Portal:The arts

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T H E   A R T S   P O R T A L

The arts are a wide range of human practices of creative expression, storytelling, and cultural participation. They encompass multiple diverse and plural modes of thinking, doing, and being, in an extremely broad range of media. Both dynamic and a characteristically constant feature of human life, they have developed into innovative, stylized, and sometimes intricate forms. This is often achieved through sustained and deliberate study, training, and/or theorizing within a particular tradition, across generations, and even between civilizations. The arts are a vehicle through which human beings cultivate distinct social, cultural, and individual identities while transmitting values, impressions, judgements, ideas, visions, spiritual meanings, patterns of life, and experiences across time and space.

Prominent examples of the arts include:

They can employ skill and imagination to produce objects and performances, convey insights and experiences, and construct new environments and spaces.

The arts can refer to common, popular, or everyday practices as well as more sophisticated, systematic, or institutionalized ones. They can be discrete and self-contained or combine and interweave with other art forms, such as the combination of artwork with the written word in comics. They can also develop or contribute to some particular aspect of a more complex art form, as in cinematography. By definition, the arts themselves are open to being continually redefined. The practice of modern art, for example, is a testament to the shifting boundaries, improvisation and experimentation, reflexive nature, and self-criticism or questioning that art and its conditions of production, reception, and possibility can undergo.

As both a means of developing capacities of attention and sensitivity and as ends in themselves, the arts can simultaneously be a form of response to the world and a way that our responses and what we deem worthwhile goals or pursuits are transformed. From prehistoric cave paintings to ancient and contemporary forms of ritual to modern-day films, art has served to register, embody, and preserve our ever-shifting relationships to each other and to the world. (Full article...)

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  • Image 1 Rix Nicholas, c. 1920, dressed as "the spirit of the bush" Hilda Rix Nicholas (née Rix, later Wright, 1 September 1884 – 3 August 1961) was an Australian artist. Born in the Victorian city of Ballarat, she studied under a leading Australian Impressionist, Frederick McCubbin, at the National Gallery of Victoria Art School from 1902 to 1905 and was an early member of the Melbourne Society of Women Painters and Sculptors. Following the death of her father in 1907, Rix, her only sibling Elsie and her mother travelled to Europe where she undertook further study, first in London and then Paris. Her teachers during the period included John Hassall, Richard Emil Miller and Théophile Steinlen. After travelling to Tangier in 1912, Rix held several successful exhibitions of her work, with one drawing, Grande marché, Tanger, purchased by the French government. She was one of the first Australians to paint post-impressionist landscapes, was made a member of the Société des Peintres Orientalistes Français, and had works hung in the Paris Salon in 1911 and 1913. The family evacuated from France to England after the outbreak of World War I. A period of personal tragedy followed, as Rix's sister died in 1914, then her mother in 1915. In 1916 she met and married George Matson Nicholas, only to be widowed the next month when he was killed on the Western Front. (Full article...)

    Richard Emil Miller and Théophile Steinlen.

    After travelling to Tangier in 1912, Rix held several successful exhibitions of her work, with one drawing, Grande marché, Tanger, purchased by the French government. She was one of the first Australians to paint post-impressionist landscapes, was made a member of the Société des Peintres Orientalistes Français, and had works hung in the Paris Salon in 1911 and 1913. The family evacuated from France to England after the outbreak of World War I. A period of personal tragedy followed, as Rix's sister died in 1914, then her mother in 1915. In 1916 she met and married George Matson Nicholas, only to be widowed the next month when he was killed on the Western Front. (Full article...
    )
  • Image 2 The Penelopiad is a novella by Canadian author Margaret Atwood. It was published in 2005 as part of the first set of books in the Canongate Myth Series where contemporary authors rewrite ancient myths. In The Penelopiad, Penelope reminisces on the events of the Odyssey, life in Hades, Odysseus, Helen of Troy, and her relationships with her parents. A Greek chorus of the twelve maids, who Odysseus believed were disloyal and whom Telemachus hanged, interrupt Penelope's narrative to express their view on events. The maids' interludes use a new genre each time, including a jump-rope rhyme, a lament, an idyll, a ballad, a lecture, a court trial and several types of songs. The novella's central themes include the effects of story-telling perspectives, double standards between the sexes and the classes, and the fairness of justice. Atwood had previously used characters and storylines from Greek mythology in fiction such as her novel The Robber Bride, short story The Elysium Lifestyle Mansions, and poems "Circe: Mud Poems" and "Helen of Troy Does Countertop Dancing." She used Robert Graves' The Greek Myths and E. V. Rieu and D. C. H. Rieu's version of the Odyssey to prepare for this novella. (Full article...)
    jump-rope rhyme, a lament, an idyll, a ballad, a lecture, a court trial and several types of songs.

