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YYCCC 2010-12-02 Calgary City Council – December 2, 2010

owner keeps coming to my house when city inspectors to check things I complain, it grows?

Then his way screaming like crazy do I complain too much, and that. I took him to court and forced to make repairs, including the reduction of lead paint, which initially refused to subside. I guess it's a fad was positive for lead dust. So they sent some guys to clean around my house and a broom. Flooded and began to see and he said his department and wants what they do. You can call the office and ask for code inspectors are not being the guy in the street! It is the third time I I call the police but they did not say it again. What I can do to remove the next time can you be? or just put me with this constant intrusion? Thanks I live in New York

I just close the doors so that he can not enter if you have a password, then change the locks. but hurry up and secure all doors and slap in the face. has any rights you may still call the police if they actually do something, then tell them you want something, because no one listens, that will eventually get tired of it and they will do something

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Lost artworks

Classical era

The “Colossus of Rhodes”, one of the Seven Wonders of the Ancient World

The “Statue of Zeus at Olympia”, one of the Seven Wonders of the Ancient World

The “Athena Parthenos”, originally housed in the Parthenon

5th century

Mosaic portraits of members of the western and eastern imperial families and the bishop of Ravenna, commissioned by Galla Placidia in the Church of San Giovanni Evangelista, Ravenna (c. 425 C.E.). Destroyed by 1747.

Equestrian monument (the “Regisole”) to Theodoric the Great, King of the Ostrogoths erected at Ravenna. Moved to Pavia in the Middle Ages, it stood before the cathedral. Destroyed by French troops under Napoleon, 1796.

6th century

The Buddhas of Bamyan, destroyed by the Taliban in 2001.

8th century

Many icons were destroyed during the reign of Leo III the Isaurian, including a famous image of Christ Chalkites on the Chalke Gate. Only a few icons from this period survive, saved outside of imperial control at St. Catherine’s Monastery, in the Sinai.

11th century

The final portion of the Bayeux Tapestry was deliberately removed at some point, and is now lost.

14th century

Panels of the great Maest altarpiece of Duccio di Buoninsegna, painted for the Duomo of Siena and representing the Coronation of the Virgin, Virgin of the Assumption, Ascension of Christ, and Christ in Majesty, are missing and presumed lost.

The great Navicella mosaic of Giotto di Bondone on the porch of Old Saint Peter’s Basilica was extensively reworked in the 17th century.

Giotto’s allegorical fresco of the Commune of Florence portrayed as a seated judge with sceptre, flanked by figures of Fortitude, Prudence, Justice and Temperance, painted for the Palazzo del Podesta, now the Bargello, Florence. Described by Giorgio Vasari.

Giotto’s frescoes (Stories of the Apostles) for the Giugni Chapel of the Basilica of Santa Croce, Florence.

A lost painting of the Virgin by Giotto was bequeathed by the poet Petrarch to Francesca da Carrara, lord of Padua, in 1370.

Fresco, Saint Margaret of Cortona bringing Suppolino back to Life, by Ambrogio Lorenzetti in the Church of Santa Margherita, Cortona. Destroyed mid – 17th century.

A lost portrait of Petrarch’s Laura de Noves by Simone Martini is the subject of one of Petrarch’s sonnets.

15th century

Virgin Enthroned with Saints and Angels (1402) by Lorenzo Monaco. Destroyed by fire in the Friedrichshain Flakturm following the capture of Berlin, May 1945.

Statue of Joshua in terra cotta carved by Donatello for the north tribune of the Duomo of Florence (c.1410). Disappeared in the 18th century.

Statue of Abundance (Dovizia) in stone carved by Donatello (1428). On a column placed first in the Baptistery of the Duomo, later in the Mercato Vecchio, Florence. Replaced in the 18th century, now lost.

Frescoes by Gentile da Fabriano and Pisanello in the Basilica of Saint John Lateran, Rome. Destroyed in reconstruction, 1647.

Fresco cycle of 300 images of Illustrious Men by Masolino da Panicale and Paolo Uccello (c. 1432) for the Palace of Cardinal Orsini in Rome. A watercolor copy by Leonardo da Besozzo survives.

The Sagra del Carmine, monochrome fresco for the cloister of Santa Maria del Carmine, Florence, by Masaccio (1425) representing the consecration of the church in 1422. Destroyed by 1600.

Fresco of the Confirmation of the Rules of the Carmelites by Filippo Lippi in the cloister of Santa Maria del Carmine, Florence. Destroyed by fire, 1771. A fragment uncovered in 1860 survives in place.

A Crucifix was painted by Fra Angelico for the Dominican church of Santa Maria Novella, Florence, in 1423.

School of Fra Angelico. Last Judgment (1456). Destroyed by fire in the Friedrichshain Flakturm following the capture of Berlin, May 1945.

Fresco of the Flagellation by Andrea del Castagno in the cloister of the Basilica of Santa Croce, Florence, destroyed in the 17th century.

Frescoes of the life of the Virgin (1450-1452) begun by Domenico Veneziano and completed by Andrea del Castagno in the church of Sant’ Egidio (Santa Maria Nuova), Florence. Destroyed 1594.

Fresco cycle of the life of Santa Rosa, painted by Benozzo Gozzoli for the church of Santa Rosa, Viterbo. Destroyed by 1632 renovations to the church. Autograph and other drawings and a contemporary description survive.

Altarpiece with scenes from the life of Saint Nicholas by Antonello da Messina for the Confraternity of San Nicol della Montagna in Messina. Seen by Cavalcaselle in 1871. Destroyed in the 1908 Messina earthquake.

Virgin and Child in Glory with Saints John the Evangelist, Francis, Jerome and John the Baptist (c. 1496) by Ghirlandaio. Destroyed by fire in the Friedrichshain Flakturm following the capture of Berlin, May 1945.

Several original paintings on “pagan” subjects by Sandro Botticelli, who burned them in the Bonfire of the Vanities.

Portrait of Piero di Cosimo de’ Medici (c. 1478) by Botticelli. Formerly Museo Civico Gaetano Filangieri, Naples. Destroyed in World War II. Photographs survive.

Frescoes on mythological themes, including the Forge of Vulcan, executed by Botticelli, Ghirlandaio, Filippino Lippi and Perugino for Lorenzo dei Medici in the great hall and external loggia of his villa at Spedaletto, near Volterra, 1487-90. Damaged by damp and finally destroyed by fire in the early nineteenth century.

Fresco of the Triumph of Trajan by Vincenzo Foppa, done for the Medici bank in the Via de’ Bossi, Milan. A fragment survives in the Wallace Collection, London.

Altarpiece for the church of Santa Maria dei Battuti in Belluno (c. 1485) by Alvise Vivarini. Destroyed by fire in Berlin during World War II.

Frescoes, including a Baptism of Christ for the Belvedere Chapel of the Vatican (1488) by Andrea Mantegna. Destroyed under Pope Pius VI to permit construction of the Pio-Clementino Museum, 1780.

Mantegna’s Lamentation of the People over the Dead Gattamelata, (1457-60) a fresco in the Palazzo Gattamelata, Padua. Destroyed by fire November 5, 1760.

Saint Catherine of Siena Altarpiece (Sacra Conversazione) by Giovanni Bellini in the Chapel of the Rosary of the Church of Santi Giovanni e Paolo, Venice. Destroyed by fire in 1867.

The Supper at Emmaus (c. 1494) by Giovanni Bellini. Painted for Giorgio Cornaro of Venice. Destroyed by fire in Vienna in the 18th c.

Fresco, Ascension with Christ in Glory (c.1478-80) by Melozzo da Forli for the choir of the Church of the Santi Apostoli in Rome. Destroyed in 1711 for the enlargement of the choir, 1711. Fragments survive in the Vatican and Quirinal.

The Court of Pan, by Signorelli. Destroyed by fire in the Friedrichshain Flakturm following the capture of Berlin, May 1945.

Fresco of Madonna and Saints for the Tower of Citt di Castello (1474) by Signorelli. Destroyed by earthquake in 1789.

Adoration of the Magi fresco by Perugino for the convent of S. Giusto alla Mura.

The lower left panel of Van Eyck’s Ghent Altarpiece, titled The Just Judges, was stolen in 1934 and is now lost.

Triptych of the Virgin and Child with Donor by Van Eyck (c. 1441). Painted for Nicholas van Maelbeke, provost of St. Martin Cathedral, Ypres. Removed from the cathedral and lost during the French occupation of The Netherlands, 1792-1815. A 1629 copy was acquired by the Bruges museum in 2007.

Crucifixion by Petrus Christus (attributed) (c. 1444). Formerly Dessau Museum. Destroyed by bombing in World War II.

The Justice of Trajan and the Justice of Herkenbald by Rogier van der Weyden. Painted for the ‘Gulden Camere’ (Golden Chamber) of the Brussels Town Hall. The first dated 1439. Destroyed in the French Bombardment of Brussels in 1695.

Descent from the Cross altarpiece by Jan Mabuse executed for the church of Middelburg. Destroyed by fire, 1568.

Tapestries of the Great History of Troy (c. 1475) for the Painted Chamber of the Palace of Westminster, London. Removed 1820 and sold for ten pounds sterling to a London merchant. Presumed destroyed.

16th century

The Trial of Saint Stephen by Vittore Carpaccio. A drawing for the modello survives in the Uffizi.

Virgin and Child Enthroned with Saints Faustinus and Jovita, patron saints of Brescia (the Averoldi Altarpiece) by Carpaccio. Formerly sacristy of S. Giovanni Evangelista, Brescia. Sold to the National Gallery London, lost in a shipwreck crossing the English Channel.

Assumption of the Virgin (c.1507-08) by Fra Bartolommeo. Destroyed by fire in the Friedrichshain Flakturn following the capture of Berlin, May 1945.

Medusa (before 1500, unfinished) by Leonardo da Vinci. In the collection of Cosimo I of Tuscany, 1553. Lost since the end of the 16th century.

Leda and the Swan (1508) by Leonardo da Vinci.

Battle of Anghiari by Leonardo da Vinci (Palazzo Vecchio)

Cartoon by Michelangelo of the battle of Cascina, Palazzo Vecchio, putatively destroyed by Bandinelli

A painting of Leda and the Swan (circa 1530) by Michelangelo. Given by the artist to his friend Antonio Mini who took it to France, where it disappeared.

A marble Cupid by Michelangelo, later owned by Isabella d’Este and Charles I of England. Destroyed in a fire at Whitehall Palace, London, 1698.

A marble Hercules by Michelangelo, his first free-standing statue (c. 1492-94). Installed in the Palazzo Strozzi, Florence, 1506, sent to France in the 16th century. Lost in the 18th century.

A bronze statue of David resting his foot on the severed head of Goliath, by Michelangelo.

Altarpiece of the Madonna and Child with St. Mary Magdalen and St. Lucy (Madonna of Albinea) by Antonio da Correggio.

Fresco of The Coronation of the Virgin for the church of San Giovanni Evangelista, Parma, by Correggio. Destroyed 1587. Fragments in National Gallery, London, other museums.

Portrait of a Young Man by Raphael. Confiscated by the Nazis, now lost .

Baronci altarpiece (the Crowning of Saint Nicholas of Tolentino) by Raphael. His first recorded commission, it was made for Andrea Baronci’s chapel in the church of Sant’Agostino in Citta di Castello, near Urbino. Destroyed in an 18th c. earthquake. At least four fragments survive (Louvre, Capodimonte).

Saint Catherine of Alexandria by Raphael. Formerly owned by Thomas Howard, Earl of Arundel. Depicted in an engraving by Wenceslas Hollar. Presumed lost.

