text: World Council of Churches

text: Haarlem

text: Netherlands

text: John R. Mott

text: dissertation

text: University of Leiden

text: resistance

text: Nazism

text: Geneva

text: Switzerland

text: German Resistance

text: Third Reich

text: Hilda Monte

text: Hannah Bertholet

text: Nazism

text: Time

text: Leiden

text: Legion of Honour

text: Peace Prize of the German Book Trade

text: Augustin Bea

text: Four Freedoms Award

text: Princeton

text: Oxford

text: Yale

text: Harvard

categories: People from Haarlem,People of the World Council of Churches,Recipients of the Four Freedoms Award,Officiers of the Légion d'honneur,1900 births,Dutch members of the Dutch Reformed Church,1985 deaths,Grand Crosses with Star and Sash of the Order of Merit of the Federal Republic of Germany,Dutch Calvinist and Reformed theologians,Dutch Resistance members,20th-century Dutch Calvinist and Reformed ministers

paragraph: Willem Visser 't Hooft

paragraph: Willem Adolph Visser 't Hooft (20 September 1900 – 4 July 1985) was a Dutch theologian who became the first secretary general of the World Council of Churches in 1948 and held this position until his retirement in 1966.

paragraph: Section::::Biography.

paragraph: Visser 't Hooft was born in Haarlem, in the Netherlands and in his early adult years, was involved in Dutch student Christian movement and soon became involved internationally. In 1925, while on his first trip to the United States with John R. Mott, he became interested in the "social gospel" movement. He wrote his doctoral dissertation on it at the University of Leiden in 1928. From October 1929 (vol. 22, no. 4) through the third quarter, 1939 (vol. 32, no. 3), he served as editor of "The Student World", a quarterly magazine published in Geneva by the World's Student Christian Federation. The magazine's motto was "Ut Omnes Unum Sint".

paragraph: Visser 't Hooft was active in the resistance against Nazism. His apartment in Geneva, Switzerland became the meeting place for members of the German Resistance against the Third Reich between March and April 1944. Hilda Monte and Hannah Bertholet were among the 15-16 people from countries all over Europe who met to discuss international resistance to Nazism.

paragraph: In 1938, Visser 't Hooft was named the first secretary general of the WCC, though he was only 38 at the time. He wrote 15 books in several different languages and numerous articles and some 50,000 letters.

paragraph: Section::::Recognition.

paragraph: In 1961, "Time" magazine did a cover story on Visser 't Hooft and the World Council of Churches.

paragraph: In 1967, "een christelijke HBS met 5-jarigen cursus" school in Leiden was renamed and called after Visser 't Hooft, the (Christelijk Lyceum Dr. W.A. Visser 't Hooft).

paragraph: Section::::Decorations and awards.

paragraph: BULLET::::- 1958 - Grand Cross of Merit with Star and Sash of the Federal Republic of Germany

paragraph: BULLET::::- 1959 - Officer of the Legion of Honour

paragraph: BULLET::::- 1966 - Peace Prize of the German Book Trade (with Augustin Bea)

paragraph: BULLET::::- 1967 - Honorary Citizen of the City of Geneva

paragraph: BULLET::::- 1968 - Honorary Chairman of the World Council of Churches

paragraph: BULLET::::- 1975 - Augustin Bea Prize

paragraph: BULLET::::- 1982 - Four Freedoms Award (category of Religious Freedom)

paragraph: BULLET::::- 15 honorary degrees, including those of the theological faculties of Princeton, Oxford, Yale and Harvard.

paragraph: Section::::Selected literary works.

paragraph: BULLET::::- "The Background of the Social Gospel in America", Haarlem: H.D. Tjeenk Willink & Zoon, 1928.

paragraph: BULLET::::- "Anglo-Catholicism and Orthodoxy: A Protestant View", London: SCM Press, 1933.

paragraph: BULLET::::- "Students Find the Truth to Serve: The Story of the World's Student Christian Federation 1931-1935", Geneva: World's Student Christian Federation, [1935].

paragraph: BULLET::::- Visser 't Hooft, W.A. and J. H. Oldham, "The Church and Its Function in Society", New York: Willett, Clark & Company, 1937.

paragraph: BULLET::::- "The Kingship of Christ: An Interpretation of Recent European Theology", New York: Harper, 1948.

paragraph: BULLET::::- "The Renewal of the Church", Philadelphia: Westminster Press, 1956.

paragraph: BULLET::::- "Rembrandt and the Gospel", Philadelphia: Westminster Press, 1958.

paragraph: BULLET::::- "The Pressure of Our Common Calling", New York: Doubleday, 1959.

paragraph: BULLET::::- "No Other Name: The Choice between Syncretism and Christian Universalism", London: SCM, 1963.

paragraph: BULLET::::- Bea, Augustin and Willem A. Visser 't Hooft, "Peace Among Christians", translated by Judith Moses, New York: Association Press; Herder and Herder, 1967.

paragraph: BULLET::::- "Memoirs", Philadelphia: Westminster Press, 1973.

paragraph: BULLET::::- "The Genesis and Formation of the World Council of Churches", Geneva: World Council of Churches, 1982.

paragraph: BULLET::::- "The Fatherhood of God in an Age of Emancipation", Geneva: World Council of Churches, 1982.

paragraph: BULLET::::- "Teachers and the Teaching Authorities", Geneva: WCC Publications, 1990.

paragraph: BULLET::::- "The Inclusive and Exclusive Aspects of Christian Truth," "The Student World", vol. 22, no. 4 (October, 1929): 349-355.

paragraph: BULLET::::- "The Economy of the Charismata and the Ecumenical Movement," in Student Christian Association of Greece, "Paulus-Hellas-Oikumene (An Ecumenical Symposium)", Athens: Student Christian Association of Greece (1951): 189-192.

paragraph: BULLET::::- "The Integrity of the Church," "Princeton Seminary Bulletin", vol. 52, no. 2 (1958): 3-7.

paragraph: BULLET::::- "Missions as a Test of Faith," "Ecumenical Review", vol. 16, no. 3 (April, 1964): 249-257.

paragraph: Section::::Writings about Visser 't Hooft.

paragraph: BULLET::::- "A Bibliography of the Writings of Dr. W. A. Visser 't Hooft 1918-1970," compiled by A. Guittart, in "No Man Is Alien: Essays on the Unity of Mankind", edited by J. Robert Nelson. Leiden: E.J. Brill, 1971, 264-330.

paragraph: BULLET::::- "The Sufficiency of God; Essays on the Ecumenical Hope in Honor of W. A. Visser 't Hooft", edited by Robert C. Mackie and Charles C. West. Philadelphia: Westminster Press, 1963.

paragraph: BULLET::::- Gérard, François C., "The Future of the Church: The Theology of Renewal of Willem Adolf Visser 't Hooft". Pittsburgh: Pickwick Press, 1974.

description: Dutch theologian

wikidata_label: Willem Visser 't Hooft

wikipedia_title: Willem Visser 't Hooft


text:
singer
songwriter
musician
novelist
vocalist
songwriter
Showbread
Showbread
No Sir, Nihilism Is Not Practical
Sylvia Massy Shivy
Nine Inch Nails
The Flaming Lips
Genesis
Dennis Lyxzén
postmodern
Chuck Palahniuk
Bret Easton Ellis
Generation X
anti-patriotic
pacifist
anarchist
theologian
Greg Boyd
open theism
Showbread’s website
No Sir, Nihilism Is Not Practical
Tooth & Nail
Solid State Records
Age of Reptiles
Tooth & Nail Records
Anorexia
Nervosa
Tooth & Nail Records
The Fear of God
Who Can Know It?
Cancer
Showbread Is Showdead
Talons
The Spinal Cord Perception
Official Site
Joshua S. Porter Myspace page
Showbread official site
Purevolume page
Showbread Myspace page
DIES Myspace page

categories: 21st-century American male writers,Christians from Georgia (U.S. state),American rock singers,Musicians from Savannah, Georgia,21st-century American singers,American rock songwriters,Hardcore techno musicians,American male novelists,Songwriters from Georgia (U.S. state),American Methodists,Christian anarchists,Postmodern writers,21st-century Methodists,American punk rock musicians,21st-century American novelists,Living people,Novelists from Georgia (U.S. state),American performers of Christian music,American singer-songwriters,Performers of Christian rock music,American anarchists,American male songwriters,1983 births,21st-century male singers

paragraph: Josh Dies

paragraph: Joshua S. Porter, better known by his stage name Josh Dies (born June 12, 1983) is an American singer, songwriter, musician and novelist. Porter is widely known as the vocalist and songwriter for the band Showbread.

paragraph: Section::::Music career.

paragraph: In 1997, Joshua Porter joined his brother Patrick as part of the band Showbread, which became a full-time international touring act in 2002. In 2004, following several independent albums, Showbread released "No Sir, Nihilism Is Not Practical" through Tooth & Nail Records. The band released several more albums and went through several lineup changes; Porter has been the lead singer and songwriter through every incarnation.

paragraph: Showbread released one final album, "Showbread is Showdead", before disbanding in 2016. Porter and other members of the band went on to form the worship group Church of Agony and the synth-punk trio The Bell Jar.

paragraph: Porter has also released two albums as industrial electronic act DIES, "Aesthetics of Violence" and "Scalene".

paragraph: Section::::Writing.

paragraph: Porter released his first novel, "The Spinal Cord Perception", in December 2006. Porter no longer promotes the novel as he is no longer satisfied with it. Other works by Porter include the novels "Nevada", its sequel "An Edict of Worms", and "Cannibals", Showbread biography "The Joke That We Play on The World", children's book "The Insect", and comic series "The Black Meat". Porter's most recent novel is "Punk Rock vs. the Lizard People".

paragraph: Section::::Other work.

paragraph: Porter has designed artwork for Sylvia Massy Shivy's Psycho Empire T-shirt line. He is one of the hosts of film podcast "You Hate Movies" and a founding member of Van City Church in Washington.

paragraph: Section::::Personal life.

paragraph: Joshua Porter married Abigail Martinez on November 11, 2007. His three favorite bands are Nine Inch Nails, The Flaming Lips, and Genesis, and his screaming style is influenced by Dennis Lyxzén's trademark scream. Porter's novels feature a dark, postmodern style similar to Chuck Palahniuk, Bret Easton Ellis, and many other Generation X novelists. "Nevada" in particular is influenced by Palahniuk's epistolary novel "Rant".

paragraph: Porter has stated that he is an "anti-patriotic, pacifistic, anarchist type Christian." According to Porter, "As a Christian, I believe that for all Christians, violent self-defense is contrary to Jesus’ teachings, even within the confines of government," and "[t]he New Testament is very clear in forbidding violence, retaliation and revenge.

paragraph: Porter is an admirer of theologian Greg Boyd, and identifies with the teachings of open theism.

paragraph: Section::::Controversy.

paragraph: Porter has been involved with several controversies having to do with his work, namely with some Christian groups who feel that some of the subject matter of his writing is contrary to Porter's personal stance of faith as a devout Christian. Some of his lyrics are tinged with dark, violent, and obscure subject matter. Porter has been open in sharing his ideas about accusations brought against him and his work, and has posted several articles dealing with these topics on Showbread’s website.

paragraph: Section::::Discography.

paragraph: Section::::Discography.:With Showbread.

paragraph: BULLET::::- "The Dissonance of Discontent" (1998)

paragraph: BULLET::::- "Goodbye Is Forever" (1999)

paragraph: BULLET::::- "Human Beings Are Too Shallow to Fall in Love" (2000)

paragraph: BULLET::::- "Goodnight Sweetheart, The Stitches Are Coming Apart" (2001)

paragraph: BULLET::::- "Life, Kisses, and Other Wasted Efforts" (2003, Steel Roots Records)

paragraph: BULLET::::- "No Sir, Nihilism Is Not Practical" (2004, Tooth & Nail/Solid State Records)

paragraph: BULLET::::- "Age of Reptiles" (2006, Tooth & Nail Records)

paragraph: BULLET::::- "Anorexia and Nervosa" (2008, Tooth & Nail Records)

paragraph: BULLET::::- "The Fear of God" (2009)

paragraph: BULLET::::- "Who Can Know It?" (2010)

paragraph: BULLET::::- "Cancer" (2012)

paragraph: BULLET::::- "Showbread Is Showdead" (2016)

paragraph: Section::::Discography.:As DIES.

paragraph: BULLET::::- DIES - "Aesthetics of Violence" (2007)

paragraph: BULLET::::- DIES - "Talons" (2009)

paragraph: BULLET::::- DIES - "Scalene" (2011)

paragraph: Section::::Discography.:Other projects.

