that his wish has come true. Samantha's boyfriend Cody is the star jock at the school, and he is humiliated by Samantha's decision.
After the dance, one of Cody's buddies is murdered by a cloaked figure with a grotesquely disfigured face. When Brett drops Samantha off at home, she suggests that they should return to just being friends. Heartbroken, Brett makes his second wish that Samantha would become his girlfriend and actually fall in love with him. The next day, Samantha breaks up with Cody and initiates a relationship with Brett. Meanwhile, the cloaked figure continues to kill students at the high school.
Feeling guilty about wishing Samantha into a relationship, Brett confesses the truth to her. As Samantha is coming to grips with the truth, the cloaked figure attacks the pair. He lures Brett away from Samantha and then reveals himself to be Brett's history teacher, Mr. Turner (Austin Pendleton). Mr. Turner explains that he bought the totem and discovered that it actually granted wishes. He wished his wife dead, to avoid divorcing her. Then he wished for "Fuck-you-money", and he promptly got $100 million which he hid in a Swiss bank account. Mr. Turner confessed that he also wished for supernatural strength, because he decided to kill problem students at the school. As he was killing the students on his list, he sent the totem to Brett because he was an exemplary student. If the totem is given to another person, that person can also make three wishes.
Mr. Turner then reveals that Samantha is the last name on his list. Just as he is about to kill Samantha, Brett makes his third wish, asking for more strength and agility than Mr. Turner. The two struggle, and eventually, Brett kills Mr. Turner with a samurai sword. Brett gives the totem to Samantha so that she is not forced to love him against her will. She uses the totem to begin their relationship again, but this time, on her own terms.
Reception.
Website "Beyond Hollywood" gave the film a positive review, stating: "The film doesn’t have the Hollywood slick and gloss, but it makes up for the lack of visual polish with a surprisingly good script and an all-around good cast." "Eye for Film" gave "Wishcraft" two out of film stars, saying that only fans of the genre would enjoy the film: "Perhaps dedicated fans of the genre might find some solace in the films use of the old horror clichés, but I don't think anyone else will. Still, at least there's plenty of suspects for you to play Guess The Psycho..." Luisito Joaquín González from "Slash Above" also reviewed the film, concluding: "Of the myriad of Scream imitators that were unleashed during the early noughties, Wishcraft is most definitely not one of the worst that you can place your hands upon. Weston and Holden make for an agreeable pairing and the film is worth seeing for maintaining an impressive pace and generating moments of unique humour. It is an ok time-waster rather than a good one and I can’t help but feel that it tries too hard to have one over on Wes Craven and Kevin Williamson."


Drying Nets

Drying Nets or Fishermen Spreading Their Nets is an 1872 oil on canvas painting by Alfred Sisley, now in the Kimbell Art Museum. The painting shows a scene near the village of Villeneuve-la-Garenne.
Like "The Seine at Argenteuil" painted the same year and "The Seine at Port-Marly, Piles of Sand", it shows people at work on the River Seine near Argenteuil, Val-d'Oise. These contrast with much of his other work, which like the other Impressionists shows the Seine as a place of leisure.


Forest Idyl

Forest Idyl (sometimes spelled Forest Idyll, but originally titled "Idyl") is a bronze statue created in 1924 by Albin Polasek while he was head of the Sculpture Department at the Art Institute of Chicago. There are several copies of three versions of the sculpture, the locations of which are Brookgreen Gardens in South Carolina; three in Winter Park, Florida, at the Albin Polasek Museum & Sculpture Gardens and at City Hall; and in Muncie, Indiana, at Ball State University.
History.
When the first version of "Forest Idyl" was made, it was created using the lost wax casting process, in which Polasek sculpted a model that was then cast in bronze by a foundry in New York called Roman Bronze Works. The piece was finished with a patina, a process overseen by Polasek. This essentially means that each "Forest Idyll" cast is an original Polasek work.
The piece depicts a nature scene, supposedly occurring in a forest, of a wood nymph mingling with two wild deer. This is the aspect of the piece that suggests the "Forest" part of its name. Merriam-Webster describes an "idyll" as "a work that deals with rustic life or pastoral scenes or suggests a mood of peace and contentment." Combined in the name "Forest Idyl", these concepts evoke a peaceful scene taking place in a forest environment.
The particular piece that is "Forest Idyl" was first conceived by Polasek as "an Indian piping to two deer," but while he was in the process of working on it, it evolved into the statue as we know it today: a wood nymph holding a baby deer sniffing at a grown doe. This original version was actually only 26 inches tall. After several years, a request for a larger version was commissioned for Brookgreen Gardens in South Carolina, and that version still resides there, the catalyst for the other cast of the same size that was later produced.
Upon its release, "Forest Idyl" was very successful, receiving positive reviews, and was for sale at the Grand Central Art Galleries in New York City. A casting of this particular version was won in a drawing by Daniel Chester French, who wrote an appreciative letter to Polasek noting it as a "Charming-delightful piece of Sculpture which I Shall value not only for itself but as an example of the work of a man whom I value as a friend and respect very much as a sculptor."
Artist.
Albin Polasek, thought of as one of the most prominent sculptors of the twentieth century, was born on February 14, 1879, in Frenštát, Moravia (now within the Czech Republic) to Czech parents. He worked as a woodcarver in Vienna for four years before immigrating to the United States in 1901 at the age of 22. After arriving in the United States, he went to both Dubuque, Iowa, and LaCrosse, Wisconsin to carve wooden and stone statues for midwestern churches. He later attended The Pennsylvania Academy of the Fine Arts in Philadelphia, working under the guidance of sculptor Charles Grafly, and then was awarded a three-year Fellowship to the American Academy of Art in Rome. Later on, working as the head of the Department of Sculpture at the Art Institute of Chicago for 30 years, he committed his life to making and teaching art and was extremely grateful for his educational experience in America. He said:
"Through the opportunities that this country gave me, I started to carve out my destiny, to free myself from the rock so that I might be useful. No one knows the deep gratitude I feel for all that I have received. So if, as an immigrant, I have been able to contribute to some small part of American life, I know that I owe it to the opportunities this country has afforded me."
Due to his passion for and dedication to his art, Polasek created many well-known pieces throughout his lifetime. He won a number of awards for his sculptures such as the Stewardson Prize in 1906, the Prix de Rome competition in 1910, and the honor of being elected an Associate Member of the National Academy of Design in 1927 and promoted to Full National Academician status in 1933. Being so prestigious, he was employed by many to create public pieces that can still be found throughout Europe and America.
At the age of 70, Polasek retired and moved to Florida. There he met up with long-time friend, Ruth Sherwood, whom he married at the age of 71. Seven months before he and Sherwood married, Polasek had suffered a stroke, leaving his left side completely paralyzed. He spent the rest of his life in a wheelchair but was able to continue to draw, paint, model clay, and even carve stone with assistance. In October 1952, Ruth Sherwood died of throat cancer. In 1961, Polasek married Emily Muska Kubat, the widow of Dr. William Kubat, a fellow Czech who shared his love of art and culture.
Before his death on May 19, 1965, Polasek and his wife, Emily, set up the Albin Polasek Foundation, featuring 200 of his 400 works of art, and opened his estate to the public.
Art style.
Polasek first worked as a woodcarver, but transitioned to many other mediums such as stone, bronze, clay, plaster, and oils when he attended Pennsylvania Academy of the Fine Arts.
His main goal, when sculpting, is said to have been to impart the beauty of motion, and he believed that the basic form of a piece must be constructed by the movement of the figure being sculpted. Because of this, he avoided using decoration to hide structure, and attempted to make his sculptures as lifelike as possible by giving them flowing characteristics to make them seem as if they had just been moving, and as if they could begin again at any time. This is certainly apparent within the pyramidal structure of "Forest Idyl". Since Polasek is also known for making pieces based on the structure of nature, it is no surprise that "Forest Idyl" follows suit, depicting a woman mingling with deer in a forest setting.
Many of his pieces echo the styles of other works such as those by Auguste Rodin, who moved away from reality in his early period and whose style was more concerned with monumental expression than with character, or Michaelangelo, whose style reflected exaggerated poses and idealized the human form. A good amount of Polasek's influences come from his Catholic background, and approximately one third of all his works are religious pieces. Other influences include folklore themes, as he showed an interest in preserving old Czech and Slovakian myths, legends, and heroes.
Another trait of Polasek's work is his emphasis on all perspectives of a sculpture being important. He favored pieces that presented one side to the viewer above all others, but felt that the other sides played a part as well, and once had an argument with another artist on the topic. The other sculptor claimed that a piece should be sculpted to present only one side to the viewer, and that the rest of the sides were, more or less, useless. As a retort to the sculptor's later comment that it is impossible to make the ends of a flat composition interesting, Polasek sculpted a piece entitled "Aspiration," for which he won the Widener Gold Medal in 1915, which demonstrates that all sides of a sculpture can be interesting.
Background and locations.
There are currently at least four known castings of "Forest Idyl" located in different areas of the United States.
The 1930 version of "Forest Idyl" is located at Ball State University in Muncie, Indiana. More commonly known as "The Naked Lady" by Ball State students, this statue is displayed in the lobby of Bracken Library near the south entrance. This copy is set apart from the others in the fact that it still has most of its original green patina, a film covering the surface of the statue. It still holds this characteristic because it is displayed indoors, away from the corrosive effects of weather damage. Ball State acquired the "Forest Idyl" from Frank C. Ball, one of the five Ball Brothers who founded the university. The statue is currently on loan from the David Owsley Museum of Art, and is used as a location for students to converge to work as a group or just to meet for any occasion. Notes are often left around the statue to inform other Ball State students of meeting times and locations. The marble base of the statue has a plaque that has the following inscription:
"Forest Idyll
1930
Albin Polasek
Lent by the David Owsley Museum of Art Ball State University
Frank C. Ball Collection
Gift of the Ball Brothers Foundation"
Another "Forest Idyl" statue, located in Murrells Inlet, South Carolina at Brookgreen Gardens, was ordered by the famous sculptor, Anna Hyatt Huntington, and her husband, Archer Milton Huntington, after seeing the smaller 1924 version at a gallery in New York City. Polasek sculpted this version in 1930 while serving as a visiting professor at the American Academy in Rome, and used gazelles from a Roman zoo as models for the deer in the piece. This rendition is the same as the one that resides in Bracken Library.
The Albin Polasek Museum and Sculpture Garden in Winter Park, Florida also contains a copy of the 1924 version, and another version is on display at City Hall in Winter Park, Florida.