The Wedding of Neptune and Amphitrite, silver bowl by Cellini. Taken from the Chapter of the Basilica of Santa Barbara, Modena, by the French, 1796. Presumed lost.

Ascension of Mary altarpiece (The eller altar) by Drer. The central panel added to the collection of Elector Maximilian of Bavaria, later lost in a fire in 1729.

Cardinal Albrecht of Brandenburg, Archbishop of Mainz, Virgin and Child with Four Female Saints, and Madonna and Child with Infant Saint John by Cranach the Elder. Destroyed by fire in the Friedrichshain Flakturn following the capture of Berlin, May 1945.

Duke Henry of Saxony by Cranach the Elder. Destroyed by enemy action in Dresden, February 1945.

Market Day by Pieter Brueghel the Elder. Depicted in the 17th c. gallery of Cornelis van der Geest painted by Willem van Hoecht.

The Farmers Brawl by Breughel the Elder. Destroyed by enemy action in Dresden, February 1945.

Hans Holbein the Younger’s Whitehall Mural of Henry VIII and family in Whitehall Palace, London, destroyed by fire in 1698.

The Family of Sir Thomas More by Holbein. Destroyed by fire at Kremsier Castle, the Moravian residence of Carl von Liechtenstein, archbishop of Olmutz, 1752.

The Goldsmith Hans von Zurich by Holbein. Copied by Lucas Vosterman. Engraved by Wenceslas Hollar. Presumed lost.

Various works of Titian (including his Battle of Spoleto, Battle of Cadore and Doge Gritti Praying to the Virgin), Tintoretto (his Coronation of Frederick Barbarossa, Excommunication of Barbarossa, and Last Judgment), Paolo Veronese (his Homage of Frederick Barbarossa), Gentile da Fabriano, Pisanello, Carpaccio (his Battle of Ancona), Alvise Vivarini (Otho Promising to Mediate Between Venice and Barbarossa),Guariento (his Paradise), Gentile Bellini (his Battle of Salvore and Presentation of the White Candle to the Pope) and Giovanni Bellini (his Presentation of the Eight Standards and Trumpets to the Doge) were lost in a fire at the Doge’s Palace in Venice in 1577.

Portrait of Isabella dste in Red by Titian. A copy by Rubens is in the Kunsthistorisches Museum, Vienna.

Martyrdom of St Peter (Titian, Santi Giovanni e Paolo) (fire).

Double Portrait of Emperor Charles V and his wife Isabella of Portugal by Titian. Destroyed in the Alcazar palace fire, Madrid, 1734. A copy by Rubens survives.

Penitent Magdalene by Titian. Painted for Philip II of Spain, 1561. Destroyed in a fire at Bath House, London, January 21, 1873.

Ixion and Tantalus by Titian. Destroyed in the Alcazar palace fire, Madrid, 1734.

Paintings of The Twelve Caesars, by Titian. Destroyed in the Alcazar palace fire, Madrid, 1734.

Venus in Front of her Mirror by Titian. Lost from the Spanish royal collection in the 19th century. A copy by Rubens survives.

Apollo and Juno and Saturn Helps Religion to Overcome Heresy by Veronese. Painted c. 1580 for the Fondaco dei Tedeschi, Venice. Destroyed by fire in the Friedrichshain Flakturm, following the capture of Berlin, May 1945.

Fresco of God the Father and the Four Evangelists by Pontormo in the Capponi Chapel, Church of Santa Felicita, Florence. Destroyed in 18th century remodeling.

Last Judgement Cartoons, (Pontormo, San Lorenzo) covered over.

17th century

Equestrian bronze statue of Henry IV of France by Giovanni da Bologna. Presented to Marie de Medicis by Cosimo II of Tuscany in 1614. Melted for cannon during the French Revolution.

Time Saving Truth from Envy and Discord by Nicolas Poussin. Untraced since 1840.

The Martyrdom of Erasmus (c. 1630) by Poussin, destroyed February 1945 by enemy action in Dresden, Germany.

Penance, one of the seven Sacraments (1637-40) by Poussin, destroyed by fire at Belvoir Castle in 1816.

Queen Esther Approaching the Palace of Ahasuerus (1658) by Claude Lorrain. Destroyed in a fire at Fonthill Abbey, 1755.

Apollo Guarding the Herds of Admetus and Mercury Stealing Them by Claude Lorrain. Formerly at Holker Hall. Destroyed by fire in 1870.

Aeneas and the Sibyl of Cumae by Claude Lorrain (Liber Veritatis 183). One of four works commissioned by Prince Falconieri executed 1666-73.

Raising of the Cross, altarpiece by Peter Paul Rubens. Painted for the Church of Santa Croce in Gerusalemme, Rome (1601-02).

Judith Beheading Holofernes, by Rubens (c. 1609). Known only though the 1610 engraving by Cornelius Galle.

Madonna of the Rosary, by Rubens. Painted for the Royal Chapel of the Dominican Church, Brussels. Destroyed in the French bombardment of Brussels, 1695.

Virgin Adorned with Flowers by Saint Anne, by Rubens (1610). Painted for the Church of the Carmelite Friars, Brussels. Destroyed in the French bombardment of Brussels, 1695.

Saint Job Triptych by Rubens (1613). Painted for Saint Nicholas Church, Brussels. Destroyed in the French bombardment of Brussels, 1695.

Cambyses Appointing Otanes Judge, Judgment of Solomon, and Last Judgment, by Rubens. Decoration for the Magistrates’ Hall, Brussels. Destroyed in the French bombardment of Brussels, 1695.

Neptune and Amphitrite by Rubens (c. 1615). Destroyed by fire in the Friedrichshain Flakturm, following the capture of Berlin, May 1945.

Nativity, Adoration of the Magi, and Pentecost, by Rubens. Painted for the Chapel of Coudenberg Palace, Brussels. Destroyed by fire, 1731.

Susannah and the Elders by Rubens (1617-18). Engraved 1620 by Lucas Vosterman.

Satyr, Nymph, Putti and Leopards by Rubens (1618). Now known only from engraving.

The Abduction of Proserpine by Rubens. Engraved before 1621 by Pieter Soutman. Destroyed by fire at Blenheim Palace, Oxfordshire, February 5, 1861.

Crucifixion with Mary, St. John, Magdalen, by Rubens (1622). Destroyed by English Parliamentarians in the Queen’s Chapel, Somerset House, London, 1643.

Portrait of Philip IV of Spain, by Rubens (1628). Destroyed by an incendiary attack at the Kunsthaus, Zurich, in 1985.

Diana and Nymphs Surprised by Satyrs by Rubens (c. 1635-38). Destroyed by fire in the Friedrichshain Flakturm, following the capture of Berlin, May 1945.

Equestrian Portrait of the Archduke Albert by Rubens.

Equestrian Portrait of Philip IV of Spain by Rubens. Destroyed in the Alcazar royal palace fire, Madrid, 1734. A copy is in the Uffizi Gallery.

The Continence of Scipio by Rubens. Destroyed by fire in the Western Exchange, Old Bond Street, London, March 1836.

The Lion Hunt by Rubens. Removed by Napoleon’s agents from Schloss Schleissheim, near Munich, 1800 and sent ultimately to the Bordeaux Museum, where destroyed by fire, 1870.

Equestrian Portrait of the Duke of Buckingham by Rubens. Later owned by the Earl of Jersey at Osterley Park. Destroyed by fire in 1949.

Series of 39 ceiling paintings for the Jesuit Church in Antwerp, designed by Rubens, largely executed by Van Dyck. Destroyed by fire in 1718.

Vision of Saint Hubert by Rubens and Jan Brueghel the Elder. Destroyed by fire in the Friedrichshain Flakturm, following the capture of Berlin, May 1945.

Group Portrait of the Town Council of Brussels by Van Dyck. Destroyed in the bombardment of Brussels, 1695.

Christ Crowned with Thorns, Lamentation over Christ, Nymphs Surprised by Satyrs, and Saints John the Baptist and John the Evangelist by Van Dyck. Destroyed by fire in the Friedrichshain Flakturm, following the capture of Berlin, May 1945.

Birth of Christ by Gerrit van Honthorst. Destroyed in the car bombing of the Uffizi Gallery, Florence, May 1993.

Six Gold and Silver Smiths (The “Bankers of Amsterdam”) by Thomas de Keyser (1627). One of 30 paintings destroyed by fire at the Musee de Beaux Arts, Strasbourg, August 13, 1947.

The Circumcision (1646) by Rembrandt.

Bentheim Castle with Christ and Disciples on the Road to Emmaus by Jacob van Ruisdael. Destroyed by fire at the Boijmans Museum, Rotterdam, 1864.

Large family portrait by Carel Fabritius. Destroyed by fire at the Boijmans Museum, Rotterdam, 1864.

Sleeping Man by Aelbert Cuyp. Destroyed by fire at the Boijmans Museum, Rotterdam, 1864.

A entleman washing his hands in a see-through room (half-door) with sculptures, artful and rare, by Vermeer, listed in the catalogue of the Dissius auction, Holland, 1696.

The Inspiration of Matthew first version by Caravaggio (~1601) (Destroyed by fire in the Friedrichshain Flakturm, following the capture of Berlin, May 1945.)

Christ on the Mount of Olives by Caravaggio (1605). From the collection of Vincenzo Giustiniani. Destroyed by fire in the Friedrichshain Flakturm, following the capture of Berlin, May 1945.

Fillide Melandroni (c.1597) by Caravaggio. Destroyed by fire in the Friedrichshain Flakturm, following the capture of Berlin, May 1945.

A portrait of Alof de Wignacourt by Caravaggio.

Saint John, Saint Francis, and a Resurrection, by Caravaggio, done for Santnna dei Lombardi, Naples. Destroyed in an earthquake, 1798.

Nativity with St. Francis and St. Lawrence by Caravaggio for the Oratorio of San Lorenzo, Palermo. Stolen in 1969, unrecovered.

The Conversion of Saint Paul altarpiece by Orazio Gentileschi, done for the basilica of San Paolo fuori le Mura, Rome. Destroyed by fire, 1823.

The Stoning of Saint Stephen altarpiece by Lavinia Fontana, done for the basilica of San Paolo fuori le Mura, Rome. Destroyed by fire, 1823.

Hercules and Omphale by Artemisia Gentileschi (1628), painted for Philip IV of Spain. Destroyed in the Alcazar palace fire, Madrid, 1734.

Bathsheba by Artemisia Gentileschi (1650-52). Destroyed by fire at Gosford House, Scotland, 1940.

La Buonavventura and Ciclo Vito by Bartolomeo Manfredi. Destroyed in the car bombing of the Uffizi Gallery, Florence, May 1993.

Danae by Annibale Carracci. Formerly Ellesmere collection, Bridgewater House, Westminster, London. Destroyed by enemy action in World War II, May 11, 1941.

Saint Gregory Praying for Souls in Purgatory (c.1600), altarpiece painted by Annibale Caracci for the church of San Gregorio Magno, Rome. Formerly Ellesmere collection, Bridgewater House, Westminster, London. Destroyed by enemy action in World War II, May 11, 1941.

Descent from the Cross by Ludovico Carracci. Formerly Ellesmere collection, Bridgewater House, Westminster, London. Destroyed by enemy action in World War II, May 11, 1941.

Bacchus and Ariadne by Guido Reni. Commissioned for Queen Henrietta Maria’s house at Greenwich, 1637. Destroyed in France in the 17th century by the widow of Michel Particelli d’Hemery, who was scandalized by the female nudes it contained. A fragment with the head of Ariadne survives.

Immaculate Conception by Guido Reni. Formerly Cathedral of Seville, Spain, later in the Ellesmere collection, Bridgewater House, Westminster, London. Destroyed by enemy action in World War II, May 11, 1941.