paragraph: BULLET::::- Knife to Meet You - "Three Track Demo Tape" (2009)

paragraph: BULLET::::- Church of Agony - "Protest! Worship! Lament!" (2017)

paragraph: BULLET::::- The Bell Jar - "I Infest, Therefore I Am" (2018)

paragraph: Section::::Bibliography.

paragraph: BULLET::::- "The Spinal Cord Perception" (2006)

paragraph: BULLET::::- "The Insect" (2009)

paragraph: BULLET::::- "The Black Meat" (2010)

paragraph: BULLET::::- "Remission" (2010)

paragraph: BULLET::::- "Nevada" (2010)

paragraph: BULLET::::- "The Joke That We Play On The World" (2011)

paragraph: BULLET::::- "An Edict Of Worms" (2011)

paragraph: BULLET::::- "Cannibals, Book One: Iambic Pentameter and the Teaching of Twelve" (2013)

paragraph: BULLET::::- "Punk Rock vs. the Lizard People" (2019)

paragraph: Section::::External links.

paragraph: BULLET::::- Official Site

paragraph: BULLET::::- Joshua S. Porter Myspace page

paragraph: BULLET::::- Showbread official site

paragraph: BULLET::::- Purevolume page

paragraph: BULLET::::- Showbread Myspace page

paragraph: BULLET::::- DIES Myspace page

description: American musician

wikidata_label: Josh Dies

wikipedia_title: Josh Dies


text:
November Uprising
Crimean War

categories: People of the November Uprising,1784 births,Polish nurses,19th-century Polish people,1896 deaths

paragraph: Józefa Rostkowska

paragraph: Józefa Rostkowska (1784–1896), was a Polish heroine of the November Uprising against Russia. She served as a nurse both in the uprising of 1830 as well as during the Crimean War.

paragraph: Section::::References.

paragraph: BULLET::::- Henri Musielak, Polonica w Archiwum Północnej Francji w Lille. Archeion, t. LXII, 1975

alias:
Joséphine Rostkowska
Jozefa Rostkowska
Josephine Rostkowska

wikidata_label: Józefa Rostkowska

wikipedia_title: Józefa Rostkowska


text:
Maengsan
South P'yŏngan province
Chōsen
North Korea
South Korea
Korean art
Seoul National University
Park Seo-Bo
Se-Ok Suh
Ha Chong-Hyun
Chung Chang-Sup
Paris Biennale
São Paulo Biennale
New York City
Art Students League of New York
New York City
Pop art
Seoul
Tokyo
Dansaekhwa
New York City
Paris
Seoul
Paris
photorealism
abstract expressionism
Korean War
surrealism
spirituality
Ordre des Arts et des Lettres
Kim Tschang Yeul Museum of Art
Jeju
Jejudo
Gallery Hyundai
Pearl Lam
Jeju
Jejudo
Pearl Lam
Metaphysical Art Gallery
Gwangju Museum of Art
National Taiwan Museum of Fine Arts
Busan Museum of Art
National Art Museum of China
Gallery Hyundai
Galerie nationale du Jeu de Paume
Draguignan
Sonje Museum of Contemporary Art
Kongkan Gallery
Matsumura Graphics
National Museum of Contemporary Art
Tokyo Gallery
Antwerp Gallery
Kunsthaus, Hamburg
Knoll International
Salon de Mai
Park, Seo-Bo

categories: 1929 births,People from Sinuiju,South Korean contemporary artists

paragraph: Kim Tschang-yeul

paragraph: Kim Tschang Yeul (also known as "김창열","Kim Tchangyeul", "Kim Chang Yeul", or "Tschangyeul Kim") is a South Korean painter born in Maengsan, South P'yŏngan province, Chōsen, in Japanese occupied North Korea, on December 24, 1929.

paragraph: Kim Tschang Yeul is part of the first generation of modern artists in South Korea. He is a prolific painter well known for his 'water drop' paintings, and has been one of the most influential figures in modern Korean art history. Although he started out as part of the Art Informel movement in South Korea, he has lived most of his adult life in Paris, France, where he developed his own unique style of painting.

paragraph: After graduating from the College of Fine Arts at Seoul National University in 1950, Kim led the Korean Art Informel movement with Park Seo-Bo, Se-Ok Suh, Ha Chong-Hyun, and Chung Chang-Sup in the 1950s and 60s. This movement greatly inspired many avant-garde artists of the next generation in rejecting the conservative values imposed on them by Korean institutions.

paragraph: Shortly after his participation in the Paris Biennale in 1961 and the São Paulo Biennale in 1965, Kim moved to New York City and studied at the Art Students League of New York from 1966 to 1968. Kim Tschang Yeul's time spent in New York City allowed him to interact with and be inspired by the Pop art movement, which was a significant influence on him.

paragraph: Because of his years abroad, Kim Tschang-Yeul developed his art outside of the Seoul and Tokyo art scene, developing his unique style parallel to the Dansaekhwa movement. In 1969, Kim moved from New York City to Paris, where he continued depicting opaque abstract liquid forms.

paragraph: WIth time, the liquid abstract forms transformed into spherical, transparent 'water drops', which have become his distinctive, trademark style after the mid-1970s. The water drops have been Kim’s focus for the past five decades. He has pursued the painting of water drops between Seoul and Paris, where he lives and works.

paragraph: Kim’s water drop paintings speak a language that amalgamates the discourses around photorealism and abstract expressionism, situating themselves in an ambiguous space between reality and the abstract. According to Kim, he does not interpret his subject as realistic depictions of actual water drops, but “idealistic” ones. Kim explains that the continued act of painting water drops helps him erase painful and traumatic memories of serving in the military during the Korean War between 1950 and 1953, where he witnessed the deaths of his fellow soldiers. In a way, the incessant act of painting water drops served as a therapeutic tool for him, bringing his art closer to surrealism and spirituality. Many have speculated about the meaning behind his obsession with water drops.

paragraph: In 2017, he was awarded the Officier medal of the Ordre des Arts et des Lettres bestowed by the Embassy of France in Seoul.

paragraph: In 2016, the government of Korea opened the Kim Tschang Yeul Museum of Art in Jeju, Jejudo island, South Korea, the highest honor bestowed upon a living Korean artist.

paragraph: Kim Tschang Yeul is represented by Gallery Hyundai in South Korea and by Pearl Lam Galleries in Hong Kong and (Paris, Brussels, London and New York).

paragraph: Section::::Artwork.

paragraph: "The famous monk Dharma meditated for nine years to achieve spiritual enlightenment, I have been painting water drops for 40 years but wasn't able to reach Dharma's level of enlightenment." -Kim Tschang-Yeul

paragraph: Kim Tschang-yeul is considered the artist that inspired monochromatic painting in Korea, as well as one of the most influential Korean masters in contemporary art in the West. At the time of Japanese colonialism and Korean war, the turmoil of social culture and political history pushed Kim to participate in the movement of contemporary art and establish his self through art. In the 1960s, Kim decided to leave his homeland and sojourned in New York; in the 1970s, Kim made Paris his home. A tranquil morning, sunlight slid in from the window, shining on the canvas sprayed with water the night before. The glistening and sparkling water drops at the moment moved Kim Tschang-yeul so much that he started working on waterdrops. Over the next four decades in Paris, Kim would be doing the same thing: painting water drops. There, then, comes the reputation of the "painter of water drops". In 2004, Kim was invited to display his works in an art show at Galerie Nationale du Jeu de Paume, where he was awarded with the Commandeur medal, the highest honor of the Ordre des Arts et des Lettres.

paragraph: Water drops are translucent and glistening, nonetheless vanishing within moments. Kim Tschang-yeul's water drops are intimately connected to his life, that is, the wars, poverty, love and pain he's been through. He keeps painting the water drops, over and over, with an attempt to erase the pains and to look for absolute transparency, absolute withering, until he reaches a spiritual state of emptiness. "The process of painting the water drops is to filter, to dissolve all the impurities out of them and return them to a clear state of nothing. When all the rage, anxiety, and fear come to the moment of nothing, we reach a state of peace and comfort." To Kim, the pure clean water drop is a consolation, a remedy for himself, seeking, not forgetting, peace, forgiveness, and reflection between now and the past. Regardless of single drops or in groups, the water drops of Kim Tschang-yeul are sprinkled non-uniformly upon the canvas of sleek or rough surface. It is as if they are falling off the canvas, or they are absorbed by the canvas but afloat, or it is that they are pulled out of the canvas by gravity. And a ray of light gleams from the side, slightly gliding through the isolated water drops, reflecting their crystal clarity. The water drops give the extremely realistic impression made out of fiction, enticing people to touch them. Time also finds its own refraction in the water drops with enormous layers and transparency: every temporary moment that doesn't seem to be is actually permanent existence. How we captures the flashes of our creative mind determines how insightful that particular piece of memory unfolds to us. Kim Tschang-yeul is convinced that he shall make water drops the thematic subject of his painting career, for which he does with such care, details, and joy of art in everyday life, so much so that it paves the way to art for him. By 1972, new Waterdrops works revealed a substantial conceptual shift as opposed to the Phenomenon series which appeared to visualize the quality of existence. Water drop on his canvas was no longer alone. The number of water drops radically increases in all sizes, which turns reality into beauty and reflects the lightness of life and the wonder of existence.

paragraph: Kim had lived abroad for many years, in the 1980s, he recalled reading and practicing writing when he was a child. Kim decided to draw positive texts from Thousand Character Classic, or deconstruct Chinese letters to compose together with water drops and created the new series Recurrence. It is a return to Kim's cultural origin as well as the origin of his life; it is also a struggle over the reality and illusion of time and space. By the 1990s, Kim began to paint water drops on wooden boards and newspapers like Le Monde, too, actively exploring new media and techniques for his works. In the other hand, he also makes several pieces of works in sculpture, with iron, bronze, or rock as the base, and with glass for water drops as the installation. Kim persists in pushing for extremely refined changes in plasticity as well as exploring the multiple aesthetic values of water. With his personal life force as well as his simple strokes and plain arrangement in the frame, Kim paints what his mind envisions. In this inner world, with all its moments, intervals, stillness and motions, rests a sophisticated life that opens to the universe through the strokes. No matter if it is his Waterdrops from the 1970s or Recurrence of the 1980s and 1990s, Kim structures countless highly realistic water drops in the abstract space. And, with the impermanence of time by which he contemplates, Kim expresses the immensity and nothingness of nirvana and ever-flowing life.

paragraph: He has said that, "my waterdrops paintings are accomplished under the encounters of my life experiences and my plasticizing experiences." Each clear, impeccable water drop is in its initial state since purification, as if it is a recurrence of absolute nothingness; the water drop is also what it finally returns to."

paragraph: Section::::Kim Tschang Yeul Museum.

paragraph: In 2016, the Kim Tschang-Yeul Museum of Art opened in Jeju, Jejudo island, South Korea, to honor the artist.

paragraph: Section::::Selected Solo exhibitions.

paragraph: Kim Tschang-Yeul, , New York (2018)

paragraph: A Communion of Beads, Pearl Lam Galleries, Hong Kong, China (2017)

paragraph: Traces of Beads, Metaphysical Art Gallery, Taipei, Taiwan (2017)

paragraph: Galerie Baudoin Lebon, Paris, France (2016)

paragraph: Galerie 75 Faubourg - Galerie Enrico Navarra, Paris, France (2016)

paragraph: Gwangju Museum of Art, Gwangju, Korea (2014)

paragraph: National Taiwan Museum of Fine Arts, Taichung, Taiwan (2012)

paragraph: Busan Museum of Art, Busan, Korea (2009)

paragraph: National Art Museum of China, Beijing, China (2006)

paragraph: Gallery Hyundai, Seoul (2004)

paragraph: Galerie nationale du Jeu de Paume, Paris (2004)

paragraph: Sakamoto Zenzo Museum of Art, Kumamoto, Japan (1998)

paragraph: Draguignan Museum, Draguignan, France (1997)

paragraph: Enrico Navarra Gallery, Paris, France (1996)

paragraph: Sonje Museum of Contemporary Art, Korea (1994)

paragraph: Kongkan Gallery, Pusan, Korea (1994)

paragraph: SAGA (Matsumura Graphics, Tokyo), Paris (1993)

paragraph: The National Museum of Contemporary Art, Korea (1993)

paragraph: Chicago International Art Exposition, Gallery Hyundai, Chicago (1989)

paragraph: Naviglio Gallery, Milan, Italy (1987)

paragraph: Tokyo Gallery, Tokyo (1983)

paragraph: Staempfli Gallery, New York, (1978)

paragraph: Antwerp Gallery, Antwerp, Belgium (1977)

paragraph: Hyundai Gallery, Seoul, Korea (1976);

paragraph: Kunsthaus, Hamburg, Germany (1975)

paragraph: INKO Arts, Galerie Sprick, Bochum, Rome, Italy (1975)

paragraph: Knoll International, Paris (1973)

paragraph: 8th São Paulo Biennale (1968)

paragraph: 2nd Paris Biennale (1961)

paragraph: Section::::Selected Group Exhibitions.

