text:
still life
Antwerp
Johannes Ykens
Peter Ykens
Beguine

categories: Artists from Antwerp,1659 births,Flemish still life painters,Flemish women painters,17th-century women artists,Flemish Baroque painters,Year of death missing

paragraph: Catarina Ykens II

paragraph: Catarina Ykens (born 1659) was a Flemish still life painter.

paragraph: She was born in Antwerp into a family of painters as the daughter of Johannes Ykens and his second wife Barbara Brekevelt. She was the sister of Peter Ykens. She apprenticed under her father and joined the Antwerp Guild in 1688. She became a Beguine and composed oil paintings. Her works often combined religious scenes with garlands of flowers.

paragraph: Section::::Selected works.

paragraph: BULLET::::- "A swag of fruit hanging in a niche, with butterflies, beetles and a snail"

paragraph: BULLET::::- "Madonna and child encompassed by a garland of flowers"

paragraph: BULLET::::- "Flowers in a glass vase with a dragonfly on a ledge"

paragraph: BULLET::::- "Portrait of a gentleman in armour surrounded by festoons of fruit and flowers"

paragraph: BULLET::::- "Still life with flowers in copper vase and in basket"

alias:
Catharina Eykens
Cathérine Van Ykens
Catherine Eykens
Catharina Eyckens
Catharina Eycken
Catharine Eykens
Catharina Ijkens
Marq. Catharina Eyckens
Catharina Vanykens
C. Vanykens
Catherine Eyckens
Marq. C. Eyckens
C. Ykens
C. Eykens
C Eyckens
Catharina Ykens

description: Flemish Baroque painter

wikidata_label: Catarina Ykens

wikipedia_title: Catarina Ykens II


href: Garmany Hamburg Paris Russia First%20World%20War Hamburg%20Secession

text:
German
Hamburg
Paris
Russia
First World War
Hamburg Secession

categories: German painters,German art historians,1973 deaths,1883 births

paragraph: Friedrich Ahlers-Hestermann

paragraph: Friedrich Ahlers-Hestermann (17 July 1883 - 11 December 1973) was a German painter and art writer from Hamburg. He was a member of the Hamburgische Künstlerclub of 1897, as well as of the Hamburg artist's workshop of 1832 and pupil of the Académie Matisse in Paris. In 1913 he met the Russian painter Alexandra Povorina, whom he married in 1916. After the First World War, he was a co-founder of the Hamburg Secession.

alias:
Friedrich Ahlers- Hestermann
Fritz Ahlers-Hestermann
Friedrich Ahlers Hestermann