Bust of Charles I by Bernini, in marble. Destroyed in the Whitehall Palace fire, London, 1698.

Crucified Christ by Bernini, in bronze. Formerly in the French royal collection. Destroyed in the French Revolution.

Expulsion of the Moors with Philip III (1627) by Velasquez. Destroyed in the Alcazar palace fire, Madrid, 1734.

Venus and Adonis by Velasquez. Destroyed in the Alcazar palace fire, Madrid, 1734.

Cupid and Psyche by Velasquez. Destroyed in the Alcazar palace fire, Madrid, 1734.

Apollo and Marsyas by Velasquez. Destroyed in the Alcazar palace fire, Madrid, 1734.

Two portraits of royal jesters, Francesco de Ochoa and Cardenas the Toreador, painted by Velasquez for the Buen Retiro Palace, Madrid.

Pelican with Bucket and Donkeys painted by Velasquez for the Palace of Buen Retiro, Madrid.

Saint Bonaventure Reveals the Crucifix to Saint Thomas Aquinas by Zurbarn. Destroyed by fire in the Friedrichshain Flakturm, following the capture of Berlin, May 1945.

Frescoes of The Labors of Hercules by Luca Giordano painted 1692-1702 for the Buen Retiro Palace of Charles II of Spain, Madrid. Destroyed in the 19th century.

William III Leading Troops at the Battle of the Boyne by Godfrey Kneller. Destroyed by fire in Grocers’ Hall, London, September 22, 1965.

18th century

The Amber Room of the Catherine Palace in Russia was lost during World War II.

The Drawing Lesson and A Girl Reciting her Gospel by Jean-Baptiste-Simon Chardin.

Still Life with Copper Kettle, Bowl with Eggs (1724-25), by Chardin. Destroyed by fire in the Friedrichshain Flakturm, following the capture of Berlin, May 1945.

Decorations for the Chateau de la Muette: the Goddess Ki Mao Sao in the Kingdom of Mang in the country of Laos, by Watteau (engraved c. 1719). Demolished at the Revolution.

Spring (Printemps), one of a series of four paintings of the Seasons, painted by Watteau for the banker Pierre Crozat. Rediscovered 1964, destroyed by fire two years later. Autumn and Winter from the series remain unaccounted for.

Jay and Oriole Hung by the Feet by Jean-Baptiste Oudry. Exhibited at the Salon of 1751.

The original paintings of A Harlot’s Progress (1731) by William Hogarth were destroyed in a fire at Fonthill Abbey in 1755, but the engravings (1732) survive.

Fresco of The Translation of the Holy House of Loreto by Gianbattista Tiepolo in the Church of the Scalzi, Venice. Destroyed by enemy action (Austrian shell), 1915.

Frescoes by Gianbattista and Giandomenico Tiepolo glorifying the Soderini family, Villa Soderini, Nervesa della Battaglia, in the Veneto (c.1754) were totally destroyed during an Italo-Austrian engagement in the First World War, June 15-19, 1918.

Ceiling frescoes of The Triumph of the Arts and Sciences, Apollo and Phaethon, Perseus and Andromeda, and Juno with Fortuna and Venus by Gianbattista Tiepolo in the Palazzo Archinto, Milan. Destroyed by bombardment in World War II.

Nativity, The Infant Jupiter, General James Oglethorpe and sixteen other works of Sir Joshua Reynolds were destroyed by fire at Belvoir Castle in 1816.

Gainsborough’s whole-length of David Garrick leaning on a bust of Shakespeare, painted for the Stratford Shakespeare Jubilee (1766) was destroyed in a fire at Stratford-upon-Avon Town Hall in 1946.

The Woodman and his Dog in a Storm (1787) by Gainsborough. Destroyed by fire in 1810. A 1791 mezzotint by Pierre Simon exists.

The Destruction of Niobe’s Children by Richard Wilson. Formerly National Gallery, London. Destroyed by enemy action in World War II, 1944.

Bust of the composer Gluck in marble by Jean-Antoine Houdon. Destroyed by fire at the Paris Opera, 1873. Terra cotta versions exist.

The Eidophusikon (1781) by Philip James de Loutherbourg.

Le Pelletier on his Death Bed (1793) by Jacques-Louis David.

19th Century

Don Antonio de Porcel (1806) by Goya. Destroyed in a fire in the Jockey Club, Buenos Aires, 1956.

A Vision of the Last Judgment (1808) by William Blake. Earlier versions and sketches survive, but the final version has not been seen since the cancellation of an 1810 exhibit it was to have been part of.

George Washington Seated, in Roman dress, marble sculpture by Canova, destroyed by fire in the North Carolina State House, Raleigh, 1831. The artist’s plaster model survives.

Winter (1807-08), The Farewell (1818), The Harbor at Grifswald (c. 1820), Autumn Landscape with Brush Collector (1824), and Evening (1825), by Caspar David Friedrich. Destroyed in the Glaspalast (Munich) fire, 1931.

Mountain Chapel in the Mist (1811), Monastery Graveyard in the Snow (1817-18), High Mountain Region (1824), and Northern Lights (1830-35) by Caspar David Friedrich.Destroyed by fire in the Friedrichshain Flakturm, following the capture of Berlin, May 1945.

The Mouth of the Thames (1807) by Joseph Mallord William Turner. Destroyed by enemy action in World War II.

Fish Market on the Sands (1830) by Turner. Formerly owned by Billy Rose. Destroyed by fire, 1956.

Aeneas Relating his Story to Dido (1850) by Turner.

Mississippi River Panorama (1840-46) by John Banvard. Promoted as a ‘three-mile canvas’, though it was only approximately half a mile (800 m) long. Banvard gave the panorama many showings, including one to Queen Victoria. It is thought to have been cut up into pieces towards the end of the 19th century.

Washington Crossing the Delaware (1849-50) (first version) by Emanuel Leutze. Destroyed in an air raid on Bremen, 1942.

Apotheosis of Napoleon I by Ingres. Ceiling painting for the Hotel de Ville, Paris. Destroyed by fire in the Paris Commune, 1871.

The Storming of the Bastille (1830) by Paul Delaroche. Painted for the Hotel de Ville, Paris. Destroyed by fire in the Paris Commune, 1871.

Justinian Drafting his Laws (1826) by Eugne Delacroix. Painted for the Council of State, Paris. Destroyed by fire in the Paris Commune, 1871. An 1855 photograph survives.

Peace Consoles Mankind and Brings Abundance (1852-54) by Delacroix. Painted for the Hall of Peace at the Hotel de Ville, Paris. Destroyed by fire in the Paris Commune, 1871.

The Jewish Captivity in Babylon by Jean-Francois Millet. Submitted for the Paris Salon, 1848. Painted over by the artist with a scene executed in Normandy in 1870-71.

The Stone-breakers, by Courbet, destroyed in transit from the Dresden Gallery in World War II.

The Return from the Conference (1863) by Courbet. Destroyed 1909 by its owner due to its anticlerical content.

Venus and Psyche (1864) by Courbet. Destroyed by enemy air action, Berlin, 1945.

Still Life: Vase with Five Sunflowers (1888) by Van Gogh. Formerly in the collection of Koyata Yamamoto, Japan. Destroyed by American air raids on Ashiya District, August 5-6, 1945.

The Painter on his Way to Work by Van Gogh. Formerly in the Kaiser-Friedrich Museum, Berlin. Destroyed by fire in World War II.

The Park at Arles with the Entrance Seen Through the Trees (1888) by Van Gogh. Destroyed by fire in World War II.

The Lovers: The Poet’s Garden IV (1888) by Van Gogh. Declared degenerate and confiscated by the Nazis in 1937. Whereabouts unknown.

The New Jerusalem by George Inness was destroyed in the partial collapse of Madison Square Garden in 1880. Salvaged fragments survive, including Valley of the Olive Trees in the Walters Art Gallery, Baltimore.

The Apparition, a lost oil by James Tissot (1885). A mezzotint by the artist exists.

Henri Rousseau’s portrait of French playwright Alfred Jarry (1895) was destroyed by the sitter, who disliked it.

Head of Sir Henry Irving by John Singer Sargent. Destroyed by the sitter, who disliked it.

Portrait of Thomas Eakins by William Merritt Chase (c. 1899). Presumed destroyed by the sitter.

Hen with Sapphire Pendant (1886), a Faberg egg.

Cherub with Chariot (1888), a Faberg egg.

Necessaire (1889), a Faberg egg.

Alexander III Portraits (1896), a Faberg egg.

Mauve (1898), a Faberg egg.

20th century

Empire Nephrite (1902), a Faberg egg.

Royal Danish (1903), a Faberg egg.

Alexander III Commemorative (1909), a Faberg egg.

Musik II (1898), Schubert at the Piano (1899), Golden Apple Tree (1903), Procession of the Dead (1903), Medicine, Philosophy, and Jurisprudence (1899-1907), Farm Garden with Crucifix (1911-12), Malcesine on Lake Garda (1913), Garden Path with Chickens (1916), Portrait of Wally (1916), The Friends (c. 1916-17), Leda (1917), Gastein (1917), all by Gustav Klimt. Destroyed by fire set by retreating German forces in 1945 at Schloss Immendorf, Austria.

Two paintings by Claude Monet, including a major study of Water Lilies, were destroyed in a fire that swept the Museum of Modern Art, New York, in April 1958.

Diego Rivera’s mural Man at the Crossroads (1933) was destroyed and removed in 1934 because its content (including a portrait of Lenin) offended Nelson Rockefeller, who had commissioned the work. Rivera later recreated the work as Man, Controller of the Universe in the Palacio de Bellas Artes in Mexico City.

Joan Miro’s large mural on panels, The Reaper, (1937) depicting a Catalan peasant, was created for the Spanish Republican pavilion of the 1937 Paris Exposition. Afterwards it was sent to Valencia and probably destroyed.

Works of Arshile Gorky were lost when his studio burned in 1946. In addition, 15 abstract paintings and drawings by Gorky were lost in a 1962 plane crash

Graham Sutherland’s portrait of Winston Churchill (1954) was deliberately destroyed by Lady Churchill because she did not like it.

Some 20 works were created on camera and then deliberately destroyed by Pablo Picasso for the documentary Le Mystre Picasso (The Mystery of Picasso, 1956) .

On January 30, 1979, a Varig 707 freighter, registration PP-VLU, disappeared over the Pacific Ocean thirty minutes after departing Tokyo, Japan. The captain had previously been involved in another major accident, that of Varig Flight 820 in 1973. No wreckage or remains were ever located. The aircraft was carrying 153 paintings by the Japanese Brazilian artist Manabu Mabe, worth approximately $1.24 million US.

“Study after Velazquez III” (1950), Francis Bacon. Third in a series of portraits after Velzquez’s Portrait of Pope Innocent X, 1650. All three were thought destroyed by the artist until the first two surfaced 1999.

“Untitled Wall Relief”, by Craig Kauffman (1967), an acrylic lacquer on Plexiglas piece, fell off the wall and shattered on July 16, 2006 at the Pompidou Center of Paris

Untitled piece by Peter Alexander (1971), an 8 ft. x 5 in. molded polyester resin work, fell and shattered in April 2006 at the Pompidou Center of Paris

Anish Kapoor’s wood and cement sculpture “Hole and Vessel” (1984) was discovered missing from its storage unit in 2004.

Richard Serra’s 38-ton metal sculpture “Equal-Parallel/Guernica-Bengasi” (1986), formerly displayed at the Reina Sofia museum, was unable to be located in 2006

The “Goddess of Democracy” (1989) by students of the Central Academy of Fine Arts, was destroyed by The People’s Liberation Army during the Tiananmen Square protests of 1989.