paragraph: MMCA Collection Highlights: Untitled, National Museum of Modern and Contemporary Art,

paragraph: Gwacheon, Korea

paragraph: Botero, Ufan Lee, Tschang-Yeul Kim, Galerie Bhak, Seoul, Korea

paragraph: A Moment of Truth, Hansol Museum, Wonju, Korea

paragraph: Qi is Full, Daegu Art Museum, Daegu, Korea

paragraph: Portrait of the Korean War, Museum of Art at Seoul National University, Seoul, Korea

paragraph: Korean Avant-Garde Drawing, Soma Museum of Art, Seoul, Korea

paragraph: OFF the WALL, Clayarch Gimhae Museum, Gimhae, Korea

paragraph: Beginning the New Era, National Museum of Contemporary Art, Seoul, Korea

paragraph: The Colour of Nature—Monochrome Art in Korea, Wellside Gallery, Shanghai, China

paragraph: Recomposition of the Works, Gyeongi Do Museum of Art, Ansan, Korea

paragraph: Korean Contemporary Art Show, Singapore Art Museum, Singapore, Singapore

paragraph: Writing Paintings, Painting Words, Seoul Museum of Art, Seoul, Korea

paragraph: Poetry in Motion, Galerie Beyeler, Basel, Switzerland

paragraph: Kim Whan-Ki, Kim Tschang-Yeul, Lee U-Fan, 1970–1980: Where, in What Form, Shall We Meet Again,

paragraph: Gallery Hyundai, Seoul, Korea

paragraph: Poem of Indian Ink, Guimet Museum of Asian Art, Paris, France

paragraph: Painting in Korea—Yesterday and Today, Seoul Museum of Art, Seoul, Korea

paragraph: Monochrome Painting in Korea, Korea Art Gallery, Busan, Korea

paragraph: Korean Contemporary Art Festival (KCAF), Hangaram Art Museum, Seoul, Korea

paragraph: Gwangju Biennale 2000 Special Exhibition, The Facet of Korean and Japanese

paragraph: Contemporary Art, Gwangju Museum of Art, Gwangju, Korea

paragraph: Les peintres du silence, Museum of Art and History, Monbliéard, France

paragraph: Made in France, Centre Georges Pompidou, Paris, France

paragraph: Letter and Images, Hanlim Museum, Tae-Jeon, Korea

paragraph: Working with Nature: Traditional Thought in Contemporary Art from Korea, Tate Liverpool, Liverpool,

paragraph: England

paragraph: Olympiad of Art: The International Contemporary Painting Exhibition (sponsored by Seoul Olympic

paragraph: Organising Committee). National Museum of Contemporary Art, Gwacheon, Korea

paragraph: Seoul-Paris, Press Center, Seoul, Korea and Center National des Arts Plastiques, Paris, France

paragraph: Korean Art Today, National Museum of Contemporary Art, Gwacheon, Korea

paragraph: Korean Contemporary Fine Arts Exhibition—The Stream of the ’70s, Taipei Fine Arts Museum, Taipei,

paragraph: Taiwan

paragraph: Korean Contemporary Arts Exhibition—The Latter Half of the ’70s: An Aspect, Tokyo, Osaka, Sapporo, Utsunomiya, Fukuoka, Japan

paragraph: Korean Contemporary Art Phase, Kyoto Municipal Museum of Art, Kyoto, Japan

paragraph: Works on Paper in Korea and Japan, National Museum of Modern and Contemporary Art, Seoul, Korea;

paragraph: travelled to Kyoto Municipal Museum of Art, Kyoto; The Museum of Modern Art, Saitama; and Kumamoto Traditional Crafts Center, Kumamoto, Japan

paragraph: Dealers Eyes, Long Island Museum, New York, USA

paragraph: Korean Drawing Now, Brooklyn Museum, New York, USA

paragraph: Asian Artists Exhibition Part 2, Fukuoka Art Museum, Fukuoka, Japan

paragraph: Festival: Contemporary Asian Art Show, Fukuoka Art Museum, Fukuoka, Japan

paragraph: Faculty Choices, Albany Museum, New York, USA

paragraph: Salon des grands et jeunes d’aujourd’hui, Grand Palais, Paris, France

paragraph: Reality of Illusion Traveling Exhibition, Denver Art Museum, Denver, USA

paragraph: 15th Biennale of São Paulo, São Paulo, Brazil

paragraph: Korea: Facet of Contemporary Art, Tokyo Central Museum, Tokyo, Japan

paragraph: Korean Modern Painting, National Museum of History, Taipei, Taiwan

paragraph: Aspect of Realism, Winnipeg Art Gallery, Winnipeg, Canada

paragraph: Salon de Mai, Paris, France

paragraph: Salon de Mai, Paris, France

paragraph: Salon de Mai, Paris, France

paragraph: Salon des Réalitiés Nouvelles, Paris, France

paragraph: 12th Biennale of São Paulo, São Paulo, Brazil

paragraph: Salon de Mai, Paris, France

paragraph: 50 Paintings of Salon de Mai de Paris, Yugoslavia

paragraph: Festival International de la Peinture (International Painting Festival), Cagnes-sur-Mer, France

paragraph: 8th Prints Biennale of Tokyo, Tokyo, Japan

paragraph: 4 Painters Exhibition, Museum of Saint-Paul-de-Vence, Saint-Paul-de-Vence, France

paragraph: Korean Contemporary Painting Exhibition, Paris, France

paragraph: Avant-Garde Festival, New York, USA

paragraph: 8th Biennale de São Paulo, São Paulo, Brazil

paragraph: The Actuel Exhibition, Shinsegae Art Hall, Seoul, Korea

paragraph: The 2nd Biennale de Paris, Paris, France

paragraph: Section::::Selected Public Collections.

paragraph: Albright-Knox Art Gallery, Buffalo, USA

paragraph: Aqua Museum 104°, Shimane, Japan

paragraph: Art Center Nabi, Seoul, Korea

paragraph: Bochum Museum Art Collection, Bochum, Germany

paragraph: Busan City Museum of Art, Busan, Korea

paragraph: Centre Georges Pompidou, Paris, France

paragraph: Daejeon Museum of Art, Daejeon, Korea

paragraph: Daegu Art Museum, Daegu, Korea

paragraph: Daelim Museum, Seoul, Korea

paragraph: Detroit Institute of Arts, Detroit, Michigan, United States.

paragraph: Fondation Veranneman, Ghent, Belgium

paragraph: Fukuoka Art Museum, Fukuoka, Japan

paragraph: Fundació Stämpfli, Sitges, Barcelona, Spain

paragraph: Gwangju Museum of Art, Gwangju, Korea

paragraph: Hakodate Museum, Hokkaido, Japan

paragraph: Hansol Museum, Wonju, Korea

paragraph: Hiroshima Contemporary Museum of Art, Hiroshima, Japan

paragraph: Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA

paragraph: Ho-Am Art Museum, Yongin, Korea

paragraph: Iwaki City Art Museum, Iwaki, Japan

paragraph: Leeum, Samsung Museum of Art, Seoul, Korea

paragraph: Museum Boijmans Van Beuningen, Rotterdam, the Netherlands

paragraph: Museum of Fine Arts, Boston, USA

paragraph: Museum of Fine Arts, Gifu, Japan

paragraph: Museum of Modern Art, Saitama, Japan

paragraph: Museum of Oriental Art, Cologne, Germany

paragraph: Museum of Texas Tech University, Lubbock, Texas, USA

paragraph: National Museum of Contemporary Art, Gwacheon, Korea

paragraph: National Museum of Modern Art, Tokyo, Japan

paragraph: Niigata Prefectual Museum of Modern Art, Niigata, Japan

paragraph: Ohara Museum of Art, Kurashiki, Japan

paragraph: Seoul Museum of Art, Seoul, Korea

paragraph: Seoul National University Museum of Art, Seoul, Korea

paragraph: Shimonoseki City Museum of Art, Shimonoseki, Japan

paragraph: Sonjae Museum of Contemporary Art, Gyeongju, Korea

paragraph: Sunkyung Museum of Art, Seoul, Korea

paragraph: Takamatsu City Museum of Art, Takamatsu, Japan

paragraph: Tokyo Metropolitan Museum of Art, Tokyo, Japan

paragraph: Walker Hill Art Center, Seoul, Korea

paragraph: Winnipeg Art Gallery, Winnipeg, Canada

paragraph: Section::::Art market.

paragraph: Many works by the artist have been sold at auction, including 'Gouttes d'eau' sold at Korea Premier Auction 'K Auction 2016 May Hong Kong Sale' in 2016 for $2,300,000.

paragraph: Section::::Selected publications.

paragraph: 2009 Morgan, Robert C., Kim Tschang-Yeul: The Paradox of Meaning, PYO Gallery, Seoul (in English and

paragraph: Korean).

paragraph: 2008 Sergeant, Philippe, Kim Tschang-Yeul, Éditions de la Différence, Paris (in French and Korean).

paragraph: 2002 Barrière, Gérard, Kim Tschang-Yeul, Galerie Bhak, Seoul (in French and Korean).

paragraph: 2000 Restany, Pierre, “A Bit of the Comet’s Coma”, in Kim Tschang-Yeul, Gallery Hyundai, Seoul (in

paragraph: French).

paragraph: Restany, Pierre, Kim Tschang-Yeul, Galerie Bhak, Seoul (in English and Korean).

paragraph: 1998 Chiba, Shigeo, “Like Play, Also Like a God”, Tokyo Gallery, Tokyo (brochure).

paragraph: Shioda, Junichi, “A Word About Kim’s Paintings: The Waterdrops and the Kanji Characters”, in

paragraph: Tschang Yeul Kim: Water Drops—Play and Prayer, Sakamoto Zenzo Museum of Art, Kumamoto (in

paragraph: English and Japanese).

paragraph: Masuda, Ryoske, “Entretien”, in Kim Tschang-Yeul: Water Drops—Play and Prayer, Sakamoto Zenzo

paragraph: Museum of Art, Kumamoto.

paragraph: 1997 Matheson, John, Kim Tschang-Yeul, Antwerp Gallery, Anvers (in English, Flemish, and French)

paragraph: Byong-Kwan, Jeung, “Notes Verbales”, in Kim Tschang-Yeul, Galerie Bhak/Gallery Hyundai, Seoul (in

paragraph: English and Korean).

paragraph: 1994 Byong-Kwan, Jeung, “The Artist’s Avant-Garde Spirit Seen from the Transition of the Waterdrops”, in

paragraph: Kim Tschang-Yeul: Waterdrops, Sonje Museum of Contemporary Art, Kyongju, pp7–12 (in English and

paragraph: Korean).

paragraph: Tae-Sung, Kang, “Transformation of the World of Water, Waterdrops”, in Kim Tschang-Yeul:

paragraph: Waterdrops, Sonje Museum of Contemporary Art, Kyongju, pp13–21 (in English and Korean).

paragraph: 1993 Lee, Yil, “Kim Tschang-Yeul’s ‘Water Drops’ oeuvre and its path", in Kim Tschang-Yeul, National

paragraph: Museum of Contemporary Art, Gwacheon, pp48–60 (in English and Korean).

paragraph: Cohen, Ronny, Kim Tschang-Yeul, Hudson Hills Press, New York.

paragraph: Kyong-Soo, Lee, “Literature on Water Drops”, in Kim Tschang-Yeul, National Museum of

paragraph: Contemporary Art, Gwacheon, pp30–37 (in English), pp25–29 (in Korean).

paragraph: Cyroulnik, Philippe, “Kim Tschang-Yeul”, in Kim Tschang-Yeul, National Museum of Contemporary

paragraph: Art, Gwacheon, pp73–75 (in French and Korean).

paragraph: Oh, Kwang-Soo, “Kim Tschang-Yeul’s ‘Drops of Water’ as the Essence of Consciousness", in Kim

paragraph: Tschang-Yeul, National Museum of Contemporary Art, Gwacheon, pp30–37 (in English and Korean).