description: German painter

wikidata_label: Friedrich Ahlers-Hestermann

wikipedia_title: Friedrich Ahlers-Hestermann


text: athlete

text: middle distance runner

text: 800 metres

text: world record

text: Milan

text: European record

text: 400 metres

text: Dresden

text: wheelwright

text: Great Depression

text: journeyman years

text: Reichswehr

text: Dresdner SC stadium

text: 1936 Summer Olympics

text: Berlin

text: interval training

text: Dresdner SC

text: Josef Waitzer

text: German Athletics Championships

text: Mommsenstadion

text: Berlin

text: Wolfgang Dessecker

text: Olympiastadion

text: 800 metres

text: Phil Edwards

text: 4 × 400 metres relay

text: Friedrich von Stülpnagel

text: Helmut Hamann

text: Harry Voigt

text: finals

text: John Loaring

text: Nazi Party

text: Sturmmann

text: SA

text: Struggle Games

text: Nuremberg Rallies

text: propaganda

text: Karl Ritter von Halt

text: Otto Peltzer

text: performance-enhancing drugs

text: methamphetamine

text: ISTAF Berlin

text: Hermann–Göring–Stadion

text: Breslau

text: Mario Lanzi

text: Italy

text: Paris

text: British

text: Sydney Wooderson

text: Pisa

text: Arthur Wint

text: Mal Whitfield

text: Belgian

text: Roger Moens

text: world record

text: Frankfurt

text: World War II

text: Hans von Tschammer und Osten

text: Guido von Mengden

text: Wehrmacht

text: 1940 Summer Olympics

text: Fallschirmjäger

text: Broitzem

text: Braunschweig

text: Ilgen-Kampfbahn

text: Eastern Front

text: Battle of Moscow

text: Dnieper–Carpathian Offensive

text: Army Group South

text: 2nd Parachute Division

text: Voronezh Front

text: Kirovohrad

text: Ukraine

text: Feldwebel

text: Friedrich August von der Heydte

text: Wallechinsky, David

text: Toronto

categories: Olympic athletes of Germany,Eintracht Braunschweig athletes,Sportspeople from Dresden,German military personnel killed in World War II,1944 deaths,German national athletics champions,Medalists at the 1936 Summer Olympics,1913 births,Former world record holders in athletics (track and field),German male middle-distance runners,Olympic bronze medalists for Germany,Germany's Sports Hall of Fame inductees,People from the Kingdom of Saxony,European Athletics Championships medalists,Athletes (track and field) at the 1936 Summer Olympics

paragraph: Rudolf Harbig

paragraph: Rudolf Waldemar Harbig (8 November 1913 – 5 March 1944) was a German athlete. As a middle distance runner he was best known for the 800 metres world record that he set in Milan in 1939. He also held the European record in the 400 metres from 1939 until 1955.

paragraph: Section::::Life.

paragraph: Harbig was born in Dresden, the son of a stoker. From an early age, he joined local sports clubs as an amateur runner and handball player. Having finished school, he began an apprenticeship as a wheelwright but did not obtain an employment due to the Great Depression. Instead he set out for his journeyman years traveling throughout Germany. Back in Dresden, to make a living, he joined the "Reichswehr" armed forces in 1932.

paragraph: Harbig, as a professional soldier, continued to participate in track events. On 24 June 1934, he competed in an 800 metres event at the Dresdner SC stadium, won, and was asked to join the preparations for the 1936 Summer Olympics in Berlin. He began a comprehensive interval training supervised by the Dresdner SC officials and athletics coach Josef Waitzer. In summer 1935 he left the military to concentrate on his sporting career, while he still had to take on part-time jobs to earn money.

paragraph: Section::::Life.:Olympian athlete.

paragraph: In July 1936, Harbig won the 800 metres final at the German Athletics Championships at the Mommsenstadion in Berlin, ahead of his toughest rival Wolfgang Dessecker, and obtained the permission to start at the Summer Olympics in August. After three weeks of intensive training, he fell ill with a gastrointestinal infections. So weakened, he arrived in the Berlin Olympiastadion and took a disappointing sixth place in the first heat of the 800 metres, defeated by Canadian Olympian Phil Edwards. Contrary to some official's concerns, he nevertheless stood as a member of the German 4 × 400 metres relay team, together with Friedrich von Stülpnagel, Helmut Hamann, and Harry Voigt. They established themselves in the preliminaries and won the bronze medal in the finals on August 9. Harbig was the final runner, closely followed by Canadian athlete John Loaring.

paragraph: On 1 May 1937 Harbig joined the Nazi Party, he also held the rank of a "Sturmmann" of the "SA" paramilitary forces. He regularly participated in the Party's Struggle Games during the Nuremberg Rallies and voluntarily served the propaganda purposes of Nazi sports official Karl Ritter von Halt. This was coupled with his ultimate rise to the top of German athletics, moving from victory to victory. In July he won the 800 metres at the German Athletics Championships for the second time, equalling the eleven-year-old German record of Otto Peltzer, and one week later made another German best time in the 400 metres at the Berlin Olympiastadion. Considering Harbig's sudden performance increase, rumours of a use of performance-enhancing drugs such as methamphetamine ("Pervitin") arose which have never been conclusively established.

paragraph: One year later Harbig won the 400 metres at the ISTAF Berlin and again the 800 metres at the German Championships at the Hermann–Göring–Stadion in Breslau. On September 4 he defeated his long-time rival Mario Lanzi from Italy at the 1938 European Championships in Athletics in Paris over 800 m in a time of 1:50.6 min. At the same championships he won the gold medal with the German 4x400 m relay team.