    The novella's central themes include the effects of story-telling perspectives, double standards between the sexes and the classes, and the fairness of justice. Atwood had previously used characters and storylines from Greek mythology in fiction such as her novel The Robber Bride, short story The Elysium Lifestyle Mansions, and poems "Circe: Mud Poems" and "Helen of Troy Does Countertop Dancing." She used Robert Graves' The Greek Myths and E. V. Rieu and D. C. H. Rieu's version of the Odyssey to prepare for this novella. (Full article...
    )
  • Image 3 The Royal Gold Cup, 23.6 cm high, 17.8 cm across at its widest point; weight 1.935 kg, British Museum. Saint Agnes appears to her friends in a vision. The Royal Gold Cup or Saint Agnes Cup is a solid gold covered cup lavishly decorated with enamel and pearls. It was made for the French royal family at the end of the 14th century, and later belonged to several English monarchs before spending nearly 300 years in Spain. It has been in the British Museum since 1892, where it is normally on display in Room 40, and is generally agreed to be the outstanding surviving example of late medieval French plate. It has been described as "the one surviving royal magnificence of the International Gothic age". According to Thomas Hoving, former director of the Metropolitan Museum of Art in New York, "of all the princely jewels and gold that have come down to us, this is the most spectacular—and that includes the great royal treasures." The cup is made of solid gold, stands 23.6 cm (9.25 inches) high with a diameter of 17.8 cm (6.94 inches) at its widest point, and weighs 1.935 kg (4.26 lb). It has a cover that lifts off, but the triangular stand on which it once stood is now lost. The stem of the cup has twice been extended by the addition of cylindrical bands, so that it was originally much shorter, giving the overall shape "a typically robust and stocky elegance." The original decorated knop or finial on the cover has been lost, and a moulding decorated with 36 pearls has been removed from the outer edge of the cover; a strip of gold with jagged edges can be seen where it was attached. Presumably it matched the one still in place round the foot of the cup. (Full article...)
    Saint Agnes appears to her friends in a vision.



    The Royal Gold Cup or Saint Agnes Cup is a solid gold covered cup lavishly decorated with enamel and pearls. It was made for the French royal family at the end of the 14th century, and later belonged to several English monarchs before spending nearly 300 years in Spain. It has been in the British Museum since 1892, where it is normally on display in Room 40, and is generally agreed to be the outstanding surviving example of late medieval French plate. It has been described as "the one surviving royal magnificence of the International Gothic age". According to Thomas Hoving, former director of the Metropolitan Museum of Art in New York, "of all the princely jewels and gold that have come down to us, this is the most spectacular—and that includes the great royal treasures."