paragraph: Restany, Pierre, “The Other Place”, in Kim Tschang-Yeul, National Museum of Contemporary Art,

paragraph: Gwacheon, pp25–29 (in French and Korean).

paragraph: Bosquet, Alain, in Kim Tschang-Yeul, National Museum of Contemporary Art, Gwacheon, pp115–119

paragraph: (in French and Korean).

paragraph: Barrière, Gérard, in Kim Tschang-Yeul, Galerie Enrico Navarra, Paris, pp11–27 (in French and Korean).

paragraph: Barrière, Gérard, in Kim Tschang-Yeul, Gallery Hyundai, Seoul, pp28–38 (in French, English, and

paragraph: Korean).

paragraph: Cohen, Ronny, in Kim Tschang-Yeul, National Museum of Contemporary Art, Seoul, pp61–71 (in

paragraph: English and Korean).

paragraph: Cohen, Ronny, in Kim Tschang-Yeul, Galerie Enrico Navarra, Paris, pp69–78 (in French and English).

paragraph: Cohen, Ronny, in Kim Tschang-Yeul, Gallery Hyundai, Seoul, pp102–116 (in French, English, and

paragraph: Korean).

paragraph: Byong-Kwan, Jeung, in Kim Tschang-Yeul, National Museum of Contemporary Art, Seoul, pp77–95 (in

paragraph: French and Korean).

paragraph: Kwang-Soo, Oh, in Kim Tschang-Yeul, Gallery Hyundai, Seoul, pp7–12 (in English and Korean).

paragraph: Restany, Pierre, in Kim Tschang-Yeul, Galerie Enrico Navarra, Paris, pp7–10 (in French and English).

paragraph: Restany, Pierre, in Kim Tschang-Yeul, Gallery Hyundai, Seoul, pp17–25 (in French, English, and

paragraph: Korean).

paragraph: Ufan, Lee, in Kim Tschang-Yeul, National Museum of Contemporary Art, Gwacheon, pp97–105 (in

paragraph: English and Korean).

paragraph: Matheson, John, in Kim Tschang-Yeul, National Museum of Contemporary Art, Gwacheon, pp107–113

paragraph: (in English and Korean).

paragraph: Barrière, Gérard, “Notes on Kim Tschang-Yeul or The Universe After the Rain”, in Kim Tschang-Yeul,

paragraph: National Museum of Contemporary Art, Gwacheon, pp38–47 (in French and Korean).

paragraph: 1991 Cohen, Ronny, “Introduction”, in Kim Tschang-Yeul, Sigma Gallery/Staempfli Gallery, New York (in

paragraph: English).

paragraph: Yil, Lee, “Kim Tschang-Yeul’s 1000 Characters and Water Drops”, Inkong Gallery, Daegu (brochure in

paragraph: Korean).

paragraph: Yil, Lee, Kongkan Gallery, Busan (catalogue in Korean).

paragraph: 1988 Yil, Lee, “Kim Tschang-Yeul and a Water Drop”, Gallery Hyundai, Seoul (brochure in Korean), Tokyo

paragraph: Gallery, Tokyo (in Japanese).

paragraph: Moriguchi, Akira, “Kim Tschang-Yeul—Luminous and Fresh Paintings”, in Tschang-Yeul Kim, Seibu

paragraph: Contemporary Art Gallery, Tokyo (in Japanese).

paragraph: 1987 Wolff, Theodore F., “Tschang-Yeul Kim”, Staempfli Gallery, New York (brochure in English).

paragraph: 1983 Yil, Lee, “This is Not a Water Drop”, Tokyo Gallery, Tokyo (brochure in Japanese).

paragraph: 1979 Bosquet, Alain, “The Waterdrops of Kim”, in Kim Tschang-Yeul, Staempfli Gallery, New York, pp30–37

paragraph: (in French and English).

paragraph: Byong-Kwan, Jeung, “Painting of Another Genre”, in Kim Tschang-Yeul, Staempfli Gallery, New York,

paragraph: pp8–27 (in French and English).

paragraph: Ufan, Lee, “Entre l’idée et la matière” (“Between the Idea and the Material”), in Kim Tschang-Yeul,

paragraph: Staempfli Gallery, New York, pp38–39 (in French and English).

paragraph: Matheson, John, in Kim Tschang-Yeul, Staempfli Gallery, New York, pp48–55 (in French and English).

paragraph: Staempfli, George W., “Introduction” in Kim Tschang-Yeul, Staempfli Gallery, New York, pp6–7 (in

paragraph: French and English).

paragraph: 1978 Ufan, Lee, “Fra l’idea e la material” (“Between the Idea and the Material”), Galleria del Naviglio, Milan

paragraph: (in Italian).

paragraph: Staempfli, George W., Staempfli Gallery, New York (brochure in English).

paragraph: 1976 Bosquet, Alain, “Les gouttes de Kim” (“The Drops of Kim”) in T. Kim, Gallery Hyundai, Seoul (in

paragraph: French and Korean).

paragraph: Yil, Lee, “To Brother Tschang-Yeul”, in T. Kim, Gallery Hyundai, Seoul (in French and Korean).

paragraph: Nakahara, Yusuke, Tokyo Gallery, Tokyo (brochure in Japanese).

paragraph: 1974 Bosquet, Alain, “Die Wassertropfen von Kim” (“The Water Drops of Kim”), Galerie Sprick, Bochum (in

paragraph: German).

paragraph: Bosquet, Alain, “20 gouttes d’eau pour Kim” (20 poemes) (“20 Water Drops by Kim”, 20 poems) in

paragraph: Kim, Gouttes d’eau (Kim, Water Drops), Galerie Engelberts, Geneva.

paragraph: 1973 Leuwers, Daniel and Ryoske Masuda, Knoll International, Paris (brochure).

paragraph: Pre-1973 Yil, Lee, Kasahara Gallery, Osaka (brochure in Japanese).

paragraph: Matheson, John, “Merely Drops of Water?”

paragraph: Restany, Pierre, in Kim Tschang-Yeul, Galerie Bhak, Seoul (in English and Korean).

paragraph: Lewis Biggs. "Working with Nature: Traditional Thought in Contemporary Art from Korea: Chung, Chang-Sup; Yun, Hyong-Keun; Kim, Tschang-Yeul; Park, Seo-Bo;

paragraph: Lee, U-Fan; Lee, Kang-So".este señor a creado en sus dibujos el relieve

paragraph: Ronny Cohen. "Tschang Yeul Kim".

paragraph: Section::::Writings by the Artist.

paragraph: 1962 “My Vision”, Taehan Ilbo, Seoul, 1 January 1962.

paragraph: 1960 “Note”, Hanguk Ilbo, Seoul, 24 January 1960.

paragraph: 1960 “The Problem of 30 Years”, Segye Ilbo, Seoul, 31 May 1960.

paragraph: 1960 “The Advance of the Avant-Garde”, Jayu Munhak, Seoul, December 1960.

paragraph: 1958 “Secret Words”, Hanguk Ilbo, Seoul, 11 January 1958.

alias:
Tschang-yeul Kim
Kim Tschang-Yeul
Tschang Kim
Kim Tschang-yeul
Tschang-Yeul Kim

description: South Korean artist

wikidata_label: Kim Tschang Yeul

wikipedia_title: Kim Tschang-yeul


text: House of York

text: Wars of the Roses

text: Richard, Duke of York

text: Edward IV

text: Richard III

text: Roger Mortimer, 4th Earl of March

text: Eleanor Holland

text: Edmund, 5th Earl of March

text: Lionel, Duke of Clarence

text: Edward III of England

text: Richard II

text: Henry IV

text: House of Lancaster

text: Edward Charleton of Powys

text: Richard of Conisburgh

text: Edmund, Duke of York

text: King Edward III

text: papal dispensation

text: Isabel of York

text: Sir Thomas Grey of Heaton

text: Henry Bourchier, 1st Earl of Essex

text: Richard of York, 3rd Duke of York

text: Edward IV

text: Richard III

text: Kings Langley

text: Kings Langley Palace

categories: House of York,1411 deaths,15th-century English women,14th-century English women,1388 births

paragraph: Anne de Mortimer

paragraph: Anne Mortimer (27 December 1388 – 22 September 1411) was a medieval English noblewoman who became an ancestress to the royal House of York, one of the parties in the fifteenth-century dynastic Wars of the Roses. It was her line of descent which gave the Yorkist dynasty its claim to the throne. Anne was the mother of Richard, Duke of York, and thus grandmother of kings Edward IV and Richard III.

paragraph: Section::::Early life.

paragraph: Born on 27 December 1388, Anne Mortimer was the eldest of the four children of Roger Mortimer, 4th Earl of March (1374–1398), and Eleanor Holland (1370–1405). She had two brothers, Edmund, 5th Earl of March (1391–1425), and Roger (1393–1413?), as well as a sister, Eleanor.

paragraph: Anne's father was a descendant of Lionel, Duke of Clarence, second surviving son of King Edward III of England, an ancestry which made Mortimer a potential heir to the throne during the reign of the childless King Richard II. Upon Roger Mortimer's death in 1398, this claim passed to his son and heir, Anne's brother Edmund, Earl of March. In 1399, Richard II was deposed by Henry IV, of the House of Lancaster, making Edmund Mortimer a dynastic threat to the new king, who in turn placed both Edmund and his brother Roger under royal custody.

paragraph: Anne and her sister Eleanor remained in the care of their mother, Countess Eleanor, who, not long after her first husband's death, married Lord Edward Charleton of Powys. Following their mother's death in 1405, the sisters fared less well than their brothers and were described as "destitute", needing £100 per annum for themselves and their servants.

paragraph: Section::::Marriage and issue.

paragraph: Around early 1408 (probably after 8 January), Anne married Richard of Conisburgh (1385–1415), the second son of Edmund, Duke of York (fourth son of King Edward III). The marriage was undertaken secretly and probably with haste, without the knowledge of her nearest relatives, and was validated on 23 May 1408 by papal dispensation.

paragraph: Anne Mortimer and Richard of Conisburgh had two sons and a daughter:

paragraph: BULLET::::- Isabel of York (1409 – 2 October 1484), who in 1412, at three years of age, was betrothed to Sir Thomas Grey, son and heir of Sir Thomas Grey of Heaton (1384–1415), by whom she had one son. Isabel married secondly, before 25 April 1426 (the marriage being later validated by papal dispensation), Henry Bourchier, 1st Earl of Essex, by whom she had issue.

paragraph: BULLET::::- Henry of York

paragraph: BULLET::::- Richard of York, 3rd Duke of York (22 September 1411 – 30 December 1460), Yorkist claimant to the English throne, and father of kings Edward IV and Richard III

paragraph: Anne Mortimer died soon after the birth of her son Richard on 22 September 1411. She was probably buried at Kings Langley, Hertfordshire, once the site of Kings Langley Palace, perhaps in the conventual church that houses the tombs of her husband's parents Edmund of Langley and Isabella of Castile.

paragraph: Section::::External links.

paragraph: BULLET::::- The Cambridge conspiracy in "The History of Sir John Oldcastle"

description: English countess

wikidata_label: Anne de Mortimer

wikipedia_title: Anne de Mortimer


text: Canadian

text: lyricist

text: Brantford

text: Hollywood

text: Henriette Blanke-Belcher

text: Fred Fischer

text: Al Sherman

text: Larry Stock

text: Joe McCarthy

text: I Didn't Raise My Boy to Be a Soldier

text: Al Piantadosi

text: Gladstone, New Jersey

text: Kerry Mills

text: Everybody Gives Me Good Advice

text: Henriette Blanke-Belcher

text: Come Josephine in My Flying Machine

text: Fred Fisher

text: Peg o' My Heart

text: I'm On My Way to Mandalay

text: I Didn't Raise My Boy to Be a Soldier

text: Al. Piantadosi

text: Harry Tierney

text: Harry Tierney

text: Van and Schenack

text: Harry Tierney

text: Harry Tierney

text: Harry Tierney

text: Harry Tierney

text: Harry Tierney

text: I'm Crazy Over Every Girl in France

text: Pete Wendling

text: Harry Tierney

text: Lorraine (My Beautiful Alsace Lorraine)

text: Fred Fisher

text: Harry Tierney

text: Pete Wendling

text: Harry Tierney

text: Harry Tierney

text: Edgar Leslie

text: Maurice Abrahams

text: Fred Fisher

text: Girls of France

text: Edgar Leslie

text: Harry Ruby

text: Joan of Arc They Are Calling You

text: Joseph McCarthy

text: Fred Fisher

text: Oui, Oui, Marie

text: Fred Fisher

text: Fred Fisher

text: Edgar Leslie

text: Irving Caesar

text: Jean Schwartz

text: On the Road to Calais

text: Al Jolson

categories: 1871 births,Canadian songwriters,People from Brantford,American anti-war activists,Canadian anti-war activists,1958 deaths

paragraph: Alfred Bryan

paragraph: Alfred Bryan (September 15, 1871 – April 1, 1958) was a Canadian lyricist.