Rachel Whiteread’s enormous sculpture “House” (1993) was destroyed by the London Borough of Tower Hamlets council on January 11, 1994.

Pablo Picasso’s painting The Painter was lost aboard Swissair Flight 111 when it crashed into the waters off Halifax, Nova Scotia, Canada on September 2, 1998.

Richard Serra’s Tilted Arc (1981) was dismantled and removed in 1989.

Hlio Oiticica’s almost whole collection was destroyed on October 16, 2009 in a fire at his brother’s house.

Works destroyed in the September 11, 2001 attacks

Many works of art were destroyed in the September 11, 2001 attacks when the World Trade Center buildings collapsed.

“Ideogram” (1967) stainless steel sculpture by James Rosati

“Cloud Fortress” (1975) a large, black granite piece by Japanese artist Masayuki Nagare, destroyed in the 9/11 rescue and recovery efforts.

“The World Trade Center Tapestry” a 20′ x 35′ tapestry by Joan Mir

“Sky Gate, New York” (1977-78) by Louise Nevelson

A memorial fountain for the victims of the 1993 World Trade Center bombing by Elyn Zimmerman

“World Trade Center Stabile” (1971) a 25′ red steel sculpture by Alexander Calder. Approximately 30% of the sculpture was recovered.

Some 300 sculptures and drawings by Auguste Rodin, part of the Cantor Fitzgerald collection.

Needle Tower (1968) by Kenneth Snelson.

Recollection Pond, a tapestry by Romare Bearden.

Path Mural, by Germaine Keller.

Commuter Landscape, a large mural by Cynthia Mailman.

Fan Dancing with the Birds, a mural by Hunt Slonem.

The Entablature Series by Roy Lichtenstein

Approximately 40,000 negatives of photographs by Jacques Lowe documenting the presidency of John F. Kennedy.

The Sphere, an abstract sculpture by Fritz Koenig, survived the collapse but was seriously damaged, and now serves as a memorial.

Works destroyed in the Momart fire

Many works by Britartists in the Saatchi collection, as well as work by other artists in different collections, were destroyed in the Momart warehouse fire in Leyton, East London, on May 24, 2004.

Vertical Light by Patrick Heron (1957), and some 50 other paintings

Altair by Gillian Ayres (1989), and 17 other paintings

Craigie Horsfield’s black and white photograph of Barcelona, Carrer Muntaner (1996)

Hell by Jake and Dinos Chapman, (1998 to 2000)

The Last Thing I Said To You Is Don’t Leave Me Here (“The Hut”) by Tracey Emin (1999)

Everyone I Have Ever Slept With 19631995 (“The Tent”) by Tracey Emin

Mood Change One by Michael Craig-Martin

The Event by William Redgrave, a bronze triptych; about a third was salvaged by his son, Chris Redgrave.

Down Below, a sculpture by Sarah Lucas

Hedone’s, a painting by Patrick Caulfield

Floater, by Gavin Turk

Sixteen paintings by Damien Hirst

Cyclops Cameo (1995), Opal (1996), and eight other works by Helen Chadwick

Nine works by Barry Flanagan

Clown, a gloss painting on wood and other works by Gary Hume

Afrobluff, and other works by Chris Ofili

Works by Paula Rego

Forty works by Adrian Heath

See also

Wikimedia Commons has media related to: Lost artworks

Bombardment of Brussels

Lost work

Lost film

Nazi plunder

Rescuing Da Vinci

Vrouw Maria

References/external links

Lost Treasures of Europe:427 Photographs Henry Adams LaFarge (ed.), Pantheon (1946).

The Lost Museum. Glimpses of Vanished Originals Robert Adams, Viking Press (1980). ISBN 0-670-44107-4

Missing Masterpieces – Lost Works of Art, 1450-1900 Dr. Gert-Rudolf Flick, Merrell (January 2003). ISBN 1-85894-197-0

The eloquent and thorough post-war report, Works of Art in Italy. Losses and Survivals in the War, compiled by the British Committee on the Preservation and Restitution of Works of Art, London 1946, is an indispensable guide to the damage inflicted by wartime action throughout Italy between 1943 and 1945. It is posted online and also references other wartime articles on damage to works of art in Italy.

The authoritative source in English for paintings destroyed in the Friedrichshain Flakturm, Berlin, 1945 remains Christopher Norris, “The Disaster at Flakturm Friedrichshain; a Chronicle and List of Paintings,” The Burlington Magazine, December 1952, Vol. XCIV, Number 597.

http://www.leonardoshorse.org/

“The Art Lost by Citigroup on 9/11″ by Suzanne F. W. Lemakis

Public Art at the World Trade Center

Lost Art in the Towers

9/11 Attacks Destroy Cultural and Historical Artifacts

http://worldtradecenterart.blogspot.com/

The Britart fire

Lost Art (The National Museums in Berlin) on MuseumsWiki

Lost Art Masterpieces Destroyed in War in Flickr

Destroyed Works of Art and Architecture Group in Flickr

Categories: Lost works of art
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Jamestown Big Bang

[05.07 question]

Jody Schroath Argo

As 2007 takes its place in the past may have two or three people in the Chesapeake region, which is not affected by an event 400 th anniversary of Jamestown will be those who wear diapers. And not even then. . . .

There are many special events to commemorate the Quadricentennial of the landing in Jamestown, the first permanent English colony in America, extending back in the last year. Good luck replica of the ship, for example, toured the East Coast before returning to Virginia to prepare the first part of this new year the enactment of the arrival on 26 April. Jamestown Live! allowed one million students across the country to watch a one hour webcast on the legacy of Jamestown, which included questions from a panel of students Chickahominy Chief Stephen Adkins, chief of the Jamestown archaeologist William Kelso, and former astronaut Dr. Kathryn Thornton. The tribes of Virginia, held a conference last October in 400 years of survival. And last month, the radio host Tavis Smiley hosted the 2007 State of the Black event Union in the U.S. black mark. Smiley asked a group of 36 notable African Americans to discuss the role blacks played in the development of America's first slaves arrived in Jamestown in 1619 until today.

But do not worry, there are many activities is always special for 2007 event, including one of the most all big and tough. Weekend That would be U.S. anniversary, 11 May 13 in Jamestown, a mega-festival will feature three days of special events and all kinds of famous people, James Earl Jones, Ricky Skaggs, Chaka Khan, Sandra Day O'Connor and, of course, the indigenous Richmond Orchestra pumpkin (they grow their own instruments.) To help make sense of all the hype Jamestown 400, which include a visit May 3 and 4 by Queen Elizabeth II, who tirelessly calculate these groups operate in several networks of Jamestown events, about event-Bay and (the favorite of our readers) has happened to the boats. Finally, there are two related stories in the first place, how our understanding of what happened at Jamestown has changed over the years, we've changed, and the second information Cruise Jamestown area.

Jamestown Events
When we speak of Jamestown, of course, do not talk about Jamestown, but twice. Jamestown for beginners, this is how we went from zero to two: From Jamestown had disappeared as a town in the mid-18th century, 1907 300th anniversary celebration was held in Norfolk instead. But organizers of the event in 1957 suggested that the 350 anniversary Back in Jamestown in a purpose-built center, called Jamestown Festival Park, located near the site of origin. Jamestown Festival Park is now known as the Jamestown Settlement landing site in 1607, strong principles and the historic town called Jamestown. Thus, two and three sites of 400 anniversary of Jamestown in the final week (the third is the anniversary of the park, across Route 31 from the colony, where many concerts during the weekend will take place).

Jamestown Settlement, in the framework the operation of the Jamestown-Yorktown Foundation of the State of Virginia, includes a recreated Indian village, a reproduction of high Jamestown, 70,000 square feet of exhibition space inside and outside, where you can walk in a 17th century English Main Street and reproductions of the ships that brought the first settlers: Susan Constant andDiscovery, good luck. Special Programming 400th anniversary of creation begins April 27 with the opening of "The World of 1607", an ambitious cycle of four pieces written by 28 scholars from borrowing materials around the world with a view to the Jamestown colony in a global context. The idea is that we do recognize that the nonscholars events do not occur in a vacuum but as part of the great forces, including political, social and artistic. The elements that form part of the exhibition include a copy of century 15 of the Constitution, a glass of wine from the 1607 Jade Emperor Jahangir of India and Africa since the 17th century carved ivory salt cellar. Do not you feel smarter already?

Much of the other special programs at Jamestown Settlement will take place only during the anniversary weekend. This will include artillery demonstrations, honor guards, the pomp history, and drama. There will be demonstrations by craftsmen and artisans, and more than enough to keep thousands of children as happy as clams during hours time. The replica ship will also be open for visitors and performers dressed act as guides in all areas of the park.

The site archaeological, historical known as Jamestown, is a partnership between the National Park Service and the Association for the Preservation of Virginia Antiquities (APVA). Is close to Jamestown Island, connected to the mainland by colonial promenade and a small bridge between Sandy Bay. In 1994, the APVA Archaeologist William Kelso hired to excavate the site in hopes of finding something interesting for the 2007 anniversary. Although previous excavations had found no evidence of the original James Fort, Kelso are in their first dig to say April. The site of the fort is long believed to have been flooded two centuries ago by the James River. In fact, almost all of the original fort is marked on the continent, with an angle under water. In years after the discovery, Kelso and his colleagues have discovered more than 700,000 objects, including a particularly intriguing skeleton found outside the original walls buried with the staff of an emcee. Kelso believes this could be the remains of Bartholomew Gosnold, captain of theGodspeed and one of the main leaders of the colony. [See box, page 57.]

Historic Jamestown has recently added an elegant, multi-window Archaearium, which uses intelligent visualization techniques to display a selection of objects view of where they were discovered. Also in historic Jamestown, visitors can visit the house of glass blowers, the remains of a church in the late 17th century, archaeological discoveries such as the contours of the last Jamestown state legislature (1663), a cemetery, at first, and the statues of John Smith and Pocahontas.

Special anniversary events historic weekend in commemoration of the Jamestown include Jamestown celebrations past, a series of programs called 104 men and children, lectures and the official farewell of the replica ship to spend the rest of the summer 1608 are repeated Captain John Smith's voyages of discovery in the Chesapeake Bay [See "The Master Map", October, November, 2006]. Jamestown Smith had left shortly after the arrival of settlers to explore the bay in search Gold and along the Northeast Passage to Asia, has requested and make contact with Indian tribes living on its banks. In two important voyages of discovery, Smith and his crew have sailed or paddled almost all the tributaries of the bay and Smith himself made his first detailed map. The journey of recovery that will leave Jamestown on May 12 largely follows the journey of Smith, which makes about two dozen stops in towns and villages along the road.

Musical events have an important role in the timing of Birthday weekend, including a choir and orchestra of 1607 members of 400 pieces, famous artists like Bruce Hornsby, Chaka Khan and Ricky Skaggs, and award winning musical groups dozens of schools and independent organizations around the country (including all pumpkin orchestra). There will also be performances, games, fireworks, pageantry, demonstrations and dramatic readings. . . in short, everything you can imagine. No more than 30,000 people are listed on any three days to buy tickets in advance is essential. For a detailed list of events, visitwww.jamestown2007.org. You will find information about tickets, too, and in the sidebar of this page.