Return of the Secaucus 7

Return of the Secaucus 7 is a 1980 drama film written and directed by John Sayles and starring Bruce MacDonald, Maggie Renzi, Adam LeFevre, Maggie Cousineau, Gordon Clapp, Jean Passanante, and others. The film tells the story of seven friends who spend a weekend together in New Hampshire. The weekend is marred by the break-up of a relationship between two of the friends. This causes a ripple effect among the group and brings up old desires and problems.
The picture was thought to have inspired "The Big Chill" (1983), which is a more widely known film with a similar storyline. However, writer-director Lawrence Kasdan has denied having seen "Return of the Secaucus 7" before working on "The Big Chill". In 1997, the film was added to the National Film Registry of the Library of Congress for its historic merits.
Plot.
Teachers Mike Donnelly (MacDonald) and Katie Sipriano (Renzi) prepare to host a gathering of their old college activist friends at their rural New Hampshire home. Frances (Cousineau), now in medical school, drives in with her old boyfriend, wannabe folk singer J.T. (LeFevre), who she found hitchhiking to the gathering. Irene (Passanante), a speechwriter for a Democratic U.S. senator, arrives with her conservative boyfriend, Chip (Clapp), who did not attend college with the others. Maura (Trott) says that she and Jeff (Arnott) are no longer a couple, which shocks the others and causes a somewhat uneasy first evening. Maura and J.T. are mutually attracted and have sex that night while Frances is nearby. The group attends a play that their old friend, Lacey, is acting in. Katie heckles Lacey, annoying Mike.
Jeff arrives and is apparently unaware that Maura has ended their relationship. This further strains the group's cohesion, especially when J.T. tells Jeff he had sex with Maura, believing she was single. Jeff acknowledges being angry at J.T., but it does not end their friendship. After playing basketball and skinny-dipping with Mike's high school friends, Ron (Strathairn) and Howie (Sayles), the group goes to a bar. Jeff and Maura get into a loud argument and Ron make a pass at Frances, who is upset that J.T. and Maura were intimate. Ron and Frances leave for a local hotel, while Maura leaves by herself, and the rest of the group drives separately. Out on the road, the group come upon a deer carcass. An undercover cop arrests them on suspicion of illegal game hunting. While sitting in lock-up, the group recounts their various arrests during their college years and the formation of their nickname, the "Secaucus 7". A local drunk confesses to hitting the deer, and everyone is released. The following day, the group leaves one-by-one, and J.T. insists on hitchhiking to Boston, refusing money from Maura for a bus ticket. Jeff is left alone, and angrily chops wood on Mike's property. The film ends with Mike and Katie finding a farewell note from Jeff reading, "I'm sorry. --Jeff".
Reception.
Critical response.
Film critic Emanuel Levy liked the film and wrote, "The movie became influential, launching a cycle of "reunion" films, which included "The Big Chill" and the TV series "Thirtysomething". As a portrait of disenchantment, "Return" was more authentic and honest than Lawrence Kasdan's star-studded "Big Chill"...A rueful movie about unexceptional lives that have prematurely grown stale, "Secaucus" is a bit commonplace, lacking genuine drama. But Sayles uses effectively a discursive, episodic format; he constructs strong scenes with resonant dialogue. The characters are complex and individually distinguished by speech, gesture, and manner."
Critic Frederic and Mary Ann Brussat wrote, "Here's a nice little movie about the baby boom generation...Novelist John Sayles wrote, directed, and edited this movie. It is a labor of love. We watch these laidback individuals share their stories and reminisce about the past...But these baby boomers can't handle tension; the rift between Jeff and Maura sends tremors through the weekend. And although they put up a front of having a good time, one senses that things haven't turned out well for them — either in terms of meaningful relationships or in terms of personal fulfillment. "Return of the Secaucus Seven" leaves one with a rueful feeling about this generation."
The review aggregator Rotten Tomatoes reported that 80% of critics gave the film a positive review, based on eleven reviews.
Film critic Aljean Harmetz of "The New York Times" wrote in her review: "For a movie that cost $60,000, "The Return of the Secaucus Seven" is traveling in heady company. Most $60,000 movies play at two film festivals, then end up on a 16-millimeter projector in their director's living room. "The Return of the Secaucus Seven," about seven antiwar activists who spend a weekend together 10 years later, was the surprise hit of last spring's Los Angeles Filmex festival. The movie was also selected as one of the 10 best films of 1980 by The Boston Globe, The Los Angeles Times and Time magazine, and last week it was nominated by the Writers Guild as best comedy written directly for the screen. When it opened an unsuccessful commercial run in New York last September, Vincent Canby, although expressing some reservations, praised the film as "sweet and engaging" and "an honest, fully realized movie." Today it will try again, opening at the Quad in Greenwich Village this time."
Release.
"Return of the Secaucus 7" was released in United States theatres on September 5, 1980. The film was released on DVD by MGM Home Entertainment on September 16, 2003.
Accolades.
Wins
Nominations
Other distinctions


Guy Big

Guy Big (26 February 1946 – 2 May 1978 at Toronto) was the stage name of Alan Herbert Hoffman, a Canadian actor. He was most noted for his role in the children's television series "The Hilarious House of Frightenstein" as the Midget Count, although he also appeared in the movie "Find the Lady" as Miniature Man, in the "King of Kensington" episode "Tiny's Job" as the character Tiny Russell, and a guest on "The Tommy Hunter Show". Before his death he filmed a television adaptation of Isaac Asimov's "The Ugly Little Boy" which aired in 1977 on TVOntario.
Hoffman spent his childhood in Yorkton, Saskatchewan, then attended the University of Alberta. During his years in Toronto, he also became a social worker and earned a relevant degree at Ryerson Polytechnical Institute. He had originally been slated to play the lead role of The Count in "Hilarious House of Frightenstein", as the original character concept had been based on the sight gag of a diminutive count contrasted against the height and weight of Fishka Rais as the Count's assistant Igor; however, as a novice actor Big struggled with the Count's accent, so a new role was written for him as the Midget Count while the role of the main Count was given to Billy Van.
Big died aged 32 in Toronto from an unspecified cause, although he was reportedly treated for throat cancer in 1977.


Saint Jerome Hears the Trumpet of the Last Judgment

Saint Jerome Hears the Trumpet of the Last Judgment is a 1779 painting by the French artist Jacques-Louis David.
Description.
Jerome, one of the four Doctors of the Church, is depicted as a half-clad anchorite in his cell, with common iconographical attributes, a cross, a skull and bible. He is holding a quill in his right hand, indicating that he is writing the Vulgate. He is wearing the red garb of a cardinal, indicative of his role as secretary to Pope Damasus I. The skull alludes to this intellectual and penitential life.
Provenance.
The painting came to Quebec City between 1901 and 1908, owned by Henriette and Geneviève Cramail. After David's death in 1825, the painting entered the collection of Cardinal Joseph Fesch, and then in the collection of Cramail sisters' grandfather, the history and genre painter Gustave Mailand (1810-1880).
It was donated by the sisters to the parish of Notre-Dame de Québec in 1938, to replace works of art that were lost in a fire at the cathedral in 1922. From 1995 to 2013, the painting was on display at the National Gallery of Canada. It was subsequently in storage at the Musée de la civilisation in Quebec City for conservation. It currently hangs in the Montreal Museum of Fine Arts (MMFA).
Sale.
The parish of Notre-Dame de Québec, looking to raise operating funds, approached the Musée de la civilisation, the Montreal Museum of Fine Arts and the National Gallery of Canada in 2016. The cost of the painting nearly equalled the entire acquisition budget of the National Gallery (8-million). The National Gallery of Canada has valued the painting at . The asking price was . The gallery made an initial offer of that the parish refused. When it did not find a buyer it started to approach international institutions. The National Gallery made in bid in December 2017 that was conditional on the sale of a Chagall painting at auction on May 15, 2018. The Musée de la civilisation and Montreal Museum of Fine Arts have made attempts to raise funds to buy the painting together.
Nathalie Bondil, director of the Montreal Museum of Fine Arts has claimed that "St. Jerome" was not in danger of being sold to foreign buyers because that wouldn't be allowed under Quebec's Cultural Heritage Act. Marie Montpetit, Quebec's Minister of Culture and Communications announced on April 23, 2018 that the province of Quebec issued a notice of intent to have "Saint Jerome" classified as a heritage document. On the same day, Françoise Lyon, chair of the board, and Marc Mayer, director of the National Gallery said the gallery would halt its efforts to obtain the painting.
"Saint Jerome" is one of only two paintings by David in a Canadian collection, the other one a small portrait of Pierre Sériziat from 1790, in the collection of the National Gallery.


Houses on the Achterzaan

Houses on the Achterzaan is an 1871 painting by French artist Claude Monet. Done in oil on canvas, the work depicts riverside garden houses on the west shore of the Achterzaan river in Zaandam, the Netherlands. He painted it from the in the Zaan, facing northwest. The painting is in the collection of the Metropolitan Museum of Art.
Background.
Monet traveled to the Netherlands on the advice of fellow painter Charles-François Daubigny, who highly recommended that Monet study the splendor of the Achterzaan river. The paintings Monet produced on his trip (often referred to as his Dutch landscapes), including "Houses", were well received by his fellow impressionists.