paragraph: Bryan was born in Brantford, Ontario. He worked as an arranger in New York and wrote lyrics for many Broadway shows in the late 1910s and early 1920s. In the 1920s he moved to Hollywood to write lyrics for screen musicals.

paragraph: Bryan worked with several composers during his career. Among his collaborators were Henriette Blanke-Belcher, Fred Fischer, Al Sherman, Larry Stock and Joe McCarthy. Perhaps his most successful song was "I Didn't Raise My Boy to Be a Soldier" (1915), with music by Al Piantadosi. The song sold 650,000 copies during the first three months and became one of 1915's top-selling songs in the United States. Although Bryan himself was not a committed pacifist, he described the American public's anti-war sentiments in his lyrics.

paragraph: He died in Gladstone, New Jersey, aged 86.

paragraph: Section::::Songs.

paragraph: BULLET::::- 1904 "We'll Be Together When the Clouds Roll By" (music by Kerry Mills)

paragraph: BULLET::::- 1906 "Everybody Gives Me Good Advice" (music by James kendis and Herman Paley)

paragraph: BULLET::::- 1909 "I'll Do Anything But" (music by Henriette Blanke-Belcher)

paragraph: BULLET::::- 1910 "Put Your Head Upon my Shoulder" (music by Henriette Blanke-Belcher)

paragraph: BULLET::::- 1910 "Come Josephine in My Flying Machine" (music by Fred Fisher)

paragraph: BULLET::::- 1911 "My Irish Girl" (music by Henriette Blanke-Belcher)

paragraph: BULLET::::- 1913 "Peg o' My Heart" (music by Fred Fisher)

paragraph: BULLET::::- 1913 "I'm On My Way to Mandalay" (music by Fred Fisher)

paragraph: BULLET::::- 1914 "Who Paid The Rent For Mrs. Rip Van Winkle?" (music by Fred Fischer)

paragraph: BULLET::::- 1914 "Down in Waterloo". (m: Albert Gumble & Jack Wells)

paragraph: BULLET::::- 1914 "When It's Night-Time Down in Burgundy". (m: Herman Paley)

paragraph: BULLET::::- 1915 "I Didn't Raise My Boy to Be a Soldier". (m: Al. Piantadosi)

paragraph: BULLET::::- 1915 "When Our Mothers Rule the World". (m: Jack Wells)

paragraph: BULLET::::- 1916 "Don't Cry Dolly Grey". (m: Herman Paley)

paragraph: BULLET::::- 1916 "I Wouldn't Steal the Sweetheart of a Soldier Boy". (m: Herman Paley)

paragraph: BULLET::::- 1917 "Buy a Red Cross Rossie". (m: Harry Tierney)

paragraph: BULLET::::- 1917 "Chimes of Normandy". (m: Jack Wells)

paragraph: BULLET::::- 1917 "Cleopatra". (m: Harry Tierney)

paragraph: BULLET::::- 1917 "Don't Try to Steal the Sweetheart of a Soldier". (m: Van and Schenack)

paragraph: BULLET::::- 1917 "For One Sweet Day". (m: Harry Tierney)

paragraph: BULLET::::- 1917 "Get a Girl to Lead the Army". (m: Harry Tierney)

paragraph: BULLET::::- 1917 "God Save Us all". (m: Harry Tierney)

paragraph: BULLET::::- 1917 "I Want a Good Girl and I Want Her Bad". (m: Harry Tierney)

paragraph: BULLET::::- 1917 "If You'll Be a Soldier I'll Be a Red Cross Nurse". (m: Harry Tierney)

paragraph: BULLET::::- 1917 "I'm Crazy Over Every Girl in France". (m: Pete Wendling & Jack Wells)

paragraph: BULLET::::- 1917 "It's Time for Every Boy to Be a Soldier". (m: Harry Tierney)

paragraph: BULLET::::- 1917 "Lorraine (My Beautiful Alsace Lorraine)". (m: Fred Fisher)

paragraph: BULLET::::- 1917 "My Yokohama Girl". (m: Harry Tierney)

paragraph: BULLET::::- 1917 "Over the Top" with Jack Wells and Pete Wendling

paragraph: BULLET::::- 1917 "Sweet Little Buttercup". (m: Herman Paley)

paragraph: BULLET::::- 1917 "There's a Vacant Chair in Every Home Tonight". (m: Ernest Breuer)

paragraph: BULLET::::- 1917 "Universal Peace Song God Save Us All". (m: Harry Tierney)

paragraph: BULLET::::- 1917 "Vegetable Song". (m: Harry Tierney)

paragraph: BULLET::::- 1918 "Big Chief Killahun" with Edgar Leslie. (m: Maurice Abrahams)

paragraph: BULLET::::- 1918 "Cheer Up Father, Cheer Up Mother". (m: Herman Paley)

paragraph: BULLET::::- 1918 "Come Across, Yankee Boy, Come Across". (m: Fred Fisher)

paragraph: BULLET::::- 1918 "Comprenez-Vous Papa". (m: Ray Lawrence)

paragraph: BULLET::::- 1918 "Girls of France" with Edgar Leslie & Harry Ruby

paragraph: BULLET::::- 1918 "Joan of Arc They Are Calling You" with Willie Weston. (m: Jack Wells)

paragraph: BULLET::::- 1918 "Mister McAdoo" with Joseph McCarthy. (m: Fred Fisher)

paragraph: BULLET::::- 1918 "Oui, Oui, Marie" with Joe McCarthy. (m: Fred Fisher)

paragraph: BULLET::::- 1918 "Wee, Wee, Marie (Will You Do Zis for Me)" with Joe McCarrthy. (m: Fred Fisher)

paragraph: BULLET::::- 1918 "When Alexander Takes His Ragtime Band to France" with Cliff Hess & Edgar Leslie

paragraph: BULLET::::- 1918 "When the Boys from Dixie Eat the Melon on the Rhine". (m: Ernest Breuer)

paragraph: BULLET::::- 1918 "When They Do the Hula Hula on the Boulevard". (m: Ray Lawrence)

paragraph: BULLET::::- 1918 "White House Is the Light House of the World" with Irving Caesar

paragraph: BULLET::::- 1919 "I'm Going to Break That Mason-Dixie Line Until I Get to That Gal of Mine". (m: Jean Schwartz)

paragraph: BULLET::::- 1919 "On the Road to Calais". (m: Al Jolson)

paragraph: Section::::External links.

paragraph: BULLET::::- Sheet music for his song "We'll Be Together When the Clouds Roll By" from the collection at University of Oregon Libraries

description: Canadian songwriter

wikidata_label: Alfred Bryan

wikipedia_title: Alfred Bryan


text: Edward I of England

text: Eleanor of Castile

text: Acre

text: Holy Land

text: crusade

text: Ralph de Monthermer

text: squire

text: miracles

text: Kingdom of Acre

text: Outremer

text: Israel

text: Edward I

text: Eleanor of Castile

text: crusade

text: Henry III

text: Joan, Countess of Ponthieu

text: Rudolph I of Germany

text: Gilbert de Clare, 7th Earl of Hertford

text: Eleanor de Clare

text: Margaret de Clare

text: Elizabeth de Clare

text: Ralph de Monthermer

text: Amadeus V, Count of Savoy

text: Bristol Castle

text: Earl of Gloucester

text: Earl of Hertford

text: Mary de Monthermer

text: Duncan Macduff, 8th Earl of Fife

text: Amesbury

text: Caernarfon

text: Edward II

text: Eleanor

text: Margaret

text: Mary

text: Elizabeth

text: paps

text: beatification

text: canonization

text: Costain, Thomas

text: A History of the Plantagenets, Vol III

categories: English people of Portuguese descent,English princesses,1307 deaths,13th-century English people,14th-century English women,English people of Italian descent,14th-century English people,1272 births,English people of French descent,House of Plantagenet,Deaths in childbirth,13th-century English women

paragraph: Joan of Acre

paragraph: Joan of Acre (April 1272 – 23 April 1307) was an English princess, a daughter of King Edward I of England and Queen Eleanor of Castile. The name "Acre" derives from her birthplace in the Holy Land while her parents were on a crusade.

paragraph: She was married twice; her first husband was Gilbert de Clare, 7th Earl of Gloucester, one of the most powerful nobles in her father's kingdom; her second husband was Ralph de Monthermer, a squire in her household whom she married in secret.

paragraph: Joan is most notable for the claim that miracles have allegedly taken place at her grave, and for the multiple references to her in literature.

paragraph: Section::::Birth and childhood.

paragraph: Joan (or Joanna, as she is sometimes called) of Acre was born in the spring of 1272 in the Kingdom of Acre, Outremer, now in modern Israel, while her parents, Edward I and Eleanor of Castile, were on crusade. At the time of Joan's birth, her grandfather, Henry III, was still alive and thus her father was not yet king of England. Her parents departed from Acre shortly after her birth, traveling to Sicily and Spain before leaving Joan with Eleanor's mother, Joan, Countess of Ponthieu, in France. Joan lived for several years in France where she spent her time being educated by a bishop and "being thoroughly spoiled by an indulgent grandmother." Joan was free to play among the "vine clad hills and sunny vales" surrounding her grandmother's home, although she required "judicious surveillance."

paragraph: As Joan was growing up with her grandmother, her father was back in England, already arranging marriages for his daughter. He hoped to gain both political power and more wealth with his daughter's marriage, so he conducted the arrangement in a very "business like style". He finally found a man suitable to marry Joan (aged 5 at the time), Hartman, son of King Rudolph I of Germany. Edward then brought her home from France for the first time to meet him. As she had spent her entire life away from Edward and Eleanor, when she returned she "stood in no awe of her parents" and had a fairly distanced relationship with them.

paragraph: Unfortunately for King Edward, his daughter's suitor died before he was able to meet or marry Joan. The news reported that Hartman had fallen through a patch of shallow ice while "amusing himself in skating" while a letter sent to the King himself stated that Hartman had set out on a boat to visit his father amidst a terrible fog and the boat had smashed into a rock, drowning him.

paragraph: Section::::First marriage.

paragraph: Edward arranged a second marriage almost immediately after the death of Hartman. Gilbert de Clare, Earl of Gloucester, who was almost thirty years older than Joan and newly divorced, was his first choice. The earl resigned his lands to Edward upon agreeing to get them back when he married Joan, as well as agreed on a dower of two thousand silver marks. By the time all of these negotiations were finished, Joan was twelve years old. Gilbert de Clare became very enamored with Joan, and even though she had to marry him regardless of how she felt, he still tried to woo her. He bought her expensive gifts and clothing to try to win favor with her. The couple were married on 30 April 1290 at Westminster Abbey, and had four children together. They were:

paragraph: BULLET::::1. Gilbert de Clare, 7th Earl of Hertford

paragraph: BULLET::::2. Eleanor de Clare

paragraph: BULLET::::3. Margaret de Clare

paragraph: BULLET::::4. Elizabeth de Clare

paragraph: Joan's first husband, Gilbert de Clare died on 7 December 1295.

paragraph: Section::::Secret second marriage.

paragraph: Joan had been a widow for only a little over a year when she caught the eye of Ralph de Monthermer, a squire in Joan's father's household. Joan fell in love and convinced her father to have Monthermer knighted. It was unheard of in European royalty for a noble lady to even converse with a man who had not won or acquired importance in the household. However, Joan secretly married Ralph in January 1297. Joan's father was already planning another marriage for Joan to Amadeus V, Count of Savoy, to occur on 16 March 1297. Being already married, unbeknownst to her father, Joan was in a dangerous predicament.

paragraph: Joan sent her four young children to their grandfather, in hopes that their sweetness would win Edward's favor, but her plan did not work. The king soon discovered his daughter's intentions, but not yet aware that she had already committed to them, he seized Joan's lands and continued to arrange her marriage to Amadeus of Savoy. Soon after the seizure of her lands, Joan told her father that she had married Ralph. The king was enraged and retaliated by immediately imprisoning Monthermer at Bristol Castle. The people of the land had differing opinions on Joan's predicament. It has been argued that the noblemen who were most upset were those who wanted her hand in marriage.