    The cup is made of solid gold, stands 23.6 cm (9.25 inches) high with a diameter of 17.8 cm (6.94 inches) at its widest point, and weighs 1.935 kg (4.26 lb). It has a cover that lifts off, but the triangular stand on which it once stood is now lost. The stem of the cup has twice been extended by the addition of cylindrical bands, so that it was originally much shorter, giving the overall shape "a typically robust and stocky elegance." The original decorated knop or finial on the cover has been lost, and a moulding decorated with 36 pearls has been removed from the outer edge of the cover; a strip of gold with jagged edges can be seen where it was attached. Presumably it matched the one still in place round the foot of the cup. (Full article...
    )
  • Image 4 The Arch of Remembrance is a First World War memorial designed by Sir Edwin Lutyens and located in Victoria Park, Leicester, in the East Midlands of England. Leicester's industry contributed significantly to the British war effort. A temporary war memorial was erected in 1917, and a committee was formed in 1919 to propose a permanent memorial. The committee resolved to appoint Lutyens as architect and to site the memorial in Victoria Park. Lutyens's first proposal was accepted by the committee but was scaled back and eventually cancelled due to a shortage of funds. The committee then asked Lutyens to design a memorial arch, which he presented to a public meeting in 1923. The memorial is a single Portland stone arch with four legs (a tetrapylon or quadrifrons), 69 feet 4+1⁄4 inches (21 metres) tall. The legs form four arched openings, two large on the main axis, 36 feet (11 metres) tall, oriented north-west to south-east, and two small on the sides, 24 feet (7.3 metres) tall. At the top of the structure is a large dome, set back from the edge. The main arches are aligned so the sun shines through them at sunrise on 11 November (Armistice Day). The inside of the arch has a decorative coffered ceiling and the legs support painted stone flags which represent each of the British armed forces and the Merchant Navy. The arch is surrounded by decorative iron railings, and complemented by the later addition of a set of gates at the University Road entrance to the park and a pair of gates and lodges at the London Road entrance—the war memorial is at the intersection of the paths leading from the two entrances. (Full article...)
    memorial arch, which he presented to a public meeting in 1923.

    The memorial is a single Portland stone arch with four legs (a tetrapylon or quadrifrons), 69 feet 4+1⁄4 inches (21 metres) tall. The legs form four arched openings, two large on the main axis, 36 feet (11 metres) tall, oriented north-west to south-east, and two small on the sides, 24 feet (7.3 metres) tall. At the top of the structure is a large dome, set back from the edge. The main arches are aligned so the sun shines through them at sunrise on 11 November (Armistice Day). The inside of the arch has a decorative coffered ceiling and the legs support painted stone flags which represent each of the British armed forces and the Merchant Navy. The arch is surrounded by decorative iron railings, and complemented by the later addition of a set of gates at the University Road entrance to the park and a pair of gates and lodges at the London Road entrance—the war memorial is at the intersection of the paths leading from the two entrances. (Full article...
    )
  • Image 5 Darkness on the Edge of Town is the fourth studio album by the American singer-songwriter Bruce Springsteen, released on June 2, 1978, by Columbia Records. The album was recorded after a series of legal disputes between Springsteen and his former manager Mike Appel, during sessions in New York City with the E Street Band from June 1977 to March 1978. Springsteen and Jon Landau co-produced, with assistance from bandmate Steven Van Zandt. For the album's lyrics and music, Springsteen took inspiration from sources as diverse as John Steinbeck novels, John Ford films, punk rock, and country music. Musically, the album strips the Wall of Sound production of its predecessor, Born to Run, for a rawer hard rock sound emphasizing the band as a whole. The lyrics on Darkness focus on ill-fortuned characters who fight back against overwhelming odds. Compared to Springsteen's previous records, the characters are older and the songs are less tied to the Jersey Shore area. The cover photograph of Springsteen was taken by Frank Stefanko in his New Jersey home. (Full article...)
    studio album by the American singer-songwriter Bruce Springsteen, released on June 2, 1978, by Columbia Records. The album was recorded after a series of legal disputes between Springsteen and his former manager Mike Appel, during sessions in New York City with the E Street Band from June 1977 to March 1978. Springsteen and Jon Landau co-produced, with assistance from bandmate Steven Van Zandt.