Coat of arms of Enkhuizen

The coat of arms of Enkhuizen has been the coat of arms ever since Enkhuizen received borough rights in 1355. The coat of arms was acknowledged in 1816 by the High Council of Nobility, the coat of arms has not been changed ever since.
History.
The oldest known seal dates from 1361. The herrings stand upright. They probably symbolise the importance of fishery. Besides the herrings the seal also shows two six pointed stars. The seal was used until 1478. A new seal was created in 1538. This seal shows the herrings placed horizontally on a shield. This shield - or escutcheon - is held by a woman standing on the side. In 1816 Enkhuizen received a new coat of arms, acknowledged by the High Council of Nobility.
The herrings on the seal have never been crowned. In the atlas made by Willem Blaeu they do wear crowns. The coat of arms is shown in azure and argent.
The coat of arms is also shown in the canton of the flag of Enkhuizen. Herrings were also used on the coat of arms of the water board Drechterland.
This coat of arms was partially formed by map makers who expressed their artistic freedom during the creation process. Until 1816 the herrings looked towards the right (left from the viewpoint of the bearer), they had no crowns and there were two stars between the herrings. Both stars had six points but since 1816 they have eight points. The supporter probably is the personification of Enkhuizen, in Dutch "stedenmaagd".
Heraldic elements.
The coat of arms exists out of an escutcheon and a supporter. There is no crown, motto or other heraldic element.
Escutcheon.
The field of the coat of arms is azure and charged with three vertically ordered argent herrings looking to the right and placed "en fasce". All three have a crown or three acanthus leaves (in Dutch heraldry: fleurons) above their head. Above the dorsal spines they have a star containing eight points.
Supporter.
The supporter is not properly described in the emblazonment. She is only described as a woman standing. Neither the cloths, nor the way the woman holds the escutcheon is described. Usually she wears white clothing and she holds a shield using a red ribbon to do so. She always pictured on the right side (left from the viewpoint of the bearer) of the coat of arms, and on a field of grass.
Notes.
All references are in Dutch.


Mose Tolliver

Moses Ernest Tolliver (July 4, 1918-20 – October 30, 2006) was an American artist. He was known as "Mose T", after the signature on his paintings, signed with a backwards "s".
Biography.
Tolliver was born one of 12 children to sharecroppers Ike and Laney Tolliver in the Pike Road community, near Montgomery, Alabama. His exact year of birth is unknown, though it is known he was born on the Fourth of July. He attended school only until the third grade due to a self-described lack of interest in education. In the 1930s, the family moved to Montgomery, Alabama where he helped support his parents and their large family by doing odd jobs.
In the early 1940s he married his childhood friend, Willie Mae Thomas, and had 13 children, 11 of whom survived to adulthood. During the late 1960s, after a severe injury (his legs were crushed when a load of marble shifted and fell from a forklift as he was sweeping in the furniture factory), he turned to painting to combat boredom, pain and long hours of idle time. He would often turn his paintings upside-down and paint the picture of perhaps an animal and landscape positioned from various directions. Tolliver's titles are wildly divergent; e.g., "Smoke Charlies", "Scopper Bugs" or "Jick Jack Suzy Satisfying her own Self".
Tolliver died from pneumonia at age 82 on October 30, 2006, in Montgomery, Alabama.
Career.
Tolliver signed his work, "Mose T" with a backward "s". He regularly worked with "pure house paint" on plywood, creating whimsical and sometimes erotic pictures of animals, humans, and flora. His familiar themes also included watermelons and birds. Tolliver's painting style is referred to as flat, full frontal or straight profile with a muted palette. A "Quail Bird" may glide over a cotton field, or a spread-leg "Diana" or "Moose Lady" may be straddled over an exercise bicycle rack. Never able to walk well following his injury, he painted many self portraits with crutches or would sit on his bed and balance whatever surface he was painting on, on his knees. Tolliver's themes were drawn from his own experience.
Tolliver's work has been exhibited in the Smithsonian American Art Museum in Washington, DC, and at the Philadelphia College of Art, Montgomery Museum of Fine Arts, and the Corcoran Gallery of Art. Relatives of Tolliver have imitated his style and signed their work as he did, making it sometimes difficult for collectors to find an original painting. His daughter Annie was also an artist.
Collections and exhibitions.
Mose Tolliver is part of numerous permanent art collections including:
Metropolitan Museum of Art, New York
Smithsonian's National Museum of American Art
High Museum of Art, Atlanta
Deyoung Museum, San Francisco
Birmingham Museum of Art
Akron Art Museum
University of Michigan Museum of Art
Minneapolis Institute of Art
Many institutions have exhibited Mose Tolliver works including:
Metropolitan Museum of Art, New York, NY
Deyoung Museum, San Francisco, CA
Smithsonian American Art Museum, DC
Retrospective, American Folk Art Museum, New York, NY
Passionate Visions of the American South, New Orleans, LA


Varvakeion Athena

The Varvakeion Athena is a Roman-era statue of Athena Parthenos now part of the collection of the National Archaeological Museum of Athens. It is generally considered to be the most faithful reproduction of the chryselephantine statue made by Phidias and his assistants, which once stood in the Parthenon. It is dated to 200–250 AD.
The statue is tall, approximately one twelfth the estimated height of the original. It is carved of pentelic marble and bears traces of red and yellow paint. Athena is dressed in a peplos belted with a zone in the form of two snakes; over this she wears the aegis, decorated with snakes and with the gorgoneion in the center. She wears an Attic helmet with the cheek guards upturned; it has three crests, the center sporting a sphinx and those on the sides a pegasus. Her left hand rests on the rim of a shield which also bears the gorgoneion; the shield rests against the "oikouros ophis" (sacred snake) identified with Erichthonios, the city's legendary founder. The outstretched right hand is supported by a column and holds a winged figure of Nike, the head of which is missing. This smaller image is likewise garbed in a peplos and is turned somewhat towards the main figure. The whole assemblage rests on a rectangular base.
Certain differences between the original as described by Pausanias and Pliny may be noted. The original base was decorated with a frieze showing the birth of Pandora, whereas the copy is plain; Pausanias also describes a spear which the copy lacks. The shield lacks the amazonomachy on the front which Pliny describes. The presence of the column is cited by many in the argument over whether the original required a similar support, though many reconstructions omit it (e.g. that in the Nashville Parthenon).
The statue is named for the locale of its discovery in 1880, near the original site of the Varvakeion School.


Saint Francis of Assisi in Ecstasy (Caravaggio)

Saint Francis of Assisi in Ecstasy (or "The Ecstasy of Saint Francis") is a painting by the Italian Baroque master Michelangelo Merisi da Caravaggio. It is held in the Wadsworth Atheneum, Hartford, Connecticut.
The painting was the first of Caravaggio's religious canvasses, and is thought to date from 1595, when he had recently entered the household of Cardinal Francesco Maria Del Monte. It was presumably painted at the behest of Del Monte, and is thought to be one of the first paintings done by the artist as "Del Monte's painter", as he is believed to have described himself over the next few years while living in Palazzo Madama. It shows Saint Francis of Assisi (the Cardinal's name-saint) at the moment of receiving the signs of the Stigmata, the wounds left in Christ's body by the Crucifixion. The story is told by one of Francis' companions, Brother Leo. In 1224 Francis retired to the wilderness with a small number of his followers to contemplate God. On the mountainside at night Brother Leo saw a six-winged seraph (one of the higher Orders of angels) come down to Francis in answer to the saint's prayer that he might know both Christ's suffering and His love:
All of a sudden there was a dazzling light. It was as though the heavens were exploding and splashing forth all their glory in millions of waterfalls of colours and stars. And in the centre of that bright whirlpool was a core of blinding light that flashed down from the depths of the sky with terrifying speed until suddenly it stopped, motionless and sacred, above a pointed rock in front of Francis. It was a fiery figure with wings, nailed to a cross of fire. Two flaming wings rose straight upward, two others opened out horizontally, and two more covered the figure. And the wounds in the hands and feet and heart were blazing rays of blood. The sparkling features of the Being wore an expression of supernatural beauty and grief. It was the face of Jesus, and Jesus spoke. Then suddenly streams of fire and blood shot from His wounds and pierced the hands and feet of Francis with nails and his heart with the stab of a lance. As Francis uttered a mighty shout of joy and pain, the fiery image impressed itself into his body, as into a mirrored reflection of itself, with all its love, its beauty, and its grief. And it vanished within him. Another cry pierced the air. Then, with nails and wounds through his body, and with his soul and spirit aflame, Francis sank down, unconscious, in his blood.
Caravaggio's painting is less dramatic than the account given by Leo - the six-winged seraph is replaced by a two-winged angel, and there is none of the violent confrontation described by Leo - no streams of fire, no pools of blood, no shouts or fiery images of Christ. Just the gentle-seeming angel, bulking far larger than the unconscious saint, and Francis' companions in the middle distance, almost invisible in the darkness.
The subject had been a popular one ever since the 13th century: Giotto treated it about 1290, and Giovanni Bellini painted a famous version about 1480–85. Caravaggio's version is much more intimate and marks a sharp change of key: the saint, who has the features of Del Monte, seems to sink back peacefully into the arms of a boy (who bears a marked resemblance to the boy in "Boy Peeling a Fruit" and to the winged Cupid on the far left of "The Musicians", and even more to the boy being cheated in "Cardsharps") wearing a sheet and some stage-prop wings. There is very little to indicate the subject beyond the saint's Franciscan robe - no sign of the Stigmata, or blood, except the wound in his heart, nor of the fearsome seraph. Yet the atmosphere remains genuinely spiritual, the two figures lit by an unearthly effulgence in the dark night-time landscape where strange glimmerings flicker on the horizon. The scene is at once real and unreal. Del Monte kept it till the end of his life, and several copies went into circulation and were greatly valued.