paragraph: With regard to the matter, Joan famously said, "It is not considered ignominious, nor disgraceful, for a great earl to take a poor and mean woman to wife; neither, on the other hand, is it worthy of blame, or too difficult a thing for a countess to promote to honor a gallant youth." Coming at the time of a pregnancy which may have been obvious, Joan's statement seemed to soften Edward's attitude towards the situation. Her first child by Monthermer was born in October 1297; by the summer of 1297, when the marriage was revealed to the king, Joan's condition would certainly have been apparent, helping to convince Edward that he had no choice but to recognize his daughter's second marriage. Edward I eventually relented, for the sake of his daughter, and released Monthermer from imprisonment in August 1297. Monthermer paid homage on 2 August, was granted the titles of Earl of Gloucester and Earl of Hertford, and rose in the King's favour during Joan's lifetime.

paragraph: Monthermer and Joan had four children:

paragraph: BULLET::::1. Mary de Monthermer, born October 1297. In 1306 her grandfather King Edward I arranged for her to marry Duncan Macduff, 8th Earl of Fife.

paragraph: BULLET::::2. Joan de Monthermer, born 1299, became a nun at Amesbury.

paragraph: BULLET::::3. Thomas de Monthermer, 2nd Baron Monthermer, born 1301.

paragraph: BULLET::::4. Edward de Monthermer, born 1304 and died 1339.

paragraph: Section::::Relationship with family.

paragraph: Joan of Acre was the seventh of Edward I and Eleanor's fourteen children. Most of her elder siblings died before the age of seven, and many of her younger siblings died before adulthood. Those who survived to adulthood were Joan, her younger brother, Edward of Caernarfon (later Edward II), and four of her sisters: Eleanor, Margaret, Mary, and Elizabeth.

paragraph: Joan, like her siblings, was raised outside her parents' household. She lived with her grandmother in Ponthieu for four years, and was then entrusted to the same caregivers who looked after her siblings. Edward I did not have a close relationship with most of his children while they were growing up, yet "he seemed fonder of his daughters than his sons."

paragraph: However, Joan of Acre's independent nature caused numerous conflicts with her father. Her father disapproved of her leaving court after her marriage to the Earl of Gloucester, and in turn "seized seven robes that had been made for her". He also strongly disapproved of her second marriage to Ralph de Monthermer, a squire in her household, even to the point of attempting to force her to marry someone else. While Edward ultimately developed a cordial relationship with Monthermer, even granting him two earldoms, there appears to have been a notable difference in Edward's treatment of Joan as compared to the treatment of the rest of her siblings. For instance, her father famously paid messengers substantially when they brought news of the birth of grandchildren, but did not do this upon the birth of Joan's daughter.

paragraph: Joan retained a fairly tight bond with her siblings. She and Monthermer both maintained a close relationship with her brother, Edward, which was maintained through letters. After Edward became estranged from his father and lost his royal seal, "Joan offered to lend him her seal".

paragraph: Section::::Death.

paragraph: Joan died on 23 April 1307, at the manor of Clare in Suffolk. The cause of her death remains unclear, though one popular theory is that she died during childbirth, a common cause of death at the time. While Joan's age in 1307 (about 35) and the chronology of her earlier pregnancies with Ralph de Monthermer suggest that this could well be the case, historians have not confirmed the cause of her death.

paragraph: Less than four months after her death, Joan's father died. Joan's widower, Ralph de Monthermer, lost the title of Earl of Gloucester soon after the deaths of his wife and father-in-law. The earldom of Gloucester was given to Joan's son from her first marriage, Gilbert, who was its rightful holder. Monthermer continued to hold a nominal earldom in Scotland, which had been conferred on him by Edward I, until his death.

paragraph: Joan's burial place has been the cause of some interest and debate. She is interred in the Augustinian priory at Clare, which had been founded by her first husband's ancestors and where many of them were also buried. Allegedly, in 1357, Joan's daughter, Elizabeth De Burgh, claimed to have "inspected her mother's body and found the corpse to be intact", which in the eyes of the Roman Catholic Church is an indication of sanctity. This claim was only recorded in a fifteenth-century chronicle, however, and its details are uncertain, especially the statement that her corpse was in such a state of preservation that "when her paps [breasts] were pressed with hands, they rose up again." Some sources further claim that miracles took place at Joan's tomb, but no cause for her beatification or canonization has ever been introduced.

paragraph: Section::::Joan in fiction.

paragraph: Joan of Acre makes an appearance in Virginia Henley's historical romance "Infamous". In the book, Joan, known as Joanna, is described as a promiscuous young princess, vain, shallow and spoiled. In the novel she is only given one daughter, when she historically had eight children. There is no evidence that supports this picture of Joan.

paragraph: In "The Love Knot" by Vanessa Alexander, Joan of Acre is an important character. The author portrays a completely different view of the princess from the one in Henley's novel. "The Love Knot" tells the story of the love affair between Ralph de Monthermer and Joan of Acre through the discovery of a series of letters the two had written to each other.

paragraph: Between historians and novelists, Joan has appeared in various texts as either an independent and spirited woman or a spoiled brat. In "Lives of the Princesses of England" by Mary Anne Everett Green, Joan is portrayed as a "giddy princess" and neglectful mother. Many have agreed to this characterization; however, some authors think there is little evidence to support the assumption that Joan of Acre was a neglectful or uncaring mother.

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Costain, Thomas. A History of the Plantagenets, Vol III.

paragraph: BULLET::::- Green, Mary Anna Everett. "Lives of the Princesses of England". London: Henry Colburn, 1850.

paragraph: BULLET::::- Parsons, John Carmi. "Eleanor of Castile". New York: St. Martin’s Press, 1995.

description: English princess

wikidata_label: Joan of Acre

wikipedia_title: Joan of Acre


text: pharaoh

text: Twelfth Dynasty

text: Egypt

text: papyrus

text: Middle Kingdom

text: coregency

text: Senusret III

text: Amenemhet IV

text: Amenemhet IV

text: Sobekneferu

text: pyramid

text: Dahshur

text: Black Pyramid

text: Hawara

text: Faiyum

text: mortuary temple

text: Herodotus

text: Diodorus Siculus

text: Labyrinth

text: Strabo

text: Neferuptah

text: pyramidion

text: Cairo Egyptian Museum

text: Kumma

text: Zamonth

text: Wadi el-Hudi

text: Amethyst

text: Wadi Hammamat

text: Punt

text: high steward

text: Fayum Depression

text: Bahr Yussef

text: Lake Moeris

text: Kheti

text: Rhind Mathematical Papyrus

text: Medinet Madi

text: Faiyum

text: Renenutet

text: Manetho

text: Herodotus

text: Amenemhat (III) Nimaatre

categories: Pharaohs of the Twelfth Dynasty of Egypt,19th-century BC Pharaohs,19th-century BC deaths,Year of birth unknown

paragraph: Amenemhat III

paragraph: Amenemhat III, also spelled Amenemhet III, was a pharaoh of the Twelfth Dynasty of Egypt. He ruled from c. 1860 BC to c. 1814 BC, the highest known date being found in a papyrus dated to "Regnal Year 46, I Akhet 22" of his rule. His reign is regarded as the golden age of the Middle Kingdom. He may have had a long coregency (of 20 years) with his father, Senusret III.

paragraph: Toward the end of his reign he instituted a coregency with his successor Amenemhet IV, as recorded in a now damaged rock inscription at Konosso in Nubia, which equates Year 1 of Amenemhet IV to either Year 46, 47, or 48 of his reign. His daughter, Sobekneferu, later succeeded Amenemhat IV, as the last ruler of the twelfth dynasty. Amenemhat III's throne name, Nimaatre, means "Belonging to the Justice of Re."

paragraph: Section::::Pyramids.

paragraph: He built his first pyramid at Dahshur (the so-called "Black Pyramid"), but there were construction problems and it was abandoned. Around Year 15 of his reign the king decided to build a new pyramid at Hawara, near the Faiyum. The pyramid at Dahshur was used as burial ground for several royal women.

paragraph: The mortuary temple attached to the Hawara pyramid may have been known to Herodotus and Diodorus Siculus as the "Labyrinth". Strabo praised it as a wonder of the world. The king's pyramid at Hawara contained some of the most complex security features of any found in Egypt. Nevertheless, the king's burial was robbed in antiquity. His daughter or sister, Neferuptah, was buried in a separate pyramid (discovered in 1956) 2 km southwest of the king's. The pyramidion of Amenemhet III's pyramid tomb was found toppled from the peak of its structure and preserved relatively intact; it is today in the Cairo Egyptian Museum.

paragraph: Section::::Military enterprises and expeditions.

paragraph: There is very little evidence for military expeditions in the reign of the king. There is one record for a small mission in year nine of the king. The evidence for that was found in a rock inscription in Nubia, near the fortress of Kumma. The short text reports that a military mission was guided by the "mouth of Nekhen" Zamonth who reports that he went north with a small troop and that nobody died when going back south.

paragraph: Many expeditions to mining areas are recorded under the king. There are two expeditions known to the Wadi el-Hudi at the southern border of Egypt, where Amethyst was collected. One of the enterprises dates to year 11, of the king. Two further to year 20 and to year 28. There were further mining expeditions to the Wadi Hammamat. These are dated to year 2, 3, 19, 20 and 33 of the king's reign. The inscriptions of year 19 and 20 might be related to the building start of the pyramid complex at Hawara. They report the breaking of stone for statues.

paragraph: At the Red Sea coast, at Mersa was discovered a stela mentioning an expedition to Punt under Amenemhat III. The highest official involved in the expedition was the high steward Senebef. Other people in charge were a certain Amenhotep and the "chamberlain" Nebesu.

paragraph: Section::::The Great Canal (Mer-Wer).

paragraph: During his long rule Amenemhat continued the work probably started by his father to link the Fayum Depression with the Nile. The area had been a mere swamp previously. A canal long and wide was dug, known as "Mer-Wer" (the Great Canal); it is now known as Bahr Yussef. The banks for the central deep side were at a slope of 1:10, to allow use of non-cohesive soil and rock fill. A dam called Ha-Uar ran east-west and the canal was inclined towards the Fayum depression at the slope of 0.01 degrees. The resultant Lake Moeris could store 13 billion cubic meters of flood water each year. This immense work of civil engineering was eventually finished by his son Amenemhat IV and brought prosperity to Fayum. The area became a breadbasket for the country and continued to be used until 230 BC when the Lahun branch of the Nile silted up.

paragraph: The vizier Kheti held this office around year 29 of king Amenemhat III's reign. The Rhind Mathematical Papyrus is thought to have been originally composed during Amenemhat's time. The monuments of Amenemhat III are fairly numerous and of excellent quality. They include a small but well decorated temple at Medinet Madi in the Faiyum, which he and his father dedicated to the harvest goddess Renenutet.

paragraph: Section::::Sculpture.

paragraph: Amenemhat III is, together with Senusret III, the best-attested Middle Kingdom king by number of statues. About 80 statues or fragments of statues can be assigned to him. The sculpture of Amenemhat III continued the tradition of Senusret III. Many of his works no longer represent a young idealized king, but instead an expressive physiognomy, showing signs of age. There is an amazingly wide range of stones used for the sculpture of the king, not attested for any king before. Furthermore, the king introduced several new types of sculptures, many of these types inspired by older prototypes, dating back to the early Dynastic Period. There are two facial types that can be assigned to Amenemhat III.

paragraph: BULLET::::- realistic style: The face of the king shows its bone structure, furrows are clearly marked in the face. The face features are evidently inspired by those of the sculpture of Senusret III

paragraph: BULLET::::- idealized style: The king is shown as young man, with a triangular face.

paragraph: Section::::Other names.

paragraph: BULLET::::- Ammenemes

paragraph: BULLET::::- Lamares, Ameres (According to Manetho)

paragraph: BULLET::::- Moeris (According to Herodotus)

paragraph: Section::::Further reading.

paragraph: BULLET::::- W. Grajetzki, "The Middle Kingdom of Ancient Egypt: History, Archaeology and Society", Duckworth, London 2006 , 58-61

paragraph: Section::::External links.