Events Around the Bay
While the anniversary weekend to produce the best performance for the history books, you can be sure there will be a boomlet 400 Jamestown near you. It may be a signature event, the term used by the organizers of Jamestown 2007, a dozen events throughout the region, many of adopting the official theme of the anniversary: The convergence of three cultures. Among them are the American Indian Intertribal Festival in Hampton, Virginia, July 21 and 22 and the Afro-American Trade and Expo August 24 and 25 in Hampton Roads. Also scheduled to Smithsonian Folklife Festival on the National Mall in Washington, DC, 27 June to 8 July, which will with artists, storytellers and crafts of native Virginia, south-east of England and West Africa. September 16 to 19 to see the Forum on the Future Democracy in Williamsburg. (For more information on these events thewww.jamestown2007.org site.)

Moreover, a special exhibition Richmond is particularly noteworthy. Rule Britannia! Art, royalty and power in the era of Jamestown, "the Museum of Fine Arts in Virginia, will be held April 28 August 12 (www.vmfa.state.va.us / Rule.html). This is an exhibition of 17 real-century portraits and maritime paintings some of them huge loans, including special Collection of Queen Elizabeth II, these museums like the National Gallery of Art and the Metropolitan Museum of Art and private collections in Britain. Some of these works have rarely ever been seen by the public.

In Norfolk, Virginia Living Museum will offer two special and very different from its contribution to the Jamestown festivities. "Survivor: Jamestown Labyrinth, "which runs through November 25, children and adults with snake through a maze, making decisions on the way to survive in this new world. Also in the Living Museum, backyard gardeners will be delighted with a new permanent garden highlight the history of Virginia from 1607 Botanical until today.

Norfolk are two other noteworthy events. Virginia Vela 7-12 June, with military parades and ceremonies, parades, sea and cultural activities with offshore vessels with sea view at sea and the Norfolk Naval Base, and Harborfest weekend, with games and special exhibitions. (Www.sailvirginia2007.com) Norfolk is also the location of routes and working waterfront "National Symposium on Water Access, May 9 to 11 at the Sheraton Norfolk Marriott. (Www.wateraccess2007.com).

The Kimball Theatre in Williamsburg (www.vptheatre.com) is showing a historical drama, Smith, being the life and death of Captain John Hume, Ivor by Nel. It runs April 5 to December 31.

We could continue, but expand the list of events at Jamestown in places along the Chesapeake Bay in the journal next month checkwww.jamestown2007.org/calendar.cfm recommended. You can search by date and region.

Boats with events
Fortunately for all sailors in the bay, many of the 400 th anniversary events will take place in and around water. Again, there is insufficient information to sink a ship, so we'll just hit the high points. But we will give you some sites where can get more information. -water events focused correspond roughly into two categories: reconstruction of the events that have or three response vessels, good luck, Susan Constant and Discovery, and re-enactments focused on voyages of discovery 1608, Captain John Smith and his team. To make things even more interesting, the Bay has produced not one but three canoes 30-foot replica of Smith, called boat which was transported on ships from England and reassembled in the New World. Each replica has its own route of the boats, but sometimes as in this first event, they'll all be together.

As a recreation of Jamestown, the Big Bang. Thursday, April 26, the three ships and three ships will be landing first Virginia State Park Beach for a new dramatic version of the platform of the first Jamestown settlers in America at Cape Henry. The first program will begin at 9 am, landing can not do it so soon? Do not worry, the first second-tier program will begin at 15:00 there will be an entrance fee to the park for the event.

The replica ship will leave April 28, Virginia Beach, Godspeed takes the lead in the signing ceremony said the journey of James. Good luck will stop other three ports before arriving at Jamestown, May 11 for the start of the birthday weekend. [For all ports of call travel Godspeed to James and his trip to the Bay this summer and fall, see sidebar, page 57. navigators] are invited to join the fleet in Hampton Virginia Beach on April 28 in Hampton called the Great American Wharf Party. The date also coincides with International Children's Festival City. (For information on participating marinas, call 800-487-8778.)

Although the three ships will be in Virginia Beach on April 26 for the first event of landing "official" launch "the construction in Chestertown by Sultana Projects will have its official farewell at 10 am May 12, Historic Jamestown Travel reactivated in early discovery Smith. (You will need a weekend birthday ticket to see the farewell ceremony.) The first of 20 official stops on the trip Onancock recovery will be 19 and 20, coinciding with the conclusion of Captain Smith combined city and the 200 anniversary of the National Oceanic and Atmospheric Administration (NOAA). Officials at all scales, Visitors will be invited to meet the crew and see exhibitions that go along with it [see sidebar, page 56].

Events Special provision has been made to match official stop of the boat at a time during their journey of recovery and good luck on your visit to ports along the bay after the anniversary weekend to see the calendar in the sidebar and find information about their port of origin or favorite cruising grounds.

For Finally, Captain John Smith was the trip to inaugurate the 400 First Nations trail of all water-historical, Captain John Smith Chesapeake National Historic Water Trail, which was approved by Congress in December 2006 and is under the jurisdiction of the National Park Service. At three points in the path of the ship Sultana, NOAA will operate its first three "smart buoys" This will provide information on historical and ecological importance of a site particular, as well as live readings and weather conditions and water quality. The first buoy is located 400 meters from the south coast of the monument will be dedicated during and Jamestown Birthday weekend. The second is a mile northwest of the Mirador of light near the mouth of the Potomac River. The third is activated when the boat comes to Baltimore and is located one mile east-southeast of seven-foot Knoll Light. Boaters (and worldwide) will be able to compose these buoys 877-BUOYBAY calling toll. You can access the buoys online at www. Buoybay.org.

Well, that's us. Now it's your turn. Take a look, learn more about early America, then board and go up to see for yourself!

About the Author

By Jody Schroath, Senior Editor for Chesapeake Bay Magazine. For more great articles and photos on boating, sailing, fishing, and cruising, visit http://www.ChesapeakeBoating.net

Lead Poisoning Continues Decline In Md.

Lead paint disclosure policy: Implications for eliminating childhood lead exposure in Baltimore City. $69.00 Lead poisoning is a public health problem that has affected many low-income children. Lead-based paint was banned in 1978 to prevent childhood lead poisoning, and in 1996 Congress enacted a lead disclosure policy to promote awareness of lead hazard. Despite the policy, lead poisoning persists among children ages 1 to 6. After policy implementation, many property owners opted to not perform lead ab…