Model horse showing

Model horse showing is a hobby built around the collection of scale model horses, with equal focus on honouring the (real) horse show industry as well as the artistic merit of the miniatures.
Classes & Divisions.
Model horse shows consist primarily of two divisions: Halter and Performance. There are both Halter-only and Performance-only shows, though many larger shows will include both. Often there are up to three shows run side-by-side: Youth, Novice and/or Open. Individual shows will make their own guidelines for what qualifies entry to each of these categories.
Several abbreviations commonly occur: OF (Original Finish), CM (Custom) and AR (Artist Resin).
Halter Division.
These classes evaluate how a model represents the actual breed of horse. The divisions and judging criteria are derived from their real-life counterparts. Although known as "Halter", no tack or costume is required on the model, and it is generally omitted.
Halter can be further broken down into subdivisions based on manufacturing medium to equalize the different fields of craftsmanship. Common subdivisions include:
Collectibility Division.
These classes evaluate the rarity and condition of models. Documentation as to why a given model is collectible (i.e. very low number produced, very hard to find due to age, unrealistic colours etc.) is often presented with the entry. Some shows require documentation. Many collectibility divisions also include classes for non-equine models. Models in this division are always Original Finish models.
Workmanship Division.
These classes evaluate the finishwork of the model. Preparation work on the model before final painting, any re-sculpting work, and final painting are all considered. These models are never Original Finish models, although they may have begun as OF models.
Performance Division.
The Performance classes focuses more on the model, its pose, and its suitability to real-life tasks. Performance divisions requires suitable tack for the model, and sometimes a rider and/or backdrop. Props such as jumps, fences and other animals may also be allowed. Common classes include:
Live Shows.
"Live Shows" are events where model horses may be shown and judged. These take place throughout the year in many countries, and are often regulated by a larger live showing organisation such as NAMHSA (North American Model Horse Showers Association) in the United States and BECF (British Equine Collectors' Forum) in Great Britain. At these shows, first and second place in many classes can qualify a model for a yearly championship - this is commonly referred to as "NANing", as NAMHSA-qualified horses receive "NAN" (North American Nationals) cards. Listings of approved upcoming shows are maintained by these organisations.
For most live shows there is an entry fee, which varies depending on the table space taken up by the entrant (full table or half table). Proxy showing, whereby a collector's model is shown by another, may also be allowed for a fee.
Live shows can vary in scale, from large weekend-long shows coinciding with other events, to smaller shows held in the organiser's house. Shows may offer ribbons, rosettes or prizes (often model horses) for any number of places; however shows advertised as "no-frills" tend to award paper ribbons for lower placings to reduce costs and entry fees. Live shows often have vendors present selling model horse and equestrian-related goods. Many showers also sell or trade models at shows.
Horses are sometimes required to have information about the entry (including name, breed and gender) on either a tag attached to the off-side hind leg of model, or on a regulation-size card. Breed/colour/performance references may be placed on the table beside the horse, depending on the table size and number of horses in the class as stated in the show guidelines. Often large books are not allowed.
Photo Shows.
"Photo showing" is a way of showing one's model horse collection without the risk and expense of transporting it to a live show. Photo shows can contain any of the classes found in live shows, including Halter, Performance and Collectibility classes.
Photo showing originated as an alternative to "live" showing. Photo showing originally involved taking photographs of the models and posting them to the show holder, to be judged alongside other entrants; this is now referred to as 'postal showing' and has become less popular with the invention of the internet. The majority of photo showing now takes place online. Photos may be emailed directly to the show holder or upload to various web services, such as YouTube, Instagram or Facebook. Photo shows are typically not registered with a higher body such as NAMHSA, and are run on a more adhoc basis, therefore can only be found through searching social networks.
Photo shows are judged taking into account the same criteria as in live shows, but it may also take into account the quality of the photo (background, framing, lighting etc.) and how representative the photos are of the horse. Shows may place requirements on how many views of the model are photographed (i.e. on-side, off-side, head-shot, markings). Information about the entrant (such as class, model name, breed and gender) is usually included before the photo in the case of a video entry, or in a caption or description in the case of a photo entry. Reference photos of real-life animals or breed information may be included to support breed or colour choices for a particular model. As with live-showing, models are not always shown as the breed the manufacturer intended to represent, and less common but well-chosen breeds are often believed to be favoured by judges.
Due to the nature of photo showing, the requirement for an entrance fee can vary. Postal showing typically required a fee which may include the cost of returning the photos. Online showing is generally free, but some club-run shows require an entrance fee or paid membership. Shows run through social networks are almost always free, but rarely have material prizes.
Photo showing may also be preferred for models which may not be in a suitable condition for live showing; this is often referred as Photo Show Quality (PSQ) as opposed to Live Show Quality (LSQ). These terms are often used when selling models in order to indicate their suitability for showing. They may also be referred to as Live-Show Proven (LSP) to indicate they have been placed in a class in a live show; such models may come with any rosettes/ribbons that they have won.


Violet Whiteman

Violet Emily Whiteman (née Sells; 24 December 1873 – 21 January 1952) was an English-born New Zealand artist. Her work is in the permanent collection of the Sarjeant Gallery in Whanganui, New Zealand. Her paintings depict farm animals and pets, including foxes, dogs and horses.
Whiteman was born in Guildford, Surrey, England, in 1873. She studied art at Herkomer School in Bushey; she also studied anatomy at the London Veterinary College and took lessons from animal painters William Frank Calderon and Stanhope Forbes.
In 1926 she moved to New Zealand and settled near Whanganui and lived on a farm. She exhibited with the Wanganui Arts Society. She also accepted private commissions to paint clients' pets and prized animals, such as the racehorse Beau Le Havre.
Whiteman died in Whanganui on 21 January 1952, and her body was buried in Aramoho Cemetery.


Junko Chodos

Junko Chodos (born 1939) is a contemporary artist born and educated in Japan and residing in the United States since 1968. Her works represent a wide variety of techniques and styles, ranging from pencil, pen, and collage, to works done with acrylic.
Chodos has had solo exhibitions featured at the Tokyo Central Museum, the Long Beach Museum of Art, the USC Pacific Asia Museum, the Fresno Art Museum, the Museum of Contemporary Religious Art in St. Louis, and numerous other museums and galleries in Japan and in the United States.
Life and career.
Junko Chodos was born Junko Takahashi in Tokyo, Japan, in 1939. Her experience during World War II affected her later life and art. She grew up in a household where Shinto, Buddhism and Christianity were strong influences. She was a member of the first post-war generation of "commoners" allowed to attend the Gakushūin, the Imperial school.
Chodos studied at Tokyo's Waseda University from 1963-1968. She graduated with a BA in Art History and Philosophy. At Waseda, she studied under Professor Shigeo Ueda, noted translator of Martin Buber into Japanese, and took an interest in his writings of philosophy.
After leaving Japan in 1968, Chodos migrated to California, calling herself a "spiritual refugee". She then attended the State University of New York, Buffalo. Later, in 1971 she married Rafael Chodos, a lawyer and author in biblical studies and the aesthetics of fine art.
In an article in the Winter 2003 issue of "CrossCurrents", Chodos wrote:
To seek justice, to be courageous, to be ethical in other words, to choose rational universal standards over loyalty towards the group is to be a traitor in Japan, and these individuals break the biggest taboos of the totalitarian society. I experienced these aspects of Japanese society as a form of persecution and as a threat to my own integrity. That is why I left Japan and became a spiritual refugee.
As Junko Chodos developed her style. she coined the term "Centripetal Art" to describe the philosophical basis of her art, which she defined as art created by an artist who strives towards her center and encounters divine presence there.
Exhibitions and Publications.
Chodos' solo exhibit from 1995 "In the Forest of Amida Budda" was described by William Wilson in the Los Angeles Times as a "small but impressive solo." This exhibition featured works that appeared similar to Japanese scrolls. Chodos painted on top of Mylar with inks and acrylics to get a unique texture for these works.
Chodos published "Metamorphoses: The Transformative Vision of Junko Chodos", a catalog of the one-person exhibition of the art of Junko Chodos at the Long Beach Museum of Art in the Fall of 2001. The book featured full-color high-quality reproductions and five critical essays. The works included a selection from collages to mylars included in her "Esoteric Buddhism" series, inside CD jewel boxes. The book won "Best Art Book of the Year - First Prize"" from Independent Publisher in 2002.
In 2005, the Museum of Contemporary Religious Art in Missouri presented a 30-year retrospective of her work titled "Junko Chodos: The Breath of Consciousness". The exhibition title referenced a recurrent image in her work: the lungs. The exhibition included complex drawings of roots and dead flowers and works from a 1991 series, "Requiem for an Executed Bird". In the same year, the Fresno Art Museum Council of 100 gave Junko Chodos The Distinguished Woman Artist Award. The award is given to a woman who "has spent thirty or more years in the studio and has created a unique and prestigious body of work."
Her influences include Paul Klee, Willem de Kooning, Matthias Grünewald, Albrecht Dürer and Japanese calligraphy, as well as the authors Rainer Maria Rilke, Herbert Read and Martin Buber. In 2010, Chodos was named a Fellow of the Society for the Arts, Religion and Contemporary Culture.
Centripetal Art.
Junko Chodos has termed her art as "Centripetal" in nature. "The New Republic" defines centripetal artists as artists "whose preoccupation is directed to a dramatization of their accidental or willful individualism". A centripetal painter "believes in self-illumination, improvisation, speaking for himself alone", they "look to museums when not at mirrors". Junko Chodos herself defines it as "art created by an artist who strives towards her center and encounters Divine Presence there, where people go beyond the barriers of ethnicity, gender, religious denominations, dogma, and of confined ideas of blood and soil.
In 2008, Junko and her husband formed the Foundation for Centripetal Art to spread its ideas.


Shai Zakai

Shai Zakai is a photographer, artist, and ecological activist known for her artworks involving water reclamation.
Life.
Zakai was born in Tel Aviv in 1957. She studied at Hadassah College, Jerusalem and at Hebrew University.
Work.
Zakai's best-known piece of art is "Concrete Creek", a three-year project started in 1999 that documented the cleanup of a concrete-polluted creek in the Valley of Elah. The piece includes video and photo documentary of the cleanup, as well as a sculpture created from the cleaned-up waste.
Zakai founded the Israeli Forum for Ecological Art in 1999 to encourage the development of ecological art in Israel and the world.