paragraph: BULLET::::- Amenemhat (III) Nimaatre

paragraph: BULLET::::- The Pyramid of Amenemhet III from Talking Pyramids

description: pharaoh of the Twelfth Dynasty of Egypt

wikidata_label: Amenemhat III

wikipedia_title: Amenemhat III


text: professional baseball

text: first baseman

text: left fielder

text: Major League Baseball

text: Chicago Cubs

text: Los Angeles Dodgers

text: Boston Red Sox

text: batting average

text: National League

text: batting title

text: All-Star

text: doubles

text: assists

text: error

text: 1986 World Series

text: New York Mets

text: curse on the Red Sox

text: 2004 World Series

text: California Angels

text: Kansas City Royals

text: play in four decades

text: hits

text: runs batted in

text: striking out

text: American League

text: real estate developer

text: Idaho

text: Minor League Baseball

text: Vallejo, California

text: American Canyon

text: California Highway Patrol

text: Napa High School

text: reception

text: Stanford

text: USC

text: Los Angeles Dodgers

text: 1968 Major League Baseball draft

text: Bobby Valentine

text: Ogden Dodgers

text: Pioneer League

text: Los Angeles Valley College

text: Arizona State University

text: Sigma Chi

text: Ogden Dodgers

text: Pioneer league

text: home run

text: Steve Garvey

text: Tommy Lasorda

text: Arizona Instructional League

text: Albuquerque Dodgers

text: Spokane Indians

text: Pacific Coast League

text: pinch hitter

text: Jim Brewer

text: San Francisco Giants

text: Cincinnati Reds

text: Davey Lopes

text: Tom Paciorek

text: Bill Russell

text: Charlie Hough

text: Doyle Alexander

text: runs scored

text: right fielder

text: Don Wilson

text: Houston Astros

text: Steve Garvey

text: Gold Glove

text: National League

text: Most Valuable Player

text: Hank Aaron

text: Oakland Athletics

text: Catfish Hunter

text: Iván DeJesús

text: Rick Monday

text: Mike Garman

text: staph infection

text: 1978 World Series

text: Wrigley Field

text: Philadelphia Phillies

text: Dave Kingman

text: Mike Schmidt

text: grand slam

text: Tug McGraw

text: Herman Franks

text: batting title

text: at bat

text: Keith Hernandez

text: Garry Templeton

text: strike

text: Cecil Cooper

text: All-Star Game

text: Manny Trillo

text: Mickey Vernon

text: Leon Durham

text: doubleheader

text: Boston Red Sox

text: Dennis Eckersley

text: Mike Brumley

text: American League East

text: Baltimore Orioles

text: contact hitter

text: American League

text: St. Louis Cardinals

text: Albert Pujols

text: Milwaukee Brewers

text: Cleveland Indians

text: Dave Stapleton

text: Nike

text: high-top

text: 1986 American League Championship Series

text: singled

text: Dave Henderson

text: famous home run

text: California Angels

text: 1986 Red Sox

text: New York Mets

text: 1986 World Series

text: extra innings

text: John McNamara

text: Calvin Schiraldi

text: Bob Stanley

text: Mookie Wilson

text: Ray Knight

text: Bruce Hurst

text: Curse of the Bambino

text: spring training

text: Yankee Stadium

text: Kansas City Royals

text: Yankees

text: Royals

text: Fenway Park

text: Roger Clemens

text: free agent

text: standing ovation

text: Kirk McCaskill

text: Fenway Park

text: inside-the-park home run

text: Claudell Washington

text: baserunner

text: stolen base

text: doubles

text: on-base percentage

text: slugging percentage

text: fielding percentage

text: Idaho

text: Boise

text: Emmett

text: Dwight Evans

text: 2007 World Series

text: Brockton Rox

text: Can-Am League

text: Futures Collegiate Baseball League

text: Boise Hawks

text: Chicago Cubs

text: Class A-Short Season

text: Northwest League

text: Texas A&M–Corpus Christi Islanders

text: Lewy body dementia

text: Charlie Sheen

text: Seth Swirsky

text: Heritage Auctions

text: The Comebacks

text: HBO

text: Curb Your Enthusiasm

text: Inside Schwartz

text: Michael Jordan

text: Stan Musial

text: Willie Mays

text: Ken Griffey, Jr.

text: Nike

text: Spike Lee

text: Mars Blackmon

text: Rounders

text: Fever Pitch

text: The Simpsons

text: Brother's Little Helper

text: Johnny Baseball

text: Alan Greenspan

text: economic crisis of 2008

text: Representative

text: John Yarmuth

text: MLB Network

text: The Areas of My Expertise

text: John Hodgman

text: Bill Buckner

text: Bill Buckner

text: Bill Buckner

text: archive.today

categories: University of Southern California alumni,Minor league baseball managers,Arizona Instructional League Dodgers players,Albuquerque Dodgers players,Tiburones de La Guaira players,National League All-Stars,Major League Baseball first basemen,Baseball players from California,Chicago White Sox coaches,Los Angeles Dodgers players,Kansas City Royals players,Boston Red Sox players,Chicago Cubs players,California Angels players,Spokane Indians players,Sportspeople from Vallejo, California,2019 deaths,Major League Baseball left fielders,National League batting champions,Sportspeople from Boise, Idaho,1949 births,Ogden Dodgers players

paragraph: Bill Buckner

paragraph: William Joseph Buckner (December 14, 1949 – May 27, 2019) was an American professional baseball first baseman and left fielder, who played in Major League Baseball (MLB) for five teams from through , most notably the Chicago Cubs, the Los Angeles Dodgers, and Boston Red Sox. Beginning his career as an outfielder with the Dodgers, he helped the team to the pennant with a .314 batting average, but a serious ankle injury the next year eventually led to his trade to the Cubs prior to the season. The Cubs moved Buckner to first base, and he enjoyed his greatest success with the team, winning the National League (NL) batting title in with a .324 mark, and being named to the All-Star team the following season as he led the major leagues in doubles. After setting a major league record for first basemen with 159 assists in , Buckner surpassed that total with 161 in while again leading the NL in doubles, before feuds with team management over a loss of playing time resulted in his being traded to the Red Sox in the middle of the season.

paragraph: During the season, Buckner emerged as the Red Sox stalwart first baseman, starting all 162 games and shattering his own big league record with 184 assists. Toward the end of the season, he was hobbled by leg injuries and struggled throughout the playoffs. Buckner’s tenth-inning error in Game 6 of the 1986 World Series against the New York Mets remains one of the most memorable plays in baseball history; it was long considered part of a curse on the Red Sox that kept them from winning the World Series, and led to years of fan anger and public mockery that Buckner handled graciously before being embraced by Red Sox fans again after their 2004 World Series victory.

paragraph: After spending his last few seasons with the California Angels, Kansas City Royals, and a second stint with the Red Sox, Buckner became the 21st player in MLB history to play in four decades, ending his career with 2,715 hits and 498 doubles, having batted over .300 seven times with three seasons of 100 runs batted in (RBI). Never striking out 40 times in a season, he finished with the fifth-lowest strikeout rate among players whose careers began after 1950. Buckner led his league in assists four times, with his 1985 mark remaining the American League (AL) record, and retired with the fourth-most assists by a first baseman (1,351) in major league history, despite not playing the position regularly until he was 27 years old. After retiring as a player, he became a real estate developer in Idaho, and later coached a number of Minor League Baseball (MiLB) teams before leaving baseball in 2014.

paragraph: Section::::Early years.

paragraph: Buckner was born in Vallejo, California and grew up in nearby American Canyon. He and his brothers Bob and Jim, and Jim's twin sister Jan, were raised by their parents, Leonard and Marie Katherine Buckner; his father died in 1966, when Bill was a teenager. His mother was a stenographer for the California Highway Patrol.

paragraph: He graduated from Napa High School in 1968 after playing on the school's baseball and football teams. While playing football, he was a two-time All-State receiver and also achieved All-America honors twice.

paragraph: As a baseball player at Napa High School, Buckner hit .667 in 1967 and .529 in 1968 under coach Dale Fisher. As a football player, Buckner is still in the Napa record lists for reception yards in a season (579), career reception yards (963), and career receptions (61). At first, Buckner contemplated attending Stanford or USC, but he eventually chose professional baseball instead.

paragraph: Buckner was selected by the Los Angeles Dodgers in the second round of the 1968 Major League Baseball draft; his friend Bobby Valentine was the Dodgers' first-round pick. Upon signing with the Dodgers, Buckner was assigned to the Ogden Dodgers of the Pioneer League. He also briefly attended Los Angeles Valley College, USC and Arizona State University. He became a member of the Sigma Chi fraternity while a farmhand with the Dodgers, and roomed with Valentine while attending USC after his first professional season.

paragraph: Section::::Career.

paragraph: Section::::Career.:Minor leagues (1968–1970).

paragraph: At age 18, Buckner made his professional debut playing with the Ogden Dodgers of the Rookie Pioneer league in 1968, hitting .344 with 4 home runs and 44 RBI in 64 games. He was teammates with Valentine and Steve Garvey, who also were playing in their first professional seasons. The manager at Ogden was Tommy Lasorda.

paragraph: In 1969, Buckner played with four Dodger teams, as he advanced quickly in the Dodgers' farm system. He hit .350 with 6 home runs and 36 RBI in 46 games with the Dodgers team in the Arizona Instructional League. He then batted .307 with 7 home runs and 50 RBI with the Class AA Albuquerque Dodgers, and .315 with 2 home runs and 27 RBI in 36 games with the Class AAA Spokane Indians of the Pacific Coast League. While at Spokane, Buckner's manager was once again Lasorda. Buckner was called up to the Dodgers late in the season at age 19, popping up to second base as a pinch hitter for Jim Brewer in the 9th inning of a 4-3 road loss to the San Francisco Giants on September 21 in his only appearance.

paragraph: Buckner spent April with the Dodgers, picking up his first hit in a 5-2 loss to the Cincinnati Reds on April 8, but after batting .121 with no home runs or RBI, he was returned to Triple-A Spokane, where he played 111 games under Lasorda after he was given leave to complete finals at USC. He hit .335 with 3 home runs and 74 RBI, playing alongside Garvey, Valentine, Davey Lopes, Tom Paciorek, Bill Russell, Charlie Hough, and Doyle Alexander, among others. Buckner played most of the 1970 season with a broken jaw and with his jaw wired shut. Spokane finished 94–52, and Buckner was again called up to the Dodgers in September. He batted .257 in the final month, with 4 RBI and 5 runs scored.

paragraph: Section::::Career.:Los Angeles Dodgers (1971–1976).

paragraph: Buckner earned a starting job with the Dodgers in as their opening-day right fielder, and hit his first career home run off Don Wilson of the Houston Astros on April 6, providing the only scoring in a 2-0 road win. Buckner also played some first base with the Dodgers, making 87 starts at first in . However, when Steve Garvey emerged as a Gold Glove first baseman and the National League's Most Valuable Player the following season, Buckner was shifted to left field permanently. Buckner played a supporting role in a baseball milestone on April 8, . Playing left field, he climbed the fence in an attempt to catch Hank Aaron's record 715th home run. He also played in his first World Series that year, which the Dodgers lost to the Oakland Athletics in five games; Buckner hit .250 in the Series, including a home run off Catfish Hunter in Game 3, a 3-2 road loss.

paragraph: In his Dodgers career, Buckner batted .289 with 38 home runs and 277 runs batted in in 773 games.

paragraph: Section::::Career.:Chicago Cubs (1977–1984).

paragraph: Following the 1976 season, Buckner was traded with Iván DeJesús and Jeff Albert to the Chicago Cubs for Rick Monday and Mike Garman. He had suffered a staph infection in his ankle in 1976, so the Cubs shifted him to first base, the playing position where he remained for the final 14 years of his career.

paragraph: Whereas early indications seemed to lean toward the Dodgers getting the better end of this deal – with Monday becoming one of the key centerpieces of the Dodgers clubs that went to the and 1978 World Series – Buckner soon emerged as something of a star for the beleaguered Cubs. On May 17, 1979, in a famous slugfest at Wrigley Field in which the Cubs lost 23-22 to the Philadelphia Phillies, with three homers by Dave Kingman and two by Mike Schmidt, Buckner went 4–for–7 with a grand slam off Tug McGraw and a career-high seven RBI. But when manager Herman Franks resigned late in the season, he made negative comments about several players, including calling Buckner "nuts".

paragraph: In 1980 Buckner won the NL batting title with a .324 average. He also struck out only 18 times – once every 32 at bats – batting in front of Kingman. Keith Hernandez (.321) and Garry Templeton (.319) finished just behind Buckner in the race for the NL batting title. In the strike-interrupted 1981 season, he batted .311 while tying Cecil Cooper for the major league lead with 35 doubles; he was the Cubs' sole representative at the All-Star Game, where he grounded out to first base pinch hitting for Manny Trillo in the 9th inning of a 5-4 NL victory, their 10th consecutive All-Star win. In 1982 Buckner batted over .300 for the fourth time in Chicago, picked up a career-high 201 hits, drove in 105 runs – the first time he had topped 75 – and recorded 159 assists at first base, breaking Mickey Vernon's 1949 major league record of 155. In 1983 he again led the NL with 38 doubles, but saw his batting average drop to .280, his lowest mark in eight years.