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Mark Rothko

Childhood
Mark Rothko (Marcus Rothkowitz Rotkovich Marcos) was born in Dvinsk, province of Vitebsk, Russian Empire (now Daugavpils, Latvia). Its father, Jacob Rothkowitz, was a pharmacist and an intellectual who gave his children a secular education and politics, most religious. Unlike Jews in most the cities of Czarist Russia, the house had been Dvinsk safe from violent anti-Jewish pogroms. But in an environment where Jews were often accused of many evils affecting Russia, Rothko's early childhood was plagued by fear.
Despite modest incomes Rothkowitz Jacob, the family was very educated and can speak Russian, Yiddish and Hebrew. After Jacob's return to Orthodox Judaism, sent to Marcus, his youngest son, the cheder five years, where he studied the Talmud, although their ancestors had been educated in the system public school.
Russian Emigration to America
Fearing that her son was about to be drafted into the Tsarist army, Jacob emigrated Rothkowitz Russia to the United States, following the path of many other Jews who left Daugavpils following the Cossack purges. These immigrants included two brothers, Jacob, who has achieved clothing manufacturers to establish themselves as Portland, Oregon, a common profession among Eastern European immigrants. Marcus remained in Russia with his mother and elder sister Sonia. Jacob and later they joined the older brothers, arriving at Ellis Island in the winter of 1913, after twelve days at sea for the death of Jacob, a few months later, left the family without the financial support. Marcus did a great aunts unskilled labor, Sonia ran a cash register, while Marcus worked in one of his uncle stores, selling to employees.
Marcus started school in the United States in 1913, Quick accelerating from third to fifth years and has completed high school with honors from the Lincoln High School in Portland, in June 1921 at the age of seventeen. He learned his fourth language, English, and became an active member of the Jewish Community Center, where he became an expert in political debates. Like his father, Rothko is passionate about issues like the rights of workers and women's right to contraception.
He received a Yale scholarship based on academic performance, but it has been suggested that Yale only made the offer to attract friend Rothko, Aaron Director, with a similar proposal. After a year, the scholarship is over and Rothko have menial jobs to support their studies.
Rothko has found the WASP "Yale community to be elitist and racist. He and Aaron Director started a satirical magazine, the Yale Saturday Evening Pest, retired schoolteacher who satirized the bourgeois attitude. After his second year, Rothko abandoned and not return until he was awarded honorary degrees forty-six years later.
Early in his career
In the fall of 1923, Rothko found employment in the garment district of New York and settled in the North-West Side. While visiting a friend at the Art Students League of New York, saw the students draw a model. According to Rothko, this was the beginning of his life as an artist. Even describes itself to "Home" at the Art Students League of New York was not wholeheartedly committed, two months after his return to Portland to visit his family, joined a theater group headed by Clark Gable's wife, Josephine Dillon. What can be its capacity for the theater has been, not typically associated with success seemed commercial agents and professional acting career seemed unlikely.
Back in New York, Rothko enrolled briefly at the New School of Design, where one of his instructors was the artist Arshile Gorky. This was probably his first encounter with a member of the avant-garde. "This fall, he attended classes at the Art Students League of New York taught by the dead artist Max Weber, who was also a Russian Jew. Weber was because Rothko began to see art as a tool of expression emotional and religion, and Rothko paintings from this period describe a Weberian influence.
Rothko circle
Rothko moved to New York established an environment fertile artistic. Modernist painters showed in New York galleries and museums of the city have been an invaluable resource to promote awareness aspiring artist, the experience and skills. Among the earliest influences were the works of German expressionist work, surreal, Paul Klee and the paintings of Georges Rouault. In 1928, Rothko had his own demonstration a group of young artists in the gallery so named Opportunity. His paintings include dark, moody, expressionist interiors and street scenes and critics were generally well accepted by and peers. Despite modest success, Rothko be necessary to supplement their incomes, and in 1929 began offering painting and sculpture classes Clay Center Academy, where he remained as professor until 1952. Meanwhile, he met Adolph Gottlieb, which Barnett Newman, Joseph Solman, Schank Luis and John Graham, was part of a group of young artists surrounding the painter Milton Avery, Rothko top fifteen. Avery's stylized natural scenes with a rich understanding of how and color, would be a tremendous influence on Rothko. His paintings themselves, soon after meeting Avery, began to use the same object and color, as in The Bathers Rothko from 1933 to 1934, or beach scene.
Rothko, Gottlieb, Newman, Solman, Graham, and his mentor, Avery spent much time together, vacationing in Lake George and Gloucester, Massachusetts, who spend their days and nights talking about the art of painting. During the 1932 visit to Lake George, Rothko met Edith Sachar, a jewelry designer, married on 12 November. Next summer, Rothko first solo exhibition was held at the Portland Art Museum, composed mostly of drawings and watercolors as well as the works of Rothko pre-adolescent students Central Academy. His family could not understand the decision to Rothko to be an artist, especially the economic crisis situation disastrous. After suffering severe financial difficulties, the Rothkowitzes were puzzled by the apparent indifference of Rothko to financial need, felt was his mother a disservice by not finding a more lucrative career and realistic.
First solo exhibition in New York
Back in New York, Rothko had his first exposure on the east coast of a man in the Gallery of Contemporary Art. Oil paintings showed fifteen years, mostly portraits and some watercolors and drawings. It oils that capture the critical use of Rothko rich fields of color have a master key, and moved beyond the influence of Avery. In 1935, in the end, Rothko joined with Ilya Bolotowsky, Ben-Zion, Adolph Gottlieb, Lou Harris, Ralph Rosenborg, Luis and Jose Solman Schänke to form "The Ten" (Whitney Ten dissidents), whose mission (according to a catalog of an exhibition of Mercury Gallery 1937) was "to protest against the reputation of the equivalence of American painting and literal painting. "Rothko's style was already moving in the direction of his famous later works, however, despite this exploration name of color, Rothko turned his attention to another formal and stylistic innovation, inaugurating a period of mythological fables surrealist paintings influenced by symbols. He earned a growing reputation among his peers, especially among groups that have formed the Union of Artists. Initiated in 1937, and in particular Gottlieb Solomon, his plan was to create a municipal art gallery exhibition to show self-organized group. The Union of Artists is a cooperative that brings together the resources and talent of artists to create an atmosphere of mutual admiration and self-promotion. In 1936, the group showed at the Galerie Bonaparte in France. Then, in 1938 held a show at the Mercury Gallery in defiance of the Whitney Museum in vivo, where the group considered as having an agenda provincial, regional. It was also during this period that Rothko, like many artists, found a job with the Works Progress Administration, the work of a relief agency created under New Deal Roosevelt in response to the economic crisis. As depression decreased after the Rothko in the public service, working for TRAP, an agency that artists employees, architects and workers of restoration and renovation of public buildings. Many other artists have also been employed by TRAP, including Avery, DeKooning, Pollock, Reinhardt, David Smith, Louise Nevelson, eight of ten new artists of the dissident group, the old professor of Rothko, Arshile Gorky.
The development of style
In 1936, Rothko began writing a book, never completed, the similarities in children's art and work of modern painters. According to Rothko, the work of the modernists influenced by primitive art, could be compared to that of children in the Children's Art "becomes primitivism, which is that children imitate himself. "In this manuscript, said" the fact that usually begins with drawing is already university. We start with the color. "
The modernist artist, like the child and the primitive which is influenced expresses an innate feeling the form is in the best and most universal work, expressed without interference mental. It is a physical experience and emotional, not intellectual. Rothko was using fields of color in his watercolors and scenes of the city, and its theme and how that time was become non-intellectual.
Rothko's work matured in the representation and mythological themes in the rectangular fields of color and light, which was later or collapsed in his last works for the Rothko Chapel. However, between primitivism and playful urban scenes and watercolors of the first period, and the fields later, transcendent Color has been a period of transition. It was a rich and complex environment that included two major events in the life Rothko: the onset of World War II, and reading Friedrich Nietzsche.
Maturity
Rothko separated from his wife, Edith Sachar, summer 1937, after Edith growing success in the jewelry business. Rothko helped companies with his wife, and not pleasure. At this time, Rothko was, however, a financial failure. It Sachar and reconciled a few months later, but their relationship remained tense. February 21, 1938, Rothko finally became a citizen of the United States, driven by fears that the growing influence of Nazi Europe could lead to Jews deported from America.
In a related development policy, following the Molotov-Ribbentrop pact of 1939, Rothko, with Avery, Gottlieb, and others, has left the Congress American Artists to dissociate from the alignment with radical communism Congress. In June, Rothko and a number of other artists formed the Federation of Painters and Sculptors Modern. His goal was to keep your art free of propaganda. An increase of Nazi sympathy in the U.S. States raised fears of anti-Semitism Rothko, and in January 1940 shortened its name to "Marcus Rothkowitz" to "Mark Rothko." Name "Roth, a common abbreviation, became, as a result of their community, Jewish identification, therefore, decided to "Rothko."
Inspiration mythology
Fearing that modern painting States United had reached a dead concept, Rothko was the intention of exploring other issues in the urban and natural scenes. Look for topics that complement its growing concern by the way, space and color. The world crisis of war lent this search an immediacy, and he insisted that the new material is the social impact, however, capable of transcending the limits of current political symbols and values. In his essay, "The Romantics were brought," published in 1949, Rothko was argued that the artist "archaic … was necessary to create a group of intermediaries, monsters, hybrids, gods and demigods" In the same way that modern man found intermediaries in Fascism and the Communist Party. For Rothko, "without monsters and gods, art can not enact a drama."
the Rothko's use of mythology as a commentary on the current story is not new. Rothko, Gottlieb and Newman read and discussed the work of Freud and Jung, in particular theories about dreams and the archetypes of the collective unconscious, to understand the mythological symbols as images that refer to themselves operating in a space human consciousness that transcends specific history and culture. Rothko later said his artistic approach was "reformed" by his study on "issues Dramatic myth. "Apparently, he stopped painting altogether during the period of 1940, and read Freud's interpretation of dreams and Frazer's Golden Bough.
Nietzsche Influence
attempt Rothko's new vision to address modern man's spiritual and creative mythological requirements. The influence of the most crucial Rothko philosophy in this period was Friedrich Nietzsche's The Birth of Tragedy. Nietzsche argued that Greek tragedy was the role of man's redemption from the terror of mortal life. The exploration of new themes in modern art has ceased to be the goal of Rothko From that moment, his art would be the ultimate goal of relaxation empty modern man's spiritual. He believes that this "vacuum" was created in part by the absence of a mythology that could, as described by Nietzsche, [Address] … the growth of a child and the mind – an older man in her life and struggles.
Rothko believed that his art could free the unconscious energies previously liberated by mythological images, symbols and rituals. He saw himself as a maker of myths, "and proclaimed" the tragic experience euphoria, is for me the only source of art. "
scenes of barbarity Many of his paintings of this period of violence contrast with those of civilized passivity, with images drawn primarily from Aeschylus' Oresteia trilogy. In 1942 his painting, The Prophecy of the Eagle, the archetypal images of the same Rothko to say: "Man, bird, beast and the tree … merge into a single tragic idea. "The bird, an eagle, was not unrelated contemporary history, as states U.S. and Germany (on his claim to the inheritance of the Holy Roman Empire) used the eagle as a national symbol. Rothko intercultural reading, trans-historical the myth perfectly addresses the psychological and emotional roots of the symbol, making it universally accessible to anyone who wants to see. A list of the titles of the paintings of this period is indicative of the use of Rothko myth: Antigone, Oedipus, The Sacrifice of Iphigenia, Leda, The Furies, Altar of Orpheus. imagery Judeo-Christian is evoked: Gethsemane, The Last Supper, rituals Lilith, as the Egyptian (Room in Karnak) and Syria (Syrian Bull). Shortly after the war, Rothko felt his titles were limiting the larger, transcendent aims of his paintings, and thus completely eliminated.
"Mythomorphic" abstract art
At the root of Rothko and Gottlieb presentation of archaic forms and symbols of modern existence luminous matter has been the influence of Surrealism, Cubism and abstract art. In 1936, Rothko attended two exhibitions at the Museum of Modern Art, Cubism and Abstract Art "and" Fantastic Art, Dada and Surrealism, which influenced in his famous scene of 1938 meters.
In 1942, following the success of shows by Ernst, Mir, Tanguy and Salvador Dal who had emigrated to the United States because of war, Surrealism took New York by storm. Rothko and his companions, Gottlieb and Newman, met and discussed art and ideas of European settlers, particularly Mondrian. They began to see themselves as the heirs of the European vanguard.
With a mythical form as a catalyst, combine the two European styles of Surrealism and abstraction. As a result, work became increasingly abstract Rothko, perhaps ironically, Rothko described the process as one toward "clarity."
New pictures were presented in an exhibition in 1942 in New York Macy. In response to negative criticism by the New York Times, Rothko, Gottlieb and published a manifesto (written mainly by Rothko) which stated, in response to criticism of the Times proclaimed "embarrassing" the new work,
We for the simple expression of complex thought. We are in great shape because it has the impact of non equivocal. We wish to reassert the picture plane. We support forms flat because they destroy illusion and reveal truth.
Rothko view of myth as a resource for reconstructing a time of spiritual vacuum created in the previous decades movement, through his reading of Carl Jung TS Eliot, James Joyce and Thomas Mann, among others. Unlike his predecessors, Rothko, in his last period, developing his philosophy of ideal tragic in the field of pure abstraction. He has questioned the ability of humanity to transform a cradle of a new imaging technique series of images, no longer dependent on tribal, archaic and religious mythologies had used very symbols Rothko and struggled during its intermediary.
Breaking Surrealism
On June 13, 1943, Rothko and Sachar separated again. Rothko suffered a long depression after her divorce. Thinking that a change of scenery can help, Rothko returned to Portland. From there he moved to Berkeley, where he met artist Clyfford However, the two began a close friendship. However abstract paintings deep would be a considerable influence on Rothko's later works. In the fall of 1943, Rothko returned to New York where he met the well-known collector Peggy Guggenheim. His assistant, Howard Putzel, convinced Guggenheim to show Rothko in his book The Art of This Century Gallery. Rothko exhibition at the Guggenheim Gallery, the end of 1945, resulted in few sales (prices range from $ 150 to $ 750) and in less than favorable opinions. During this period, Rothko had been stimulated by Still abstract landscapes, colors and style moved away from Surrealism. Rothko experience in interpreting the unconscious symbolism of everyday forms had their time. Its future is to abstraction:
I insist on the existence of the world that have arisen in the mind and the world engendered by God outside. If I do not use familiar objects is because I refuse to maul his appearance in the interest of an action are too old to serve, or who may never have been designed. I quarrel with surrealists and abstract art as a fight with his father and mother, recognizing the inevitability and function of my roots, but insist on my dissent, I, they, and a member completely independent of them.
Rothko's 1945 masterpiece, "Slow Swirl at the edge of the sea" illustrates his tendency toward abstraction is. Sometimes it is interpreted as a meditation on the court Rothko his second wife, Mary Ellen Beistle, who met in 1944 and married in the spring of 1945. The table presents two humanlike forms embraced in a cloud, floating forms and the atmosphere of colors, subtle grays and browns. The rigid rectangular background foreshadows later experiments in pure color Rothko. The painting was completed, it is no coincidence that the years of World War II.
Despite leaving his abstract art "Mythomorphic" (As described by ARTnews) Rothko would still be recognized by the public in large part for his "surrealist" works for the rest of 1940. Whitney Museum to include in its annual report Contemporary Art Exhibition from 1943 to 1950.
Rothko "manifold"
The year 1946 saw the creation of transitional Rothko "multifaceted" paintings. Reading the catalog, since it can recognize the gradual metamorphosis of Surrealist painting, influenced by the myth of the first part of the decade of the very abstract Clyfford Still influenced by the shapes of pure color. The term "manifold" has been applied by art critics, this word was never used by Rothko himself, but it is an accurate description of these paintings. Several of them, including No. 18 (1948) and Untitled (also 1948), are masterpieces of their own. Rothko spoke these paintings as possessing a more organic, and as independent units of human expression. For Rothko, these blurred blocks of various colors, devoid of landscape or human figure, let alone myth and symbol, possessed their own vital force. Contained a breath of life "he found lacking in the more figurative painting the time. This new form seemed filled with possibility, whereas his experimentation with mythological symbolism has become a tired formula, much the Just as the late 1930s considered his experiments in urban areas. The multifaceted "Rothko was aware of his signature style of middle age and was the unique style never completely abandon Rothko before his death.
Rothko, in the midst of a crucial period of transition, Clyfford Still was impressed by fields abstract color, who have been influenced in part by the landscapes of Still's native North Dakota. In 1947, during a summer semester Professor at the California School of Fine Art, Rothko and Still has flirted with the idea of founding their own curriculum, and realized the idea of New York the following year. Named "The themes of the School of artists," they employed David Hare and Robert Motherwell, among others. Although the group was short-lived and separated later in the same year, the school has been at the center of a whirlwind activity in contemporary art. In addition to his teaching experience, Rothko began contributing articles to two new art publications, Tiger Eye "and" opportunities . By using the forum as an opportunity to assess the current art scene, Rothko also discussed in detail his own artwork and philosophy of art. These articles reflect the elimination of the Figurative Elements of his work. He described his new method of "unknown adventure in an unknown space," free of "Direct association with any particular, and passion of the body."
In 1949, Rothko was fascinated by Matisse's Red Studio, acquired by the Museum Modern Art this year. It was later credited as an inspiration for his abstract paintings.
end of period
Soon, the multifaceted "Developed in the style of the firm, in early 1949 Rothko exhibited these new works at the Betty Parsons Gallery. The critic Harold Rosenberg, the paintings have been anything less than a revelation. Rothko had, after painting his first "multiform" retired to his home in East Hampton, Long Island. He invited a few people, including Rosenberg, to see the new pictures. The discovery of its definitive form came at a time of great distress for the artist, his mother Kate died in October 1948. It was sometime during this winter happened in the elimination of Rothko symmetrical rectangular blocks of two to three colors or contrasting but complementary opposites. In addition, for the next seven years, Rothko painted in oil on large canvases vertical. very large scale models were used to overwhelm the viewer, or, in other words, Rothko, make the viewer feel "wrapped in" painting. To some critics, the large size was an attempt to compensate for the lack of substance. In retaliation, Rothko said:
I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason why paint, however. . . It is precisely because I want to be very intimate and human. To paint a small picture is to be out of your experience, consider as an experiment to stereoscopic or a glass of the reduction. However, you paint the bigger picture, you're in it. You order something ISN!
He even went so far as to recommend that the position spectator only 18 inches from the fabric so that the viewer can feel a sense of intimacy, and fear, the importance of the person, and a sense of the unknown.
As the success of Rothko, is increasingly protective of their work, rejecting several potentially important sales and exhibition opportunities.
An image of life for the company expand and grow in the eyes of the sensitive observer. He died at the same time. It is therefore a risky and unfeeling to send to the world. How many times must be permanently reduced by the vulgar and the cruelty of the impotent, which would extend the universal pain!