    For the album's lyrics and music, Springsteen took inspiration from sources as diverse as John Steinbeck novels, John Ford films, punk rock, and country music. Musically, the album strips the Wall of Sound production of its predecessor, Born to Run, for a rawer hard rock sound emphasizing the band as a whole. The lyrics on Darkness focus on ill-fortuned characters who fight back against overwhelming odds. Compared to Springsteen's previous records, the characters are older and the songs are less tied to the Jersey Shore area. The cover photograph of Springsteen was taken by Frank Stefanko in his New Jersey home. (Full article...
    )
  • Image 6 Rabearivelo, ca. 1930 Jean-Joseph Rabearivelo (4 March 1901 or 1903 – 22 June 1937), born Joseph-Casimir Rabearivelo, was a Malagasy poet who is widely considered to be Africa's first modern poet and the greatest literary artist of Madagascar. Part of the first Malagasy generation raised under French colonization, Rabearivelo grew up impoverished and failed to complete secondary education. His passion for French literature and traditional Malagasy oral poetry (hainteny) prompted him to read extensively and educate himself on a variety of subjects, including the French language and its poetic and prose traditions. He published his first poems as an adolescent in local literary reviews, soon obtaining employment at a publishing house where he worked as a proofreader and editor of its literary journals. He published numerous poetry anthologies in French and Malagasy as well as literary critiques, an opera, and two novels. Rabearivelo's early period of modernist-inspired poetry showed skill and attracted critical attention, but adhered strictly to traditional genre conventions. The surrealist poetry he composed beginning in 1931 displayed greater originality, garnering him strong praise and acclaim. Despite increasing critical attention in international poetry reviews, Rabearivelo was never afforded access to the elite social circles of colonial Madagascar. He suffered a series of personal and professional disappointments, including the death of his daughter, the French authorities' decision to exclude him from the list of exhibitors at the Universal Exposition in Paris, and growing personal debt worsened by his opium addiction and philandering. Following Rabearivelo's suicide by cyanide poisoning in 1937, he became viewed as a colonial martyr. (Full article...)

    Malagasy poet who is widely considered to be Africa's first modern poet and the greatest literary artist of Madagascar. Part of the first Malagasy generation raised under French colonization, Rabearivelo grew up impoverished and failed to complete secondary education. His passion for French literature and traditional Malagasy oral poetry (hainteny) prompted him to read extensively and educate himself on a variety of subjects, including the French language and its poetic and prose traditions. He published his first poems as an adolescent in local literary reviews, soon obtaining employment at a publishing house where he worked as a proofreader and editor of its literary journals. He published numerous poetry anthologies in French and Malagasy as well as literary critiques, an opera, and two novels.

    Rabearivelo's early period of modernist-inspired poetry showed skill and attracted critical attention, but adhered strictly to traditional genre conventions. The surrealist poetry he composed beginning in 1931 displayed greater originality, garnering him strong praise and acclaim. Despite increasing critical attention in international poetry reviews, Rabearivelo was never afforded access to the elite social circles of colonial Madagascar. He suffered a series of personal and professional disappointments, including the death of his daughter, the French authorities' decision to exclude him from the list of exhibitors at the Universal Exposition in Paris, and growing personal debt worsened by his opium addiction and philandering. Following Rabearivelo's suicide by cyanide poisoning in 1937, he became viewed as a colonial martyr. (Full article...
    )
  • Image 7 Aerial view in 2009: "The most famous twentieth century garden in England" Sissinghurst Castle Garden, at Sissinghurst in the Weald of Kent in England, was created by Vita Sackville-West, poet and writer, and her husband Harold Nicolson, author and diplomat. It is among the most famous gardens in England and is designated Grade I on Historic England's register of historic parks and gardens. It was bought by Sackville-West in 1930, and over the next thirty years, working with, and later succeeded by, a series of notable head gardeners, she and Nicolson transformed a farmstead of "squalor and slovenly disorder" into one of the world's most influential gardens. Following Sackville-West's death in 1962, the estate was donated to the National Trust. It was ranked 42nd on the list of the Trust's most-visited sites in the 2021–2022 season, with over 150,000 visitors. The gardens contain an internationally respected plant collection, particularly the assemblage of old garden roses. The writer Anne Scott-James considered the roses at Sissinghurst to be "one of the finest collections in the world". A number of plants propagated in the gardens bear names related to people connected with Sissinghurst or the name of the garden itself. The garden design is based on axial walks that open onto enclosed gardens, termed "garden rooms", one of the earliest examples of this gardening style. Among the individual "garden rooms", the White Garden has been particularly influential, with the horticulturalist Tony Lord describing it as "the most ambitious ... of its time, the most entrancing of its type." (Full article...)