Meinhardt Raabe

Meinhardt Frank Raabe (; September 2, 1915 – April 9, 2010) was an American actor. He was one of the last surviving Munchkin-actors in "The Wizard of Oz", and was also the last surviving cast member with any dialogue in the film. He portrayed the coroner who certified the death of the Wicked Witch of the East.
Early life.
Raabe was born in Watertown, Wisconsin as a son of Heinrich Herman Raabe (1894-1979) and Ruth [Blackburn] Raabe (1906-1966). He graduated from the University of Wisconsin–Madison in 1937, with a bachelor's degree in accounting. He later went on to get his MBA at Drexel University.
Raabe did not hear the words "midget" or "dwarf" until young adulthood, and for a long time believed no one else might also be like him. After visiting the Midget Village at Chicago's Century of Progress in 1933, he realized he was not alone and took a summer job with the fair the next year. After graduating from the University of Wisconsin, he was turned down for employment by one company after another until Oscar Mayer hired him as a salesman. Raabe took a leave of absence from his sales job to audition for a "Wizard of Oz" role.
Roles.
At about , or three feet, six inches, tall, he played the role of the coroner in "The Wizard of Oz" in 1939. Raabe, however, was uncredited in the role, which lasted only 13 seconds. In the film, the coroner confirms the death of the Wicked Witch of the East, with Raabe's lines being:
These lines, like most of those delivered by the Munchkins, were dubbed over with the speeded-up voices of other performers. In addition to his role in the film, Raabe worked for many decades as a spokesman for Oscar Mayer, where he was known as "Little Oscar, World's Smallest Chef". He traveled in the first Wienermobile, which was the idea of the company founder's nephew, Carl Mayer, in 1936. Because the vehicle had little space for any passengers, Mayer realized the spokesman would have to be small, and Raabe got the job.
Post-"Oz".
Raabe continued to work for Oscar Mayer, and claimed to have come up with the idea to sell canned sausages. As the idea was being commercialized, the Army realized that this product would aid in feeding American soldiers in the field, and production was diverted to military consumption, as World War II was beginning for the US. Raabe joined the Civil Air Patrol during World War II. During this time, he served as a pilot, flying fire and lake patrol missions as well as serving as a ground instructor. In 1970, he earned a master's degree in business administration from Drexel University. He married a cigarette girl who was his height, Margaret Marie Raabe (1915–1997). They were married for 50 years until her death in a car accident in 1997, in which he was also injured.
Raabe published an autobiography, "Memories of a Munchkin: An Illustrated Walk Down the Yellow Brick Road". (). As of 2007, he lived alone at the Penney Retirement Community in Penney Farms, Florida.
Raabe appeared in an October 2005 episode of "Entertainment Tonight" with eight other surviving Munchkins, and he made a guest appearance on "Jimmy Kimmel Live!" on April 11, 2005. On November 21, 2007, he appeared with six other surviving Munchkin actors, including Jerry Maren, at the unveiling of a Hollywood Star for the "Wizard of Oz" Munchkins on the Hollywood Walk of Fame. On September 19, 2009, he appeared on National Public Radio program Weekend Edition Saturday.
Raabe still made occasional appearances at "Wizard of Oz" conventions and celebrations across the country. In 2008 he was honored by the International Wizard of Oz Club with the organization's L. Frank Baum Memorial Award.
Death.
In later life, Raabe resided at Penney Retirement Community in Penney Farms, Florida. He died at a medical center in nearby Orange Park, Florida, on April 9, 2010, at the age of 94 after going into cardiac arrest, as verified by the local coroner. He is buried in Farmington, Wisconsin's Immanuel Evangelical Lutheran Church Cemetery.
Popular culture.
On May 2, 2011, John Darkow, an editorial cartoonist at the Columbia Daily Tribune in Columbia, Missouri, created a cartoon using a nearly-verbatim version of the lines spoken by Raabe's coroner character to announce the death of Osama bin Laden the previous day.


Prince Denis

Prince Denis (January 26, 1900 – June 20, 1984) was a French-born American actor of sideshows and film with dwarfism, best known for his role as the Munchkin Sergeant-at-Arms in the 1939 film "The Wizard of Oz".
Early life.
Originally from France, Denis moved to the United States and changed his name to Dennison before eventually legally changing it to Prince Denis.
Career.
Denis toured various circuses, including the Ringling Brothers and Barnum & Bailey, with his two sisters, Princess Marguerite and Lady Little. Denis would later go on to appear in the 1939 film "The Wizard of Oz" at the age of 25. His wife Ethel also had a minor role as a Munchkin in the film. He stated that he himself had played the role of the mayor of Munchkinland and that Charlie Becker, who had played the mayor, was selected for playing the sergeant-in-arms. It was later learned that Denis had lied for more publicity.
He later went on to appear in films such as "The Greatest Show on Earth" and "Three Wise Fools".
Death.
Denis died in 1984 at the age of 84, at the Maricopa Medical Center in Phoenix, Arizona.


Clubby

Clubby was a Beanie Baby that was available in 1998 exclusively by mail order to those who joined the Beanie Babies Official Club by purchasing a kit. It was followed up in later years by other bears also named "Clubby" followed by a Roman numeral. In all, a total of ten styles of bears, named Clubby, Clubby II, Clubby III, Clubby IV, Clubby V, Clubby VI (three versions - rainbow colored teddy bear, blue potbelly style bear, and matching purple potbelly style bear), Clubby VII and Clubby VIII. In addition, larger sized Beanie Buddies of Clubby, Clubby II, Clubby III, Clubby IV, Clubby V and Clubby VI (an amalgamation of the three Beanie Baby versions) were produced. A four pack box set of Jingle Beanies (Christmas ornament sized Beanie Babies) containing Clubby, Clubby II, Clubby III and Clubby IV was also released. Although the Clubby bears were not rare, they often proved elusive for people who weren't enrolled in the club, who were forced to search for them on the secondary market or through the Ty Store.
The first of the series, Clubby I, simply known as "Clubby", came out in 1998. The bear could be obtained through the purchase of a BBOC kit for about $5, followed by mailing in a membership application form, along with about $10 for the cost of the bear itself plus shipping. While the offer was made, there was a heavy demand for the collectible, and many orders came long past when they were promised as the volume overwhelmed production and fulfillment capabilities, leading many consumers to grow frustrated and become disenchanted with the club. The Federal Trade Commission issued a $216,000 fine against the company.
Clubby II.
Clubby II came out in 1999. In order to settle complaints from customers during the previous year about delayed shipments, Clubby II was sold within the kit that was found in stores for about $20, which also included a coin, a checklist, a set of Ty trading cards, and other Beanie items. In another CYRK blunder, the "carrying case" for the kit (which was designed to double as a Beanie Baby display case) was made entirely out of PVC, which is known to damage fabric over time.
Clubby Buddies.
Later in 1999, Clubby and Clubby II Beanie Buddies became available to BBOC members by mail order. This made orders somewhat more convenient to collectors who did not have Internet or a computer/laptop. More Clubby orders soon came on demand.
References.
Ty Beanies Tracker: The World's Most Complete Ty Guide By Inc Ty


King Jack

King Jack is a 2015 American coming-of-age adventure drama film written and directed by Felix Thompson in his directorial debut. The film stars Charlie Plummer, Cory Nichols, Christian Madsen, Daniel Flaherty, Erin Davie and Chloe Levine, and follows a 15-year-old boy who befriends his introverted cousin while facing off against a sadistic school bully.
Plot.
Jack, a scrappy 15-year-old, bonds with his introverted cousin while facing off against a bully.
Release.
The film premiered at the Tribeca Film Festival on April 17, 2015.


Jack Birkett

Jack Birkett (11 June 1934 – 10 May 2010) was a British dancer, mime artist, actor and singer, best known for his work on stage as a member of Lindsay Kemp's theatre company, and in the films of Derek Jarman. He was often billed as Orlando or The Incredible Orlando. Most of his best-known work was done when he was totally blind.
Life and career.
Birkett was born in Leeds, England. His mother came from a Romani family, his father left home when he was six. He attended Coldcotes School in Gipton until the age of 14, developing a passion for ballet. He worked as an art model for David Hockney and others before finding work at the Grand Theatre in Leeds in 1950 as a stage hand and lighting technician. Soon afterwards, he moved to London, working as a dancer and singer in touring shows and musicals, including the UK tour of "Oklahoma!" in 1952.
With Kemp.
In 1956, Birkett met Lindsay Kemp, when they were both doing ballet classes with Marie Rambert at the Mercury Theatre, Notting Hill Gate. According to Kemp,
"We were always scraping a living in those early days, often working as stage hands, cooks and cleaners. Sometimes we hitchhiked from venue to venue, carrying our costumes and props."
Both Kemp and Birkett were flamboyant homosexuals. Kemp later wrote:
"Jack was Judy to my Mr Punch, Harlequin to my Pierrot, Titania to my Puck, Herodias to my Salomé, Queen of Hearts to my Lewis Carroll. We shared flats, dressing rooms, boyfriends, bills, good times and bad times, success and failure; a couple of extravagant young dreamers, a couple of aching elders, always entertainers."
He made his West End theatre debut in "Bye Bye Birdie" in 1961, and also worked with Kemp's company from the early 1960s, taking part in the first Lindsay Kemp Dance Mime Company performances in 1965 that culminated in "Illuminations". When working with Kemp in Italy in 1966, he began to lose his sight, attempting a variety of cures ranging from surgery to bee-stings. He nevertheless became entirely blind, but responded by growing more extreme in his performances and his persona. He played the part of Blackbird in Kemp's production of "Flowers", based on Jean Genet's "Our Lady of the Flowers", which briefly transferred from London to Broadway in 1974, and he continued to tour worldwide with Kemp until the late 1980s.
Described as "a muscular blind man with a completely shaven head", in performances of "Turquoise Pantomime":
"Birkett would be led quietly on stage, dressed in black fishnet stockings and a pink waspie. Suddenly he would belt out "I Want A Man" while a restrained Kemp would occupy himself pulling invisible wires from his ears and wiping non-existent dogshit from his satin shoes."
Film and television work.
Birkett also made a number of TV and film appearances, notably in the work of Derek Jarman. These included portrayals of Borgia Ginz in Jarman's "Jubilee" (1978), Caliban in Jarman's version of "The Tempest" (1979) and Thersites in Jonathan Miller's "Troilus and Cressida" (1981)—part of the BBC Television Shakespeare series, in which Birkett delivered his lines in the manner of a drag queen. He also played the Pope in Jarman's "Caravaggio" (1986), and Pontius in "The Garden" (1990). He also appeared in the Spanish films "El vent de l'illa" (1988) and "El niño de la luna" (1989).
Retirement.
Birkett later retired from performing, living in Barcelona and finally in London. He studied shiatsu. He was supported by long-time partner Nyako Nakar, a Spanish writer and artist. He died in London in 2010 at the age of 75.