paragraph: In the same summer the British runner Sydney Wooderson had set a remarkable new world record over 800 m at 1:48.4 min. When, in 1939, Harbig set a new national record of 1:49.4 he knew that the world record was not an unrealistic prospect. However, in the same season, Mario Lanzi ran a time of 1:49.5 in Pisa. The two rivals met in Milan in July for a much-celebrated race over 800 m on a 500 m-track. In his usual manner Lanzi took the lead and was still in front on the final bend. However, at the start of the 125 m-home-straight Harbig overtook him with an astonishing sprint. He finished with a new world record of 1:46.6 min. Lanzi, behind him, set a new Italian record of 1:49.0.

paragraph: In the following years Harbig's time turned out to be a very hard record to break. Even track legends Arthur Wint and Mal Whitfield could not threaten it. Not until August 1955 the Belgian runner Roger Moens could set a new world record of 1:45.7. Also, in 1939 Harbig set a world record over 400 m on a 500 m-track in Frankfurt in 46.0 sec. In Dresden in 1941 he set a world record over 1000 m in 2:21.5.

paragraph: Section::::Life.:World War II and death.

paragraph: Harbig's career declined upon the outbreak of World War II in September 1939, whereafter he lost many of his training possibilities. Urged by Nazi official Hans von Tschammer und Osten and Guido von Mengden, Harbig joined the Wehrmacht forces in occupied Poland, while he still prepared for the 1940 Summer Olympics. In the winter of 1940-41 he was drafted to the "Fallschirmjäger" (paratrooper) forces at the Broitzem airbase in Braunschweig. On 24 May 1941 he set another world record over 800 metres at the Ilgen-Kampfbahn in Dresden.

paragraph: Later in 1941, Harbig was sent to the Eastern Front and fought in the Battle of Moscow. During the Soviet Dnieper–Carpathian Offensive against the Wehrmacht Army Group South, he was killed fighting with the 2nd Parachute Division at the Voronezh Front near Kirovohrad, Ukraine in 1944. Holding the rank of "Feldwebel" (Sergeant) at the time, he served in "Fallschirmjäger-Regiment" 6 under the command of "Hauptmann" (Captain) Friedrich August von der Heydte as a platoon leader. The exact circumstances of his death are not known.

paragraph: Section::::Sources.

paragraph: BULLET::::- Wallechinsky, David (2004). "The Complete Book of the Summer Olympics", Toronto: Sport Classic Books.

description: German middle distance runner

wikidata_label: Rudolf Harbig

wikipedia_title: Rudolf Harbig


text: football

text: defensive tackle

text: Chicago Bears

text: 2004 NFL Draft

text: college football

text: Washington

text: Dallas Cowboys

text: Cincinnati Bengals

text: Gary, Indiana

text: Arizona

text: McClintock High School

text: Tempe, Arizona

text: college football

text: University of Washington

text: Chicago Bears

text: 2004 NFL Draft

text: Tommie Harris

text: Brian Urlacher

text: Lance Briggs

text: Nathan Vasher

text: 2005 NFL season

text: 2006 NFL Season

text: Tommie Harris

text: NFC Championship

text: Circuit court

text: Illinois

text: Miami, Florida

text: Super Bowl XLI

text: arrest on gun charges

text: half-sack

text: Roger Goodell

text: NFL player conduct policy

text: Jerry Jones

text: New York Giants

text: nose tackle

text: defensive tackle

text: Jay Ratliff

text: nose tackle

text: Cincinnati Bengals

text: Excalibur nightclub

text: aggravated assault

text: resisting arrest

text: mace

text: Lake County

text: Gurnee, Illinois

text: assault rifle

text: bodyguard

text: marijuana

text: Lovie Smith

text: Tampa Bay Buccaneers

text: River North

text: Northwestern Memorial Hospital

text: gang

text: Skokie

text: child abuse

text: Brian Urlacher

text: Rex Grossman

text: speeding

text: Gilbert, Arizona

text: Jerry Angelo

text: blood alcohol content

text: Cincinnati Bengals bio

text: University of Washington bio

categories: Dallas Cowboys players,1981 births,Washington Huskies football players,Sportspeople from Chandler, Arizona,Players of American football from Indiana,Chicago Bears players,American football defensive tackles,American sportspeople convicted of crimes,Sportspeople from Gary, Indiana,Cincinnati Bengals players,Players of American football from Arizona,Living people

paragraph: Tank Johnson

paragraph: Terry "Tank" Johnson (born December 7, 1981) is a former American professional football defensive tackle. He was drafted by the Chicago Bears in the second round of the 2004 NFL Draft. He played college football at Washington.