paragraph: During the season, Buckner saw a loss of playing time at first base to Leon Durham. Because of his lack of playing time, Buckner was at odds with the Cubs management; in protest, he vowed not to shave until he played two games in a row at first base. Buckner finally shaved between games of a doubleheader on May 24, because he found out he was going to be traded the next day to the Boston Red Sox; the Cubs went on to win their division, reaching the postseason for the first time in 39 years. In eight seasons with the Cubs, Buckner hit .300 with 81 home runs, 235 doubles, and 516 RBI in 974 games.

paragraph: Section::::Career.:Boston Red Sox (1984–1987).

paragraph: Early in the season, the Red Sox were in the market for an upgrade at first base. On May 25, they acquired Buckner from the Cubs for Dennis Eckersley and Mike Brumley. The Red Sox were 19–25 and in sixth place in the American League East at the time of the trade, but improved to 67–51 the rest of the way to finish the season in fourth place. On September 21, Buckner enjoyed the first five-hit game of his career in an 8-0 road win over the Baltimore Orioles.

paragraph: Buckner appeared in all 162 games for the Red Sox in , and batted .299 with 16 home runs while posting career highs with 110 RBI, 201 hits and 46 doubles. He was a prototypical contact hitter, and struck out just 36 times in 719 plate appearances to lead the American League in that category in 1985. (He also led the NL in most at bats per strikeout in , and , and placed second in , , , and .) In 1985 he also extended his own major league record for assists in a season with 184. The record stood for almost 25 years until the St. Louis Cardinals' Albert Pujols broke Buckner's record with 185 assists in .

paragraph: On June 5, 1986, Buckner picked up his 1,000th career RBI on a ground out in a 7-5 road loss to the Milwaukee Brewers. On August 21, he again had five hits in a blowout 24-5 road win over the Cleveland Indians. In September, he hit .340 with 8 home runs and 22 RBI, while missing just 3 games in spite of chronic ankle soreness. Dave Stapleton, the Red Sox first baseman prior to the acquisition of Buckner, began seeing more playing time as a late-inning defensive replacement in September and October. Meanwhile, Buckner became the first major league player to wear Nike high-top baseball cleats professionally in an effort to relieve pressure on his ankles. That season, Buckner hit a career-high 18 home runs, drove in more than 100 runs for the second season in a row, and was a key member of the team that won the American League East by 5-1/2 games. He entered Game 5 of the 1986 American League Championship Series batting just .111 in the Series, and was 0–for–3 in the game when he singled to start a ninth-inning rally which was capped off by Dave Henderson's famous home run. He went 3–for–6 in the final 2 games as the Red Sox came back from the brink of elimination to defeat the California Angels and win the American League pennant.

paragraph: Section::::Career.:Boston Red Sox (1984–1987).:1986 World Series.

paragraph: The 1986 Red Sox were leading the heavily favored New York Mets 3 games to 2 in the 1986 World Series when Game 6 went into extra innings. For his part, Buckner was batting just .143 against Mets pitching, and he was 0–for–5 in Game 6. When the Sox scored 2 runs in the top of the tenth, Boston manager John McNamara chose to have Buckner take the field in the bottom of the inning instead of bringing Stapleton in as a defensive replacement for the ailing Buckner, as he had in Games 1, 2, and 5.

paragraph: With two outs and no one on base, New York struck back with three straight singles off Calvin Schiraldi, and tied the game on a wild pitch by Bob Stanley. Mookie Wilson fouled off several pitches before hitting a slow roller to Buckner at first base. Aware of Wilson's speed, Buckner tried to rush the play. As a result, the ball rolled to the left side of his glove, through his legs, and into shallow right field, allowing Ray Knight to score the winning run from second base. Had Buckner fielded the ball with Wilson safe at first, the score would have remained tied for the next Mets batter. Had Buckner put out Wilson at first base, Game 6 would have gone to an 11th inning.

paragraph: Boston led Game 7 by a 3–0 score heading into the bottom of the sixth inning when New York rallied again, scoring 3 runs off Bruce Hurst to tie the game, and 3 more off of Schiraldi in the seventh to take a 6–3 lead. Buckner was 2–for–4 in the game, and scored 1 of Boston's 2 runs in the eighth. However, the Mets also scored twice in the eighth and won 8–5, for their second World Series championship in franchise history.

paragraph: Section::::Career.:Boston Red Sox (1984–1987).:Fallout.

paragraph: Regardless of any of the other perceived shortcomings that led to Boston's loss in the 1986 World Series, Buckner's error epitomized the "Curse of the Bambino" in the minds of Red Sox fans, and he soon became the scapegoat for a frustrated fan base. Buckner began receiving death threats and was heckled and booed by some of his own home fans, often with the false belief or implication that his play alone could have instantly won the series for the Red Sox. Meanwhile, he was the focal point of derision from the fans of opposing teams on the road—especially when he faced the Mets in spring training of 1987—and during his first regular-season at bat at Yankee Stadium. He made his 2,500th career hit on May 19, an RBI single in a 4-1 road loss to the Kansas City Royals, but the Red Sox released Buckner on July 23 after he recorded a .273 batting average, 2 home runs, and 42 RBI in 75 games.

paragraph: Section::::Career.:California Angels (1987–1988).

paragraph: Upon his release from the Red Sox, Buckner signed with the California Angels. For the remainder of the 1987 season, Buckner batted .306 and drove in 32 runs in 57 games. In 76 total games with the Angels, Buckner hit .288 with 3 home runs and 41 RBI.

paragraph: Section::::Career.:Kansas City Royals (1988–1989).

paragraph: At 38 years old, Buckner was released by the Angels on May 9, just before a road trip that would have brought him to the east coast to face the Yankees and Red Sox. He signed with the Royals shortly after his release and walked into Fenway Park as a player for the opposing team for the first time on July 15. He went 1–for–2 off Roger Clemens with a walk.

paragraph: In 168 games with the Royals, Buckner hit .239 with 4 home runs and 50 RBI.

paragraph: Section::::Career.:Boston Red Sox II (1990).

paragraph: Buckner returned to the Red Sox in as a free agent and received a standing ovation from the crowd during player introductions at the home opener on April 9.

paragraph: Buckner's last home run was against Kirk McCaskill on April 25, 1990 at Fenway Park, the only inside-the-park home run of his career. Despite his infamous bad legs, the 40-year-old Buckner circled the bases in the fourth inning when Angels outfielder Claudell Washington fell into the grandstands behind the short right field wall while attempting to retrieve Buckner's drive over Washington's head.

paragraph: His return was short-lived; he retired on June 5 with a .186 batting average, 1 home run, and 3 RBI. In 526 career games with Boston, Buckner hit .279 with 48 home runs, 112 doubles, and 324 RBI.

paragraph: Section::::Career stats.

paragraph: Buckner was a speedy baserunner until his ankle surgeries in 1975 and 1976 for a severe ankle sprain and bone chips, respectively. He twice finished in the top 10 in the league in stolen bases ( and 1976) and twice led the league in doubles (1981 and 1983). After moving to first base, he played 1,555 regular-season games and made only 128 errors in 13,901 chances.

paragraph: In 2,517 games over 22 seasons, Buckner batted .289 (2,715–for–9,397) with 1,077 runs scored, 498 doubles, 49 triples, 174 home runs, 1,208 RBI, 183 stolen bases, 450 walks, an on-base percentage of .321, and a slugging percentage of .408. Defensively, he recorded a .991 fielding percentage at first base and at left and right field.

paragraph: Section::::Post-playing career.

paragraph: After Buckner retired from baseball, he moved his family to Idaho where he invested in real estate in the Boise area. One of the housing subdivisions that he developed is named "Fenway Park". He lent his name to and was a minority owner of a local car dealership, Bill Buckner Motors in Emmett, which was in business from 2006 to 2008.

paragraph: On April 8, , Buckner threw out the first pitch to former teammate Dwight Evans at the Red Sox home opener as they unfurled their 2007 World Series championship banner. He received a two-minute standing ovation from the sell-out crowd. After the game, when asked if he had any second thoughts about appearing at the game, he said, "I really had to forgive, not the fans of Boston, per se, but I would have to say in my heart I had to forgive the media for what they put me and my family through. So, you know, I've done that and I'm over that."

paragraph: On January 4, 2011, Buckner was named the manager of the Brockton Rox of the Can-Am League. The Rox posted a 51–42 record in 2011, but after the season, the Rox dropped the professional format to join the Futures Collegiate Baseball League. In December, Buckner became the hitting instructor for the Boise Hawks for the 2012 season. The Hawks were the Chicago Cubs affiliate in the Class A-Short Season Northwest League. Buckner announced his retirement from baseball on March 3, 2014. Buckner was inducted into the Napa High School Hall Of Fame in 1997 and the CIF Sac-Joaquin Section Hall of Fame in 2010.

paragraph: Section::::Personal life.

paragraph: Buckner and his wife Jody had two daughters, Brittany and Christen, and a son, Bobby. Bobby was a member of the Texas A&M–Corpus Christi Islanders baseball team.

paragraph: Section::::Personal life.:Death.

paragraph: Buckner died on May 27, 2019, of Lewy body dementia. He was surrounded by his family members at the time of his death.

paragraph: In a statement, Buckner's family said, "Bill fought with courage and grit as he did all things in life. Our hearts are broken but we are at peace knowing he is in the arms of his Lord and Savior Jesus Christ." Buckner's funeral service was held at Calvary Chapel in Boise, Idaho.

paragraph: Section::::References in popular culture.

paragraph: Charlie Sheen purchased the "Buckner Ball" at auction in for $93,000, and for a long time, it resided in the collection of songwriter Seth Swirsky, who refers to it as the "Mookie Ball." The ball was on loan for a time from Swirsky to the Mets to display in their Mets Hall of Fame and Museum, and it was among the most popular artifacts for fans to see. On May 3, 2012, Swirsky sold the ball through Heritage Auctions for $418,250.

paragraph: Buckner made a cameo appearance at the beginning of the sports parody film "The Comebacks" and

paragraph: was featured in an episode of the HBO series "Curb Your Enthusiasm." Also, he made a cameo appearance in the pilot episode of the short-lived sitcom "Inside Schwartz", advising the title character to "just let it go." In 1995, Buckner appeared along with Michael Jordan, Stan Musial, Willie Mays and Ken Griffey, Jr. in a commercial for the shoemaker Nike in which Spike Lee, in character as Mars Blackmon, compares Jordan's baseball skills to Musial, Mays, Griffey and Buckner. The punch line is a visual reference to Buckner's 1986 World Series error. His famous 1986 World Series miscue is also referenced in the films "Celtic Pride", "Rounders," and "Fever Pitch." The play also is referenced in an episode of "The Simpsons" titled "Brother's Little Helper" and in the musical "Johnny Baseball". On October 23, 2008, during former Federal Reserve chairman Alan Greenspan's testimony in House hearings on the economic crisis of 2008, Representative John Yarmuth referred to Greenspan as one of "three Bill Buckners." Buckner and Mookie Wilson appeared in an MLB Network commercial for the 2016 postseason, "Catching Up", marking the 30th anniversary of the 1986 World Series and their roles in it.

paragraph: Buckner is mentioned in "The Areas of My Expertise" in a series of New England sports references. In the book, John Hodgman describes a (fictional) radio personality and recounts the premonition she had regarding Buckner's infamous error in Game 6 of the 1986 World Series.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Major League Baseball career hits leaders

paragraph: BULLET::::- List of Major League Baseball career doubles leaders

paragraph: BULLET::::- List of Major League Baseball career runs batted in leaders

paragraph: BULLET::::- List of Major League Baseball career runs scored leaders

paragraph: BULLET::::- List of Major League Baseball batting champions

paragraph: BULLET::::- List of Major League Baseball annual doubles leaders

paragraph: BULLET::::- List of Major League Baseball players who played in four decades

paragraph: Section::::External links.

paragraph: BULLET::::- Bill Buckner at SABR (Baseball BioProject)

paragraph: BULLET::::- Bill Buckner at Baseball Almanac

paragraph: BULLET::::- Bill Buckner

paragraph: BULLET::::- Bill Buckner at The Baseball Page (via archive.today)

paragraph: br

alias:
William Joseph Buckner
William Joseph "Bill" Buckner

description: American baseball player

wikidata_label: Bill Buckner

wikipedia_title: Bill Buckner