Mark Rothko
Once again, the objectives Rothko, some critics and viewers estimate exceeded its methods. Most abstract expressionist statement claims something approaching a spiritual experience, or at least experience that goes beyond pure aesthetics. Years later, Rothko emphasized the spiritual aspect of his work, a feeling that should lead to the construction of the Rothko Chapel.
Many multiforme "the first painting of the signing and shows an affinity for bright colors and dynamic especially the reds and yellows, expressing energy and ecstasy. In the mid-1950s, however, almost a decade after the end of the first "multiform" Rothko began employ dark blues and greens, as many critics of his work this color change was the representative of darkness each increasing within Rothko's personal life.
The general method of these paintings was to apply a thin layer of binder mixed with pigments directly on the canvas oils decreased significantly uncoated and untreated, and painting directly on this layer, creating a dense mixture of colors and shapes that overlap. His strokes were fast and light, a method he held until his death. His knack for an increase of this method is evident in the paintings of the chapel completed. With a total lack of representation figurative, so there is no drama in a later Rothko is in the contrast of colors, beaming, as it were, against each other. His paintings can be treated as a kind of flight agreement: each variation offset against each other, but all that existed in an architectural structure.
Rothko uses several original techniques has tried to keep secret even his assistants. Electron microscopy and analysis showed that UV MOLAB used natural substances such as eggs and tail, and artificial materials, including acrylic resins, alkyd modified phenol formaldehyde and others. One of its aims was to make the different layers Paint dries quickly, without any mixture of colors, so you can quickly create a new layer on precedents.
Travel in Europe
Rothko and his wife visited Europe during five months in early 1950. The last time I had been in Europe was during his childhood in Latvia, then part of Russia. However, it has not returned to their homeland, preferring visit the museums of England, France and Italy. He much admired European art, and visited the major museums in Paris. Besides numerous paintings on display, architecture and music of Europe has left a deep impression on Rothko. Fra Angelico's frescoes in the convent of San Marco in Florence very impressed. Angelico frescoes contrast beautifully bright temperature closely with the grandeur and serenity of monastic architecture around. While spirituality and the concentration of light made Appeals to the sensitivity of Rothko, as well as economic circumstances Angelico, Rothko saw as similar to yours, have been forced to fight to survive as artist.
D'Angelico, Rothko said, "As an artist, you must be a thief and stole a place for you on the wall rich man." He felt that follows remains difficult, despite some promising developments, including the sale of a painting of a thousand dollars to the wife of John D. Rockefeller III and the purchase of "Number 10" (1950) for the Museum of Modern Art.
Rothko had a solo exhibition at the Betty Parsons Gallery in 1950 and 1951, and galleries around the world including Japan, So Paul and Amsterdam. The 1952 "Fifteen Americans" exhibition organized by Dorothy C. Miller, Museum of Modern Art has officially announced the artists abstract with works by Jackson Pollock and William Baziotes. It has also created a controversy between Rothko and Barnett Newman, Rothko, Newman indicted after have tried to exclude from the exhibition. Growing success as a group, have led to infighting and claims to supremacy and leadership. When Fortune magazine named a Rothko painting as a good investment, and Newman, even the jealousy, compulsory sales mark, in secret with bourgeois aspirations. Rothko wrote again at the request of the paintings Rothko had taken in recent years. Rothko was deeply depressed by his former friends jealous.
During the trip in 1950, Europe became pregnant women Rothko. On 30 December, when they were back in New York gave birth to a daughter, Kathy Lynn, called "Kate" in honor of Rothko's mother.
Reactions to own growing success
Shortly thereafter, due to the sheet of Fortune and other purchases from customers, Rothko's financial situation began to improve. Also the sale of paintings, which also took money from his teaching post at Brooklyn College. In 1954 he exhibited at a solo exhibition at the Art Institute of Chicago, where he met the art dealer Sidney Janis, who also represented Pollock and Franz Kline. Their relationship proved mutually beneficial.
Despite his fame, Rothko felt a pain imprisonment of more staff, and a feeling of being misunderstood as an artist. He feared that people purchased his paintings simply fashionable, and that the real purpose of his work was not understood by collectors, audiences or critics. He wanted his paintings go beyond the abstract, and beyond the classical art. For Rothko, the paintings were objects that had their own form and potential, and therefore, must be experienced as such. Sensing the futility of words to describe This decidedly non-verbal aspect of his work, Rothko abandoned all attempts to respond to those who may ask about its meaning and purpose, stating finally that silence is "as accurate." surfaces of his paintings "are large and growing outwards in all directions, or their surfaces contract and point towards in all directions. Between these two poles that you can find what I mean. "
He began to insist that it was not an abstract and this description was as inaccurate as labeling him a great colorist. His interest was:
only in expressing basic human emotions tragedy, ecstasy, condemnation, and so on. And the fact that many people face to mourn my pictures shows that you can communicate basic human emotions. . . People crying before my pictures are having the same religious experience I had when I painted them. And if you, as you say, are moved only by their color relationships are missing the point.
For Rothko, color is "a mere instrument." The multifaceted "and the paintings of the firm, essentially the same expression of" basic emotions " mythological paintings as Surrealist, but in a purer form. What is common between these stylistic innovations is a concern for "the tragedy Ecstasy and Doom. "Comment on viewers Rothko began to mourn at his paintings that may have convinced the Menil In the construction of the Rothko Chapel. Whatever Rothko felt by the public or the creation of critical interpretation of his work, it is clear that in 1958 the spiritual expression he wanted to paint on canvas was increasing night. Its red, yellow and orange have been subtly transformed into dark blue, green, gray and black.
Seagram Murals / Four Seasons restaurant Committee Artistic
In 1958, Rothko was awarded the first of the two main committees that wall proved to be rewarding and frustrating. The Joseph Seagram & Beverage Company Sons, has recently completed its new building on Park Avenue, designed by architects Mies van der Rohe and Philip Johnson. Rothko agreed to provide the paint for the construction a fancy restaurant, the Four Seasons.
For Rothko This committee presented a new challenge because it was the first time it was necessary not only to design a series coordinated paintings, but to produce a concept of space for a great work of art, decorated. Over the next three months, Rothko completed forty paintings, three complete games in red and brown. He changed his horizontal to vertical format to complement the restaurant vertical columns, walls, doors and windows.
The following June, Rothko and his family returned to visit Europe. While on the independence of the SS revealed John Fischer, editor of Harper's, that his true intention of the Seagram murals was to paint "something that will ruin your appetite every son of a bitch, never eat in that room. If the restaurant refused to put my murals, would be the ultimate compliment. But they won. People can endure all these days. "
In Europe, the Rothkos went to Rome, Florence, Venice and Pompeii. In Florence San Lorenzo visited the library to see firsthand the living room of the Library of Michelangelo, which inspired other murals. He noted the work "was exactly the feeling that I wanted it [...] gives visitors the feeling of being trapped in a room with doors and windows sealed. "The next trip Italy, the Rothkos traveled to Paris, Brussels, Antwerp and Amsterdam, before returning to the U.S..
Once back in New York, Rothko and Mell visited the woman almost finished Four Seasons Restaurant. Annoyed by the atmosphere of the restaurant, he considered pretentious and inappropriate to display his work, Rothko once refused to continue the project, , dealt with cash advances from the Commission to Seagram and Sons Company. Seagram had intended to honor the emergence of Rothko importance thanks to their selection, and breach of contract and public expression of outrage were unexpected.
Rothko kept the paintings commissioned shares before 1968. Given that Rothko had known earlier about the decoration of the restaurant and the luxury class of its customers to come, exact motivations remain mysterious brutal repudiation. Rothko never explained his conflicting emotions about the incident, which illustrates his whimsical personality. The last set of Seagram murals and is now scattered in three places: the Tate Modern in London, Japan Kawamura Memorial Museum and National Gallery of Art in Washington, DC
growing importance to U.S. States
Rothko first completed the space created at the Phillips Collection in Washington, DC, following the purchase of four paintings by collector Duncan Phillips. Rothko and the glory of wealth largely increase in his paintings began to sell to the leaders of collectors, including the Rockefellers. In January 1961, Rothko sat next to John F. Kennedy Joseph Kennedy Inaugural Ball. Later this year, a retrospective of his work was held at the Museum of Modern Art in considerable critical and commercial success. Despite this popularity, the art world had already turned their attention from the abstract expressionist now to the "next big thing," Pop Art, particularly the work of Warhol, Lichtenstein, Rosenquist y.
Rothko labeled Pop-Art artists "charlatans and young opportunists" and wondered aloud during a 1962 exhibition of Pop Art, "Young artists are conspiring to kill?" Seeing the flags Jasper Johns, Rothko said, "we have worked for years to get rid of him. "Not that Rothko could not accept to be replaced, provided that the inability to accept what was replaced. He felt useless, if it has received a great admiration that collectors have sold their Rothko, Newman and Gottlieb and replace them with Rauschenberg, and organized retrospectives of artists then in their mid- twenty.
Rothko mural project received a second commission, this time a wall of paintings for the penthouse of Harvard University Holyoke Center. Twenty-two drawings, murals, five of which were completed a triptych and two wall paintings. Harvard President Nathan Pusey, following a leaflet explaining the religious symbolism, the paintings were hanged in January 1963 and later shown at the Guggenheim. During installation, Rothko found the paintings that were committed by ambient light. Despite installing fiberglass curtains, paintings were removed and, after being weakened by sunlight, stored in a dark room. As with Seagram Mural, the Harvard Mural would remain incomplete.
On August 31, 1963, Mell gave birth to her second son, Christopher. This fall, signed Rothko with the Marlborough Gallery for sales of their work outside of the United States. In the U.S., continued the work of art to sell directly from his studio. Bernard Reis, adviser Rothko Financial, has also been, without knowing the artist, the gallery counter and, together with his colleagues, were then responsible for one of the biggest scandals art history.
The Rothko Chapel
The Rothko Chapel is located next to the Menil Collection and the University of St. Thomas in Houston, Texas. Building is small, no windows, and unpretentious. This is a post-modern geometric structure, located in a turn of the century-de-France the middle class. The Chapel, the Menil Collection and the nearby Gallery Cy Twombly was funded by Texas oil millionaires John and Dominique de Menil.