paragraph: He also played for the Dallas Cowboys and Cincinnati Bengals.

paragraph: Section::::Early years.

paragraph: Johnson was born in Gary, Indiana. His father moved him to Arizona when he was six years old. He attended McClintock High School in Tempe, Arizona, where he had a B-plus grade average. Johnson played college football at the University of Washington. During his four years at the University, he was second team All-Pac-10.

paragraph: Section::::Professional career.

paragraph: Section::::Professional career.:Chicago Bears.

paragraph: The Chicago Bears selected Johnson with the 15th pick of the second round of the 2004 NFL Draft. Along with teammates Tommie Harris, Brian Urlacher, Lance Briggs, and Nathan Vasher, Johnson helped the Bears' establish the league's most productive defense during the 2005 NFL season. During the start of the 2006 NFL Season, Johnson saw more action due to the loss of Tommie Harris.

paragraph: On January 23, 2007, two days after the Bears won the NFC Championship Game, Johnson was forced to appear in Circuit court to request permission to leave the State of Illinois to travel to Miami, Florida to play in Super Bowl XLI stemming from an arrest on gun charges late in 2006. The request was granted, and he played in the game, recording four tackles, assisting on another, and getting a half-sack. On May 16, 2007, Johnson met with NFL commissioner Roger Goodell to determine punishment for his off-the-field transgressions, with Goodell eventually imposing an eight-game suspension, with the possibility of a reduction to six games if Johnson followed certain requirements for violating the NFL player conduct policy.

paragraph: On June 25, 2007, after another run in with the law, the Chicago Bears waived Johnson, ending his three-year tenure with the team.

paragraph: Section::::Professional career.:Dallas Cowboys.

paragraph: After being released from the Bears, Jerry Jones showed interest in signing Johnson. The two shortly came to terms, though Johnson was forced to miss eight games because of his suspension. He returned to the field on November 11, 2007 during a game against the New York Giants. In that game, Johnson recorded three solo tackles and a single sack.

paragraph: He didn't perform as well as expected while playing nose tackle in a 3-4 defense, instead of defensive tackle in a 4-3 scheme, additionally Jay Ratliff had a break-out year at nose tackle. In 2008, he played through a sprained ankle in a reserve role. He wasn't re-signed at the end of the year.

paragraph: Section::::Professional career.:Cincinnati Bengals.

paragraph: Johnson signed with Cincinnati Bengals on April 7, 2009. As an unrestricted free agent, Johnson signed with the Bengals to a 4-year deal on March 8, 2010. His contract was terminated with the Bengals on August 16, 2011.

paragraph: Section::::Personal life.

paragraph: After retiring from professional football, Johnson attended Mesa Community College in Arizona to complete the requirements for a degree in sociology from the University of Washington. He created a counseling program called 'Moving the Chains', which helps ex-offenders learn from their mistakes and avoid negative influences in their life. Johnson commented on his legal problems, stating, "I got in a ton of trouble and I wasn't a bad guy. I had myself in too many uncontrolled environments."

paragraph: Section::::Legal troubles.

paragraph: In November 2005, Johnson was arrested at the Excalibur nightclub in Chicago for possession of a handgun in his sport utility vehicle. Johnson pleaded guilty to a misdemeanor gun charge and was sentenced to 18 months probation and 40 hours of community service. On February 12, 2006, Johnson, while still on probation, was charged with aggravated assault and resisting arrest after allegedly verbally threatening a police officer. Johnson was leaving the Level Nightclub on Chicago's Rush Street when the police officer was ticketing a limousine driver whom Johnson had hired. As Johnson allegedly put up a struggle, he was maced and subdued with the help of other police officers. The charges were eventually dropped.