Michael Naranjo

Michael Naranjo is a Native American blind sculptor. Born in 1944 - Santa Clara Pueblo, NM, as a Tewa Tribe people. He was raised in Taos, New Mexico. The son of the ceramic artist Rose Naranjo. He made first contact with pottery and art by the side of his mother. He was drawn into the army and served in Vietnam War. During the patrol the Viet Cong soldier threw the grenade that took his sight and maimed his right hand. During the convalescence period he start sculpting in clay. Gradually sculpting became his passion and profession. The first models were made in clay, wax and papier-mache, some were cast in bronze. Later he creates in stone. His favourite topics are Native American warrior, a hoop dancer, a female nude, a child, a soldier, a bear or fish or bird.
Awards.
In 1979 his Santa Clara Rain Dancer was awarded First Prize, Best in Class and Best in Division at the Santa Fe Indian Market.
He was honored in 1990 with the Distinguished Achievement Award from the National Press Club in Washington, D.C.
In 1999 he was honored the LIFE Foundation's Presidential Unsung Hero.
In 2004, he was the recipient of the Santa Fe Rotary Foundation's Distinguished Art Award.
Michael's pieces are included in the collections of The Vatican, Vatican City, Italy; The White House, Washington D.C. and The Heard Museum, Phoenix, Arizona.
Naranjo has become widely recognized. The Italian government allowed Naranjo to mount a specially-built scaffold and to come into actual physical contact with Michelangelo's David in Florence in 1986. This is shown in two PBS videos. He was permitted to "visit by touch" sculptures in Louvre. In 2019 he visited the National Cowboy & Western Heritage Museum to "visit by touch" James Earle Fraser's sculpture, End of the Trail.
His words inscribed on one of the 18 glass panels of the American Veterans Disabled for Life Memorial in Washington, DC, were cited by President Obama at the dedication ceremony: "When you're young, you're invincible. You're immortal. I thought I'd come back. Perhaps I wouldn't, there was that thought, too, but I had this feeling that I would come back. Underneath that feeling, there was another, that maybe I wouldn't be quite the same, but I felt I'd make it back." -- Michael A. Naranjo


That Girl in Yellow Boots

That Girl in Yellow Boots is a 2010 Indian thriller film by director Anurag Kashyap, starring Kalki Koechlin and Naseeruddin Shah. The film was first screened at the Toronto International Film Festival in September 2010, followed by the Venice Film Festival after it played in several festivals worldwide including the South Asian International Film Festival. The commercial release however took place a year later in September 2011, both in India as well as in the U.S.
Plot.
Ruth (Kalki Koechlin) is a British woman who lost her sister to suicide a couple of years ago. She comes to India, to search for her father, who is of Indian descent, a man she hardly knew but cannot forget, due to a letter he had written to her, asking her to seek him out.
Without a work permit, desperation drives her to work at a massage parlour, where she offers both standard massages and "happy endings". Torn between schisms, Mumbai becomes the alien yet strangely familiar backdrop for Ruth's quest. She struggles to find her independence and space as she is sucked deeper into the labyrinth of the city's underbelly. She also dates a drug addict Prashant (Prashant Prakash), who is simultaneously her saviour and tormentor. A city that feeds on her misery, a love that eludes her. In what is possibly also seen as a commentary on the cult of godmen in India, her father is shown to be a follower of one such religious cult. The film ends with Ruth hanging up her yellow boots, and quitting her job at the massage parlour and also presumably leaving the country to go back to Britain; her quest having come to a shocking end.
Production.
Development.
Lead actress Kalki Koechlin who also co-wrote the film with Anurag Kashyap mentioned, "A lot of these characters were based loosely on figures that I had seen growing up in India ...Growing up as a white-skinned woman in India, I was always the odd one out – there was a certain alienation that came with that, and you end up alienating yourself because everyone comes to you like the white girl, the easy, "Baywatch," loose-moraled white girl."
Anurag Kashyap asked Koechlin to write the first scene, to get a female perspective on the treatment of white women at Indian government offices as she personally experienced the objectification. He also wanted to explore the theme of child abuse; he had previously played the role of child abuser in "I Am" (2010) by Onir, and he himself had been a victim of child abuse for 11 years. At the writing stage Koechlin and Kashyap disagreed on the ending initially, as Koechlin wanted an optimistic ending, unlike Kashyap who wanted to portray that "...you don't always get solutions to your problems".
The film had difficulty finding funding because it dealt with controversial themes like child abuse and drug addiction and "differed so vastly from his previous work". As Kashyap put it, "I wanted to break the formula that many directors and actors find themselves in."
Filming.
The film was shot in just 13 days. It was primarily framed in tight spaces, like apartments, massage parlours, and rickshaws leading to a "claustrophobic sense of unease that permeates the entire film". Many of the cast members had previously worked together in theatre productions; this familiarity allowed the director to shoot the film in a shorter period of time. He admitted that he never "directed" any of the actors during the filming, "I've never told any actor what to do, only what not to do. You have to trust your actors, and I know mine inside and out." He found the entire filming emotionally draining and tough, especially because it was made mostly on borrowed money.
Release.
After travelling to 2010 Toronto International Film Festival, 67th Venice International Film Festival in September 2010 and International Film Festival of Los Angeles (IFFLA), at its New York premiere on 24 August 2011, at the Asia Society, director Anurag Kashyap said, "I hope you feel the film, because you will not enjoy it." The film's commercial release, however, took over a year as it was delayed to coincide with its US release to avoid internet piracy. Indian distributors were not keen on the film, as without big Bollywood stars they did not find it viable for an international release; they mainly cater to an NRI (Non-resident Indian) audience. Finally US based-distributor IndiePix Films came on board for paving the way for a US release with 30 prints, all in non-NRI theatres, a rare feat for a Bollywood film. Meanwhile, the film was also sold in Scandinavian countries, Turkey, Southern Europe, and New Zealand. Its satellite rights were sold in many countries. The film thus became Kashyap's first worldwide release, as it was released in 40 US theatres on 2 September by IndiePix Films, on the same day of its India release. Previously, after its showing at the London Indian Film Festival, Britain-based Mara Pictures picked up the film there for UK release in last quarter of 2011. Kashyap later told BBC News that he received a negative backlash from financial backers because of the film's sexual content: "A lot of people involved with the film were embarrassed about the film. A lot of people we thanked in the film who actually lent us money, they said, 'Please take our names from the film,' because they don't want somebody to see and say 'You gave the money to make this film!'" "That Girl in Yellow Boots" is one of the few Indian films released without an interval.
Marketing.
Prior to its India release, the first look of the film was unveiled to the press on 11 August 2011.
MTV India started a "That Girl with Yellow Boots contest" asking for audition tapes from aspiring actors, the winner of which would act in future Anurag Kashyap's films. In the run up to the film, its lead Kalki Koechlin appeared at an event, colour-coordinated, complete with yellow boots.
Critical reception.
The film opened to mostly positive reviews. Roger Ebert of the Chicago Sun-times gave it 3.5 out of the 4 stars, and he also noted that ' "The film's value is in its portrait of Ruth, and her independence as a solo outsider in a vast, uncaring city." '
In his "Huffington Post" review, Kia Makarechi wrote, "an unnervingly realistic portrait of unimaginable pain – is one with an ending you'll wish you could forget." Nupur Barua of fullhyd.com rated it 7 out of 10, and said that besides the Kashyap-esque tone of despair and melancholy, That Girl in Yellow Boots is Anurag Kashyap's best until date, adding that you can watch it "only if you can handle the unspeakable". Parmita Borah, on EF News International, wrote, "Kalki Koechlin carries That Girl in Yellow Boots on her shoulders and does so with great panache and élan." Shivesh Kumar of IndiaWeekly awarded the movie 3.5 out of 5 stars.


Irene Krugman

Irene Krugman (1925–15 April 1982) was an American artist, known for creating installations, using a limited number of simplified forms that are repeated on different scales.
Krugman was born in New York City. She studied at the Kansas City Art Institute, New York University, and the New School for Social Research with Yasuo Kuniyoshi. She exhibited widely, in group and solo shows, and her work is owned by the Newark Museum, the New Jersey State Museum, Michigan State University, University of Notre Dame, and Rowan University Art Gallery, among others.
Her work was praised in "The New York Times" by Grace Glueck, who noted that Krugman's installation at the City University of New York in 1977 consisted of a "mastaba-shape" and "mirror-lined boxes of unfinished wood that carry within themselves identical smaller structures reflected by the mirrors," which she called "an imaginative idea, imaginatively executed." In response to her solo exhibition at OK Harris Gallery in 1978, a reviewer in "Arts Magazine" characterized Krugman's work as "a model for our perception of the larger world which is also self-reflexive, limited, in other words, by our capacity to measure and know it."
Krugman and her husband, Leonard (1919-1989), lived in Morristown, New Jersey. Their son, Michael Krugman (1951–2016), was a practitioner of self-healing and developed the Sounder Sleep System, a treatment for people suffering from insomnia. Irene Krugman died of cancer, aged 56.