    old garden roses. The writer Anne Scott-James considered the roses at Sissinghurst to be "one of the finest collections in the world". A number of plants propagated in the gardens bear names related to people connected with Sissinghurst or the name of the garden itself. The garden design is based on axial walks that open onto enclosed gardens, termed "garden rooms", one of the earliest examples of this gardening style. Among the individual "garden rooms", the White Garden has been particularly influential, with the horticulturalist Tony Lord describing it as "the most ambitious ... of its time, the most entrancing of its type." (Full article...
    )
  • Image 8 Building seen from Dearborn Street in 2005. The north half in the foreground is the earliest section (1891). The Monadnock Building (historically the Monadnock Block; pronounced /məˈnædnɒk/ mə-NAD-nok) is a 16-story skyscraper located at 53 West Jackson Boulevard in the south Loop area of Chicago. The north half of the building was designed by the firm of Burnham & Root and built starting in 1891. At 215 feet (66 m), it is the tallest load-bearing brick building ever constructed. It employed the first portal system of wind bracing in the United States. Its decorative staircases represent the first structural use of aluminum in building construction. The later south half, constructed in 1893, was designed by Holabird & Roche and is similar in color and profile to the original, but the design is more traditionally ornate. When completed, it was the largest office building in the world. The success of the building was the catalyst for an important new business center at the southern end of the Loop. The building was remodeled in 1938 in one of the first major skyscraper renovations ever undertaken—a bid, in part, to revolutionize how building maintenance was done and halt the demolition of Chicago's aging skyscrapers. It was sold in 1979 to owners who restored the building to its original condition, in one of the most comprehensive skyscraper restorations attempted as of 1992. The project was recognized as one of the top restoration projects in the US by the National Trust for Historic Preservation in 1987. The building is divided into offices from 250 square feet (23 m2) to 6,000 square feet (560 m2) in size, and primarily serves independent professional firms. It was listed for sale in 2007. (Full article...)

    Holabird & Roche and is similar in color and profile to the original, but the design is more traditionally ornate. When completed, it was the largest office building in the world. The success of the building was the catalyst for an important new business center at the southern end of the Loop.

    The building was remodeled in 1938 in one of the first major skyscraper renovations ever undertaken—a bid, in part, to revolutionize how building maintenance was done and halt the demolition of Chicago's aging skyscrapers. It was sold in 1979 to owners who restored the building to its original condition, in one of the most comprehensive skyscraper restorations attempted as of 1992. The project was recognized as one of the top restoration projects in the US by the National Trust for Historic Preservation in 1987. The building is divided into offices from 250 square feet (23 m2) to 6,000 square feet (560 m2) in size, and primarily serves independent professional firms. It was listed for sale in 2007. (Full article...
    )
  • Image 9 Theatrical release poster The Cabinet of Dr. Caligari (German: Das Cabinet des Dr. Caligari) is a 1920 German silent horror film directed by Robert Wiene and written by Hans Janowitz and Carl Mayer. Considered the quintessential work of German Expressionist cinema, it tells the story of an insane hypnotist (Werner Krauss) who uses a brainwashed somnambulist (Conrad Veidt) to commit murders. The film features a dark, twisted visual style, with sharp-pointed forms, oblique, curving lines, structures and landscapes that lean and twist in unusual angles, and shadows and streaks of light painted directly onto the sets. The script was inspired by various experiences from the lives of Janowitz and Mayer, both pacifists who were left distrustful of authority after their experiences with the military during World War I. The film makes use of a frame story, with a prologue and epilogue combined with a twist ending. Janowitz said this device was forced upon the writers against their will. The film's design was handled by Hermann Warm, Walter Reimann and Walter Röhrig, who recommended a fantastic, graphic style over a naturalistic one. (Full article...)

    German Expressionist cinema, it tells the story of an insane hypnotist (Werner Krauss) who uses a brainwashed somnambulist (Conrad Veidt) to commit murders. The film features a dark, twisted visual style, with sharp-pointed forms, oblique, curving lines, structures and landscapes that lean and twist in unusual angles, and shadows and streaks of light painted directly onto the sets.