In 1964, Rothko moved to its latest survey of New York at 157 East of 69th Street, the study team with pulleys carrying large walls of canvas material to regulate light from a central dome to simulate the light they provide for the Chapel Rothko. Despite warnings about the difference of light between New York and Texas, Rothko persisted with experience working on the canvas. Rothko told friends that he intended the chapel for their most important artistic expression. He became involved in the design of the building, insisting it has a central dome as his studio. The architect Philip Johnson, unable to compromise with Rothko's vision has left the project in 1967, and was replaced by Howard Barnstone and Eugene Aubry. Architects often flew to New York for consultations, and once fitted with a miniature of the building including the approval of Rothko.
For Rothko, the Chapel was being a destination, a place of pilgrimage away from the center of art (in this case, New York) if an applicant Rothko new "religion" work of art could travel. This involved a public and supporters of a postmodern art market more and more indifferent. Initially, the church, now nondenominational, must be specifically Catholic, during the first three years of the project (196 467) Rothko believed that follow. Thus the design of the building Rothko and religious implications of Roman painting inspired by the Catholic art and architecture. Its octagonal shape is based on the Byzantine church of St. Mary of the Assumption, and the format of the triptych is based on paintings of the Crucifixion.
It was a strange lego Commission for a Jew. However, the De Menil thought the universal "spiritual" aspect of Rothko's work complement the elements of Roman Catholicism. Rothko will has been linked to feelings of persecution, he felt the art world in the years up to and including the chapel. What is clear is that the Chapel paintings are the culmination of "darkness and impenetrability" that viewers are increasingly at work in the late 1950s and early 1960s.
technical Rothko painting requires considerable physical strength that the artist was no longer able to muster distressed. To create the tables is expected, Rothko was forced to hire two assistants to implement the fast-moving brown paint in several layers: the brick "red, reds, dark mauve. "About half of the work, Rothko applied before the painting itself, and has mostly been content to monitor the slow, laborious process. Felt In order to paint "Torment" and the inevitable result was to create "something that will not see."
The chapel is the culmination of six years of Rothko represents life and more and more concern for transcendence. For some witnesses of these paintings is to present oneself to a spiritual experience, which given their importance the object is approaching that of consciousness itself. It forces us to approach the limit of experience and awakens to consciousness of his own existence. For others, the chapel is home 14 large paintings whose dark, almost impervious surfaces and sealing represent absorption.
Chapel paints a triptych composed of black and white brown soft center wall (three panels 5-en-15-feet), and a pair of triptychs on the left and right opaque black rectangles. Among the triptychs are four individual frames (11 by 15 feet each), and a painting need not address the central triptych of the opposite wall. The effect is to surround the viewer with visions of massive, imposing the night. Despite its foundation in religious symbolism (the triptych) image and less than subtle (the crucifixion), the paintings are particularly difficult to access in traditional Christian symbolism, and can act on the public in a subliminal way. Active spiritual or aesthetic inquiry can be obtained from the same viewer So a religious icon with the specific symbolism. Thus, the removal of Rothko symbols both removes and creates barriers to work.
In fact, this work would be his last artistic statement in the world. They were eventually announced at the opening of the chapel in 1971. Rothko Chapel was never finished and never installed paints. On February 28, 1971, inauguration, Dominique de Menil, said: "We are full of images and that abstract art can bring us to the threshold of" divine, taking into account the value of Rothko painting in what might be called "impenetrable fortresses" of color. The drama for many critics of Rothko's work painting uncomfortable position between, as Chase notes, "nothing or sentimentality" and "Icons ute decent offers only kind of beauty that is now acceptable. "
Suicide and after
In the spring of 1968, Rothko was diagnosed with a mild deficiency of tissue of the aneurysm (which can cause instantaneous death) of the aorta, because of his chronic hypertension. Ignoring doctor's orders, Rothko continued to drink and heavy smokers, to avoid exercise, and maintaining an unhealthy diet. However, they did not paint pictures medical advice over a meter in height and turned his attention to small sizes, less physical effort, including acrylic on paper. During this time, Rothko's marriage had become increasingly agitated, and worsened his health and impotence as a result of aneurysm alienation in the relationship. Rothko and his wife Mell separated on New Year's Day 1969, he moved study.
On February 25, 1970 Steindecker Oliver, assistant Rothko, the artist has found in his kitchen, lying on the floor in front of the sink, covered in blood. He had cut his arm with a razor was found lying next to him. During the autopsy, it was discovered that he had also overdosed on antidepressants. 66. The Seagram murals on display at the Tate Gallery in London, came the day of his suicide.
Shortly before his death, Rothko and his financial advisor, Bernard Reis, had created a foundation to fund "research and education" they receive the bulk of Rothko's work after his death. Reis then sold the paintings to the Marlborough Gallery in substantially reduced values, then divide the profits after selling to customers with the representatives of the Gallery. In 1971, Rothko's children filed a lawsuit against Reis, Morton Levine, and Theodore Stamos, an executor of the estate, during the wash sale. The trial lasted 10 years. In 1975, the defendants were found guilty of negligence and conflict of interest, were removed as executors of the Rothko estate by court order, and the Marlborough Gallery, were obliged to pay a ruling by $ 9.2 million in property damage. This amount represents only a small fraction of the economic value potential to achieve broad as for collectors and exhibitors of many works of Rothko produced in his life.
Rothko's remains were first buried in the cemetery This Marion in the North Fork of Long Island, New York, a parcel owned by Stamos, an artist who was a friend of Rothko. Since 2006, children Rothko, Dr. Kate Rothko Prizel, and brother, Christopher Rothko, tried to exhume the remains and burial of Rothko, with his wife remains in the Sharon Gardens Kensico Cemetery in Valhalla, New York. In April 2008, Arthur G. Pitts Justice New York State Supreme Court has agreed to allow the transfer of Rothko rest. The plan was approved by Georgianna Savas, the executor of the estate of Stamos.
Legacy
The liquidation of its assets is subject to the famous Rothko Case.
In early November, 2005, 1953 oil on canvas, Rothko, Homage to Matisse, broke the record selling price for a painting of the postwar public auction to the U.S. $ 22,500,000.
In May 2007, 1950 painting Rothko's White Center (Yellow, Pink and Lavender on Rose), broke this record again, selling U.S. $ 72,800,000 at Sotheby's New York. The painting was sold by philanthropist David Rockefeller, who attended the auction sale.
An unpublished manuscript by Rothko in his philosophy about art, reality right of the artist, was published by his son, Christopher Rothko, and was published by Yale University Press in 2006.
'Red', a play based on Rothko, writing by John Logan, open at the Donmar Warehouse, London on December 3, 2009. The play centers around the period of development of the Seagram murals. Alfred Molina plays Rothko. There directed by Donmar artistic director Michael Grandage.
As of March 14, 2010, "Red" moves to Broadway John Golden Theatre in New York the same star and director.
References
^ Stigler, Stephen, Aaron Director, "he recalls." 48 J. Law and Econ. 307, 2005.
PORT ^
^ Mark Rothko by Weiss et al. P262, http://books.google.com/books?id=tkHi9AFiLcwC&pg=RA1-PA262&dq=stand+close+Rothko&ei=MG4OSNnZOojYyATQxNS1Ag&sig=dUdDgCWi-tgcmAl3H7sGPGBiL1M # PRA1-PA262, M1
^ Abstract Expressionism by Barbara Hess, Taschen, 2005, p. 42
^ Jane Qiu. Nature 456, 447 (November 27, 2008) | doi: 10.1038/456447a; Published online November 26, 2008, http://www.nature.com/nature/journal/v456/n7221/full/456447a.html
^ Tate Modern, Rothko's murals Retrieved October 4 2008
^
^ (372 cases cited NE2d 291)
Rothko Kin Sue to transfer his remains ^
^ 38 years after the suicide of the artist, his remains are moving
^ It remains to be Rothko to be moved, ARTINFO, April 16, 2008, http://www.artinfo.com/news/story/27350/rothkos-remains-to-be-moved/, extracted 23/04/2008
^ Great Deals breaking modern art record BBC News
^ Artist of the reality of Yale University Press
^
http://www.newyorkcitytheatre.com/theaters/johngoldentheater/theater.php ^
Sources
Chave, Anne. Mark Rothko, 1903-1970: a retrospective. New Haven: Yale University Press, 1989.
Breslin, Mark Rothko JEB – A Biography, Chicago, London, University of Chicago Press, 1993.
Rothko, Mark (1999). The individual and social. In Harrison, Charles & Paul Wood (ed.), Theory of Art from 1900 to 1990 A Anthology of Changing Ideas (563-565). Malden, Massachusetts: Blackwell Publishers, Ltd.
Marika Herskovic American abstract expressionism of the 1950s An Illustrated Survey, (New York School Press, 2003.) ISBN 0-9677994-1-4
Bibliography
Dore Ashton, About Rothko, Oxford University Press, 1983.
John Gage, Barbara Novak Brian O'Doherty, Eric Michaud, Jeffrey Weiss, Mark Rothko, Museum of Modern Art in the City of Paris, 1999.
Mark Rothko 1903-1970. Tate Gallery Publishing, 1987.
David Anfam, Rothkohe Mark works on canvas: A Catalogue Raisonné, Yale University Press, 1998.
Mordechai Omer and Christopher Rothko (eds.), Mark Rothko. Tel Aviv Museum of Art, 2007.
References
Wikiquote has a collection of quotations by Mark Rothko
Wikimedia Commons has media related to Mark Rothko
Mark Rothko exhibition at Tate Modern in London, from September 2008 to February 2009 interview includes conservative
Reviews published:
The Times (including video)
The Times, Times, a second review
Observer
The Independent
Telegraph
Institution National Gallery website includes Mark Rothko A summary of Rothko's career, numerous examples of his art, a biography of the artist
Interview with Bernard Braddon and Sidney Schectman Conducted by Avis Berman, City of New York, New York, October 9, 1981. Smithsonian Institution Archives of American Art (Braddon and Mercury property Schectman Gallery exhibits the works of ten of the nineteen 1930).
The Rothko Chapel in Houston, Texas, is dedicated to the painting of Rothko and non-denominational worship
Mark Rothko serious
ArtCyclopedia contains links to galleries and museum pieces and articles about Rothko Rothko.
File test mark Rothko – in exams
Jackson Pollock and Mark Rothko video screener
Guardian slideshow with photos of works and photographs of the artist
Mark Rothko Web Portal for information about the artist Rothko Art History
Presentation independent slides several works
Power of the BBC documentary series The Power of Art Simon Schama noted Mark Rothko.
v, d, e
The works of Mark Rothko
White Center (Yellow, Pink and Lavender on Rose) (1950) Four Darks Red (1958) No. 14 (1960) Untitled (black on gray) (1970)
Categories: Born in 1903 | 1970 | American painters deaths | American painters | Abstract expressionist artists | Art Students League in New Artists | York age who committed suicide | Jewish painters | Jewish artists | American artists Latvian | Latvian-American Jews People People | | Daugavpils naturalized citizens Livonia | the people United States | Portland, Oregon suicide | Suicide by Sharp instrument | drug-related in New YorkHidden categories stubs from February 2010 | All articles to be expanded further references About the Author

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