The Vision to the Youth Bartholomew

The Vision to the Youth Bartholomew () is a painting by the Russian artist Mikhail Nesterov, the first and best known work in his series on Sergius of Radonezh, a medieval Russian saint. It is considered "the inaugural work of the Russian Symbolist movement" and is in the collection of the Tretyakov Gallery in Moscow.
The image of St. Sergius of Radonezh, who had been born Bartholomew, was near and dear to the artist since childhood and was the embodiment of the moral ideal for Nesterov. Nesterov gave St. Sergius a particularly important role in rallying the Russian people. The painting illustrates an episode from "The Life of St. Sergius" by Epiphanius the Wise:
One day his father sent him to look for a lost foal. On his way he met a monk, a venerable elder, a stranger, a priest, with the appearance of an angel. This stranger was standing beneath an oak tree, praying devoutly and with much shedding of tears. The boy, seeing him, humbly made a low obeisance, and awaited the end of his prayers.
The venerable monk, when he had ended his prayers, glanced at the boy and, conscious that he beheld the chosen vessel of the Holy Spirit, he called him to his side, blessed him, bestowed on him a kiss in the name of Christ, and asked: "What art thou seeking, or what dost thou want, child?" The boy answered, "My soul desires above all things to understand the Holy Scriptures. I have to study reading and writing, and I am sorely vexed that I cannot learn these things. Will you, holy Father, pray to God for me, that he will give me understanding of book-learning?" The monk raised his hands and his eyes toward heaven, sighed, prayed to God, then said, "Amen."
Taking out from his satchel, as if it were some treasure, with three fingers, he handed to the boy what appeared to be a little bit of white wheaten bread prosphora, saying to him: "Take this in thy mouth, child, and eat; this is given thee as a sign of God's grace and for the understanding of Holy Scriptures. Though the gift appears but small, the taste thereof is very sweet."
From that time on Bartholomew could read and write, became a monk, and adopted the name of Sergius.
The artist did his sketches of landscapes in 1899 in the vicinity of the Trinity Sergius Lavra, settling in the village of Komyakovo near Abramtsevo and Radonezh. Abramtzevo became one of his favourite places. There he finished the landscape part and then went to Ufa. The artist was in a hurry, because he was preparing for the XVIII Peredvizhniki exhibition and despite having flu, continued to work actively. One day he felt dizzy, he stumbled (he stood on a small stool), fell and injured the canvas. It was impossible to continue the work, he needed a new canvas, which finally was brought.
The painting, which caused the most contradictory opinions, became a sensation at the XVIII Peredvizhniki exhibition and was bought by Pavel Tretyakov for his gallery. Until the end of his life, the artist was convinced that "The Vision of the Youth Bartholomew" remained his best work. In old age, the artist used to say:
I won't be the one who lives. "Youth Bartholomew" will. If in thirty, in fifty years after my death, he will still be telling people something - that means he is alive, which means, I am alive. Жить буду не я. Жить будет «Отрок Варфоломей». Вот если через тридцать, через пятьдесят лет после моей смерти он ещё будет что-то говорить людям — значит, он живой, значит, жив и я
A later version of the painting, dating from 1922, was sold at Sotheby's in 2007 for $4.3 million (equivalent to $ million in ).


Prancing Horse

The Prancing Horse () is the symbol of Italian sports car manufacturer Ferrari and its racing division Scuderia Ferrari. Originally, the symbol was used by World War I pilot Francesco Baracca on his airplane.
History.
Enzo Ferrari was a racing driver for Alfa Romeo in the earlier decades of the twentieth century. Following one of his wins at the Targa Florio, he met Francesco Baracca's parents, who told him that their son used to paint a prancing horse on his airplane and suggested that if Ferrari applied the horse on his cars, he would have good luck. Ferrari took their advice and started to use the black Prancing Horse on a yellow background (yellow being one of the colours of the city flag of his native Modena) as the official Ferrari logo.
Initially, all Scuderia Ferrari's cars were manufactured by Alfa Romeo, but after the foundation of Auto Avio Costruzioni (later known as "Ferrari"), Ferrari began to use his Ferrari cars.
Uses.
The "Prancing Horse" is used as part of Ferrari and Scuderia Ferrari logos, on "tifosi"'s flags and as a Ferrari symbol.


Chuck Baird

Chuck Baird (February 22, 1947 – February 10, 2012) was an American Deaf artist who was one of the more notable founders of the De'VIA art movement, an aesthetic of Deaf Culture in which visual art conveys a Deaf world view. His career spanned over 35 years and included painting, sculpting, acting, storytelling, and teaching.
Biography.
Chuck Baird was born Deaf and his educational career reflected on mohd's Deaf identity. From the Kansas School for the Deaf, to Gallaudet University and finally the Rochester Institute of Technology, all his schools afforded him communication in ASL. After being awarded his BFA from RIT, Baird worked as a set painter for the National Theatre of the Deaf (NTD), followed by a position with Spectrum-Focus on Deaf artists, a Deaf artist colony in Texas, where he served as the Visual Arts Coordinator. In between, he found time to work with Deaf media on their Emmy Award winning series for deaf children, "Rainbow's End". His art was recognized internationally in the Deaf community. His first exhibition was the Deaf Artists' Exhibit: World Federation of the Deaf Conference, Gallaudet University, Washington D.C., 1975. He held residencies at many Deaf schools, teaching and creating long-lasting artworks. Among these are a 150-foot long collage/mural he created for The Learning Center for Deaf Children in Framingham, Massachusetts in 1995, and a 30x10 mural at Gallaudet entitled "The Five Panels: Deaf Experiences". The mural is still on exhibit and has been lauded for its importance to the Deaf experience. In it, the child signs, "Are you Deaf?" and the adult signs, "Deaf, like you!"
In May 1989, prior to the international Deaf culture festival at Gallaudet University, Deaf Way II, Baird was one of eight Deaf artists (along with Betty G. Miller) who produced a manifesto for De'VIA (Deaf View Image Art). This was a concept for Deaf art that was differentiated from art by or for Deaf people. Rather, it was art that contained a message about deaf life. The manifesto begins "De'VIA represents Deaf artists and perceptions based on their Deaf experiences. It uses formal art elements with the intention of expressing innate cultural or physical Deaf experience."
Baird was renowned in the first Deaf world. His artwork was included in a book on the subject, "Deaf Artists in America: Colonial to Contemporary" by Deborah M. Sonnenstrahl. He was commissioned to create plates for Dawn Sign Press, a Deaf publisher in Southern California. Because he was a celebrated artist in the Deaf community and due to his pioneering in developing the concepts of De'Via, his death was noted by institutions in the Deaf community including RIT/NTID, Gallaudet University, and the Texas Association of the Deaf.
On his website, he featured some of his own works that were created from the De'Via perspective. Many of his works include images of his own hands incorporated into ASL signs. Baird also established a foundation to support emerging deaf artists, the Chuck Baird Foundation.
In addition to his artwork, he was renowned as an actor and ASL storyteller. He performed as an actor with the National Theatre of the Deaf from 1980-1990. Some of his many ASL stories were recorded by Gallaudet University.


The Missing Person

The Missing Person is a 2009 American comedy-drama-mystery film written and directed by American independent filmmaker Noah Buschel and starring Michael Shannon and Amy Ryan. It premiered at the 2009 Sundance Film Festival. and was distributed by Strand Releasing to a limited number of theaters on November 20, 2009.
Plot summary.
John Rosow (Michael Shannon) is an alcoholic private investigator. Suddenly Rosow is given the case of his life when he is hired to tail a man named Harold Fullmer (Frank Wood) on a train. Rosow soon discovers that Fullmer is one of the thousands presumed missing after 9/11, and that Fullmer has fashioned a new life for himself. As the film progresses, Rosow faces the moral decision to take Fullmer, unwilling, back to his wife in New York, or letting him remain in his fabricated life.
Reception and release.
The film holds a 67% positive rating on the film-critics aggregator Rotten Tomatoes. Buschel was nominated for the 2009 Gotham Award for Best Breakthrough Director for his work on the film. According to Box Office Mojo, the film had grossed $48,895 as of March 2, 2010. It appeared on IFC.com's list of the ten best films of 2009, San Francisco Bay Guardian's list of the Top Three Films of 2009, and Variety critic Dennis Harvey's list of the Top 25 films of the year.


Port Ruysdael

Port Ruysdael is an 1826 oil on canvas painting by the English painter J. M. W. Turner. It is in the collection of the Yale Center for British Art in New Haven.
Turner painted this as a tribute to Dutch Golden Age painter Jacob van Ruisdael. There is no port by the name of Port Ruysdael. In 1844 he painted another tribute to Ruisdael, named "Fishing Boats bringing a Disabled Ship into Port Ruysdael" which is at the Tate Gallery in London.
The dimensions of the painting are 92 x 122 cm.