    The script was inspired by various experiences from the lives of Janowitz and Mayer, both pacifists who were left distrustful of authority after their experiences with the military during World War I. The film makes use of a frame story, with a prologue and epilogue combined with a twist ending. Janowitz said this device was forced upon the writers against their will. The film's design was handled by Hermann Warm, Walter Reimann and Walter Röhrig, who recommended a fantastic, graphic style over a naturalistic one. (Full article...
    )
  • Image 10 Albert William Ketèlbey (/kəˈtɛlbi/; born Ketelbey; 9 August 1875 – 26 November 1959) was an English composer, conductor and pianist, best known for his short pieces of light orchestral music. He was born in Birmingham and moved to London in 1889 to study at Trinity College of Music. After a brilliant studentship he did not pursue the classical career predicted for him, becoming musical director of the Vaudeville Theatre before gaining fame as a composer of light music and as a conductor of his own works. For many years Ketèlbey worked for a series of music publishers, including Chappell & Co and the Columbia Graphophone Company, making arrangements for smaller orchestras, a period in which he learned to write fluent and popular music. He also found great success writing music for silent films until the advent of talking films in the late 1920s. (Full article...)
    Chappell & Co and the Columbia Graphophone Company, making arrangements for smaller orchestras, a period in which he learned to write fluent and popular music. He also found great success writing music for silent films until the advent of talking films in the late 1920s. (Full article...
    )
  • Image 11 "San Junipero" is the fourth episode in the third series of the British science fiction anthology television series Black Mirror. Written by series creator and showrunner Charlie Brooker and directed by Owen Harris, it premiered on Netflix on 21 October 2016, with the rest of series three. The episode is set in a beach resort town named San Junipero, where the introverted Yorkie (Mackenzie Davis) meets the more outgoing Kelly (Gugu Mbatha-Raw). The town is part of a simulated reality the elderly can inhabit, even after death. "San Junipero" was the first episode written for series three of Black Mirror; initial drafts were based on nostalgia therapy and designed as a 1980s period piece. The first script was about a heterosexual couple and had an unhappy ending, and the final version was about a lesbian couple and had a happy ending. Filming took place in London and Cape Town across several weeks. The soundtrack interweaves 1980s songs with an original score by Clint Mansell. (Full article...)
    "San Junipero" is the fourth episode in the third series of the British science fiction anthology television series Black Mirror. Written by series creator and showrunner Charlie Brooker and directed by Owen Harris, it premiered on Netflix on 21 October 2016, with the rest of series three.

    The episode is set in a beach resort town named San Junipero, where the introverted Yorkie (Mackenzie Davis) meets the more outgoing Kelly (Gugu Mbatha-Raw). The town is part of a simulated reality the elderly can inhabit, even after death. "San Junipero" was the first episode written for series three of Black Mirror; initial drafts were based on nostalgia therapy and designed as a 1980s period piece. The first script was about a heterosexual couple and had an unhappy ending, and the final version was about a lesbian couple and had a happy ending. Filming took place in London and Cape Town across several weeks. The soundtrack interweaves 1980s songs with an original score by Clint Mansell. (Full article...)
  • Image 12 Gray's Inn Square, London The Honourable Society of Gray's Inn, commonly known as Gray's Inn, is one of the four Inns of Court (professional associations for barristers and judges) in London. To be called to the bar in order to practise as a barrister in England and Wales, an individual must belong to one of these inns. Located at the intersection of High Holborn and Gray's Inn Road in Central London, the Inn is a professional body and provides office and some residential accommodation for barristers. It is ruled by a governing council called "Pension", made up of the Masters of the Bench (or "benchers") and led by the Treasurer, who is elected to serve a one-year term. The Inn is known for its gardens (the "Walks"), which have existed since at least 1597. Gray's Inn does not claim a specific foundation date; none of the Inns of Court claims to be any older than the others. Law clerks and their apprentices have been established on the present site since at latest 1370, with records dating from 1381. During the 15th and 16th centuries, the Inn grew in size, peaking during the reign of Elizabeth I. The Inn was home to many important barristers and politicians, including Francis Bacon. Queen Elizabeth herself was a patron. As a result of the efforts of prominent members such as William Cecil and Gilbert Gerard, Gray's Inn became the largest of the four Inns by number, with over 200 barristers recorded as members. During this period, the Inn mounted masques and revels. William Shakespeare's The Comedy of Errors is believed first to have been performed in Gray's Inn Hall. (Full article...)
    Elizabeth I. The Inn was home to many important barristers and politicians, including Francis Bacon. Queen Elizabeth herself was a patron. As a result of the efforts of prominent members such as William Cecil and Gilbert Gerard, Gray's Inn became the largest of the four Inns by number, with over 200 barristers recorded as members. During this period, the Inn mounted masques and revels. William Shakespeare's The Comedy of Errors is believed first to have been performed in Gray's Inn Hall. (Full article...
    )
  • Image 13 The Vermont Sesquicentennial half dollar, sometimes called the Bennington–Vermont half dollar or the Battle of Bennington Sesquicentennial half dollar, is a commemorative fifty-cent piece struck by the United States Bureau of the Mint in 1927. The coin was designed by Charles Keck, and on its obverse depicts early Vermont leader Ira Allen, brother of Ethan Allen. On January 9, 1925, Vermont Senator Frank Greene introduced legislation for commemorative coins to mark the 150th anniversary of Vermont declaring itself fully independent in 1777 and of the American victory at the Battle of Bennington the same year. His bill passed the Senate without difficulty, but in the House of Representatives faced an array of problems. Treasury Secretary Andrew W. Mellon sent a letter opposing the bill and dispatched three Treasury officials to testify against it, arguing that the public was being confused as special coin issues entered circulation. The committee's resolve to have no more commemorative coins—after this one—did not impress the full House, which added two more half dollars to the legislation to mark other anniversaries. The Senate agreed to the changes, and President Calvin Coolidge signed the authorizing act on February 24, 1925. (Full article...)
    Andrew W. Mellon sent a letter opposing the bill and dispatched three Treasury officials to testify against it, arguing that the public was being confused as special coin issues entered circulation. The committee's resolve to have no more commemorative coins—after this one—did not impress the full House, which added two more half dollars to the legislation to mark other anniversaries. The Senate agreed to the changes, and President Calvin Coolidge signed the authorizing act on February 24, 1925. (Full article...
    )
  • Image 14 A Momentary Lapse of Reason is the thirteenth studio album by the English progressive rock band Pink Floyd, released in the UK on 7 September 1987 by EMI and the following day in the US on Columbia. It was recorded primarily on the converted houseboat Astoria, belonging to the guitarist, David Gilmour. A Momentary Lapse of Reason was the first Pink Floyd album recorded without the founding member Roger Waters, who departed in 1985. The production was marred by legal fights over the rights to the Pink Floyd name, which were not resolved until several months after release. It also saw the return of the keyboardist and founding member Richard Wright as a session player, who was fired by Waters during the recording of The Wall (1979). (Full article...)
    A Momentary Lapse of Reason is the thirteenth studio album by the English progressive rock band Pink Floyd, released in the UK on 7 September 1987 by EMI and the following day in the US on Columbia. It was recorded primarily on the converted houseboat Astoria, belonging to the guitarist, David Gilmour.

    A Momentary Lapse of Reason was the first Pink Floyd album recorded without the founding member Roger Waters, who departed in 1985. The production was marred by legal fights over the rights to the Pink Floyd name, which were not resolved until several months after release. It also saw the return of the keyboardist and founding member Richard Wright as a session player, who was fired by Waters during the recording of The Wall (1979). (Full article...)
  • Image 15 Freedom from Want, also known as The Thanksgiving Picture or I'll Be Home for Christmas, is the third of the Four Freedoms series of four oil paintings by American artist Norman Rockwell. The works were inspired by United States President Franklin D. Roosevelt's 1941 State of the Union Address, known as Four Freedoms. The painting was created in November 1942 and published in the March 6, 1943, issue of The Saturday Evening Post. All of the people in the picture were friends and family of Rockwell in Arlington, Vermont, who were photographed individually and painted into the scene. The work depicts a group of people gathered around a dinner table for a holiday meal. Having been partially created on Thanksgiving Day to depict the celebration, it has become an iconic representation for Americans of the Thanksgiving holiday and family holiday gatherings in general. The Post published Freedom from Want with a corresponding essay by Carlos Bulosan as part of the Four Freedoms series. Despite many who endured sociopolitical hardships abroad, Bulosan's essay spoke on behalf of those enduring the socioeconomic hardships domestically, and it thrust him into prominence. (Full article...)
    socioeconomic hardships domestically, and it thrust him into prominence. (Full article...
    )
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