Geny Dignac

Geny Dignac (Buenos Aires, 1932) is an American sculptor and environmental artist of Argentine birth.
Biography.
Born in Buenos Aires, Dignac moved to the Washington, D.C. area in 1954; she left in 1974 and settled in Arizona. Her art, much of which is created using fire and light as media, has been exhibited widely. She has lectured on the use of fire as an artistic medium, and worked with a metallurgist and the Naval Ordnance Laboratory to create works involving fire and nitinol alloys. Dignac lives in Phoenix, Arizona. She was married to José Bermudez; their son-in-law is the director Sam Pillsbury.
Exhibitions.
In 1968, one of her pieces was exhibited in the first show of E.A.T. which was held at the Museum of Modern Art and at the Brooklyn Museum in New York. Two of her fire sculptures were included in the "Earth, Air, Fire, and Water. Elements of Art" at the Museum of Fine Arts in Boston Massachusetts. Her solo exhibitions contain of her works with fire and she has had various solo exhibitions. Her solo exhibitions include various types of her art ranging from drawing to sculptures and monuments. Her work is popular in the United States and abroad. She has been a part of group exhibitions in Medellin, Colombia, Antwerp, Belgium, New York City, Paris, France, Pamplona, Spain, Caracas, Venezuela, and San Juan, Puerto Rico. Since 1969, Geny Dignac has been expressing her use of fire in Art all over the United States and South America. She diffuses the concept of using the element of fire in her art by sharing her thoughts at many different schools and museums. She collaborated with a metallurgist and the Naval Ordnance Laboratory to create sculpture employing fire and nitinol alloys in 1971. R. Osuna and J.Y. Bermudez made her the subject of several films and videos during 1967 to 1980. Dignac wrote "Lightning is the gesture of the storm. Flames are the gesture of the fire. Fire is a magical element. Magical thinking is art" Her work can be found in private, public and corporate permanent collections. Most of the exhibitions her work is held at are Fundacio Joan Miro (Barcelona, Spain), Palazzo Dei Diamanti (Ferrara, Italy), La Tertulia Museum (Cali, Colombia), Museo del Banco Central del Ecuador (Guayaquil, Ecuador), and The Latinoamericano Art Foundation in San Juan, Puerto Rico. Her private collections are in USA, Italy, Germany, Spain, Argentina, Chile, Ecuador and Venezuela.
Art Works.
Her art may be seen in numerous public, private, and corporate collections including that of the Fundació Joan Miró. Her projects include: "Sand Fire", "Fire Over Water" and "Forms of Fire in Mid-Air". She believes that her art should go beyond modern day art. Her most popular artworks include “3 Fire Gestures” 1970 held in Sand Hills, California,
“234 Gloves” at the Arcosanti Festival. Cordes Junction, Arizona, USA, Sarasota, Florida, USA and Boston, Mass, USA,
“South Arrow & La Casualidad” in Buenos Aires, Argentina, “Snow & Fire” in Oakton, Virginia, USA, “Drawing with Fire in Space” in Oakton, Virginia, USA, “Caroni and Orinoco Rivers” in Venezuela, “Sunrise” Apache Reservation in Arizona, USA, “Rio Salado” in Tempe, Arizona, USA, and "Conflagration-Iraq" in Phoenix, Arizona, USA.
Further reading.
"Dignac, 340 degrees Fahreheit." Catalog of an exhibition held Aug. 1971. Pamphlet of an exhibition at the Altes Museum, Berlin, Germany, from April 15-May 13, 2007.


Achille Giroux

Jean François Achille Giroux (13 May 1816, Mortagne-au-Perche - 26 March 1854, Saint-Léon) was a French painter and lithographer in the Realist style. Most of his works feature animals; primarily horses.
Biography.
His father, Étienne Jean Giroux, was a wigmaker and his mother, Marie-Louise Maillard came from a family of bakers. After his primary education in Alençon, he attended the Cavalry School in Saumur. It was there that he received his first drawing lessons, combined with some elements of lithography. Eventually, his parents allowed him to go to Paris to pursue his interests.
There, he became a student of Michel Martin Drolling. Although human models were presented to him, his most enthusiastically produced drawings continued to involve horses. He also became more adept at lithography; to the point that, despite his youth, a major publisher, Victor Delarue (fl.1835-1870), hired him to create illustrations for a course on equine anatomy. In pursuit of this, he would make daily visits to the École nationale vétérinaire d'Alfort to study and make sketches of the dissected horses there. With the proceeds from this contract, he made a tour of France. While travelling in Normandy, he paid a visit to the Haras national du Pin, France's oldest stud farm. He would return there throughout his short life for inspiration.
His first exhibition at the Salon came in 1840. By 1843, he was presenting several works at each session and was attracting customers from England as well as rural France. Nevertheless, he was not financially successful and remained in debt.
His troubles truly began when creditors came to seize his belongings and took a writing desk, said to have belonged to Margaret of Parma, that had been left in his safekeeping by a neighbor who had been expecting a similar seizure. Some of his sketches were overlooked and were collected by his friend, Eugène Isabey, who sold them at auction and was able to take in twenty Louis d'or to help him pay his debts. After this, Giroux went to stay at the artists' colony in Barbizon.
That was only the beginning, however. The next time his troubles came in the form of a publisher who contracted with him for an album of equestrian scenes that required eight to ten months of work, with the promise of a 4,000 Franc advance. The advance was never paid, he received no royalties and the would-be publisher disappeared. A few months later, he learned of the publisher's bankruptcy. Not long after, he was visited by court officials who presented him with a note for 4,000 Francs, which he had supposedly initialed, and was now forced to pay, plus interest and fees, or he would be taken to prison. He sold what paintings he could, drew on charity or loans from his friends and was able to pay off the principal, but his total indebtedness eventually rose to 12,000 Francs and he was under the constant threat of imprisonment.
This continual struggle exhausted him and he became unable to paint. In 1854, the writer and journalist, Alfred de Menciaux, offered him the hospitality of his home in Lot-et-Garonne. Shortly after arriving there, Giroux died.


Stone Age in America

Stone Age in America is an 1887 bronze statue by John J. Boyle located in Philadelphia, in Fairmount Park on Kelly Drive near Boathouse Row.
It was displayed at the American Art Association, and in 1888 was exhibited in Philadelphia where it was temporarily shown at 9th and Chestnut streets. It was exhibited at the 1893 World's Columbian Exposition.
"Stone Age in America" is one of 51 sculptures included in the Association for Public Art's Museum Without Walls: AUDIO™ interpretive audio program for Philadelphia's outdoor sculpture.
The inscription reads:

Boyle

Thiebaut. Freres

Fondeurs

(Base, circular bronze plaque:)

Fairmount Park Art Association

Presented 1888


Good Doctor (Japanese TV series)

 is a Japanese medical drama remake of the 2013 South Korean television series of the same name, about an autistic person who becomes a pediatric surgeon. It aired on Thursdays at 22:00 (JST) from July 12 to September 13, 2018 on Fuji TV, and starred Kento Yamazaki, Juri Ueno, and Naohito Fujiki.
Plot.
Minato Shindo (Kento Yamazaki) is autistic with savant syndrome. He has an amazing memory and keen spatial skills, but he finds it difficult to communicate with others.
Minato aspires to become a doctor because his older brother died when they were young. He later meets doctor Akira Shiga (Akira Emoto) and amazes him with his ability to remember all the human organs at a young age. Doctor Akira decides to support Minato and with his recommendation, Minato eventually enters the world of pediatric surgery as a resident.
Production.
Development.
On May 26, Fuji TV first announced that they would make an adaptation of Good Doctor with Kento Yamazaki as the lead actor. Several days later, other supporting cast members were announced.
A special screening of the first episode was held on July 8, 2018, with three of the main leads in attendance.
Filming.
Filming began around June 17, 2018.
Ratings.
"Good Doctor" received good ratings, with its first airing at 11.5%, the highest rating for its time slot in the last 2 years.
International broadcast.
Starting on July 21, 2018, the drama aired on WakuWaku Japan in Indonesia, Myanmar, Singapore, Thailand, Taiwan, Sri Lanka, Mongolia, and Vietnam, on Saturdays at 21:00 (SGP), 20:00 (JKT).


Fusaichi Pegasus

Fusaichi Pegasus (; foaled April 12, 1997) is a champion American Thoroughbred racehorse who won the 2000 Kentucky Derby.
Background.
The colt was purchased as a yearling for $4 million by Fusao Sekiguchi. His name is a combination of his owner's name, "Fusao," and the Japanese word for one, "ichi," to mean #1 or the best. The second half is the winged horse of Greek mythology.
"FuPeg", as the stallion is known by his fans, is a son of Mr. Prospector and out of Angel Fever, a mare by leading sire Danzig.
Racing Career.
In early 2000, Fusaichi Pegasus won the Grade 2 San Felipe Stakes and Wood Memorial Stakes.
Fusaichi Pegasus won the Kentucky Derby in a time of 2:01.12 for the 1 mile distance. He was the first favorite to win the Kentucky Derby since Spectacular Bid in 1979. He then lost to Red Bullet in the Preakness Stakes. After his loss in the Preakness Stakes, he did not race in the third leg of the Triple Crown, the Belmont Stakes.
Retirement and stud record.
In 2000, he was sold to Irish breeder Coolmore Stud for a reported price of more than US$60 million (£35m). The previous record for a stallion prospect was US$40m (£24m), paid in 1983 for Shareef Dancer. For several years, Fusaichi Pegasus served as a "shuttle stallion" standing at Coolmore's Ashford Stud near Versailles, Kentucky, during the Northern Hemisphere breeding season and at Coolmore Australia near Jerrys Plains, New South Wales, during the Southern Hemisphere breeding season. Since the 2010 breeding season, he has stood exclusively in Kentucky. Among his progeny are Grade 1 winners Bandini, Roman Ruler and Haradasun.
Fusaichi Pegasus is generally considered a disappointment as a stallion, especially considering the price for which Sekiguchi sold him. His son Roman Ruler produced Ruler on Ice, winner of the 2011 Belmont Stakes. He was pensioned from stud duty after the 2020 breeding season.


Saint Jerome Writing

Saint Jerome Writing, also called Saint Jerome in His Study or simply Saint Jerome, is an oil painting by Italian painter Caravaggio. Generally dated to 1605–06, the painting is located in the Galleria Borghese in Rome.
Composition.
The painting depicts Saint Jerome, a Doctor of the Church in Roman Catholicism and a popular subject for painting, even for Caravaggio, who produced other paintings of Jerome in Meditation and engaged in writing. In this image, Jerome is reading intently, an outstretched arm resting with quill. It has been suggested that Jerome is depicted in the act of translating the "Vulgate".
History.
The painting is generally dated to 1605–06, largely on the statements of 17th-century art historical biographer Gian Pietro Bellori, though Denis Mahon suggests 1602–1604. According to Bellori, Caravaggio produced the piece at the behest of Cardinal Scipione Borghese, who became a cardinal in 1605, but it is possible that Borghese acquired it later as it is not mentioned in a 1613 poem by Scipione Francucci that described the Borghese Caravaggio collection. Whether or not the dating is accurate, the work is believed to have originated from Caravaggio's late Roman period, which ended with the painter's exile to Malta in 1606.
That "Saint Jerome Writing" is the work of Caravaggio is sometimes brought into question, as it was attributed to Jusepe de Ribera in the Borghese inventories from 1700 until 1893.