paragraph: On December 14, 2006, Lake County police officers searched Johnson's home in Gurnee, Illinois, and allegedly discovered that he possessed six firearms, including two assault rifles. According to police reports, some of the guns were loaded and there were children in the house. Although Johnson was at football practice during the search, his bodyguard Willie Bernard Posey was arrested from his house for alleged possession of marijuana. Johnson was charged with violation to probation and possessing unlicensed weapons. Bears coach Lovie Smith deactivated Johnson for the following game against the Tampa Bay Buccaneers based on this incident.

paragraph: On December 16, 2006, Johnson's best friend and bodyguard Willie Bernard Posey was killed in a shooting at the Ice Bar in Chicago's River North neighborhood. Posey was shot after he was allegedly involved in a fight around midnight. Posey was rushed to Northwestern Memorial Hospital, where he was pronounced dead at 1:30 a.m. Posey's assailant was not immediately apprehended. However, on December 28, Chicago Police apprehended Michael Selvie, Posey's alleged assailant. Selvie, a "reputed gang member" has been implicated in over 30 other crimes. However, Selvie's defense attorney claimed that Selvie does not possess a firearm or any gang affiliations. On February 19, 2010, following a bench trial in the Circuit Court of Cook County, Michael Selvie was convicted of first degree murder. Selvie was later sentenced to 55 years in prison. His case is currently on appeal.

paragraph: On December 22, 2006, Cook County Circuit Judge John J. Moran, Jr. (Skokie courthouse, Second District, Cook County, Illinois) placed Johnson on home confinement, preventing him from driving by himself or leaving the state of Illinois. On December 30, 2006, Tank Johnson contacted Gurnee Police Department to file harassment charges. Local youths left a toilet seat with a harassing message on his doorstep. Local news reported that the police did not disclose what the message on the toilet seat said. On February 8, 2007, Johnson entered a guilty plea in Cook County's Courthouse in Skokie for violating his probation. On February 17, 2007, Johnson's lawyer contested a Lake County Circuit Court to drop Johnson's unlicensed weapons charges. His attorney claimed that since Johnson is a resident of Arizona, he does not have to abide to gun registration laws of Illinois. On March 15, 2007, Johnson was sentenced to a 120 days in Cook County Jail and fined $2,500 for violating his probation. Johnson entered a plea of not guilty on 10 counts of possessing a weapon without the proper state-required ID.

paragraph: On April 30, 2007, Johnson pleaded guilty to a misdemeanor weapons charge as part of an arrangement with prosecutors that kept him from serving additional jail time. He was sentenced to 45 days in jail, which was served concurrently with a four-month sentence he was already serving in the Cook County Jail for violating his probation; to donate $2,500 to the Gurnee Police Department and $2,500 to the Gurnee Exchange Club's child abuse prevention program. While he was in jail, many of his teammates and coaches, including Brian Urlacher, Rex Grossman, and Lovie Smith visited Johnson. His release from jail on May 13, 2007 ended his legal problems from the December 2006 weapons incident. The league ultimately suspended Johnson for half of the regular season on June 4, 2007.

paragraph: On June 22, 2007, Johnson was pulled over for speeding in Gilbert, Arizona. According to the police, he was stopped after driving forty miles per hour in a twenty-five mile per hour zone. He was also suspected of driving while impaired "to the slightest degree", but was released without being booked or charged. The Bears waived Johnson a few days after hearing the news, as general manager Jerry Angelo stated that he had no room for error left. The incident would prove to be the final straw in his already tense relationship with the Bears' organization. The Bears ultimately released Johnson on June 25, 2007. Almost a week after Johnson was waived, the results from a blood test conducted on Johnson when he was pulled over confirmed his blood alcohol content was under the legal limit.

paragraph: Section::::See also.

paragraph: BULLET::::- National Football League player conduct controversy

paragraph: BULLET::::- Washington Huskies football statistical leaders

paragraph: Section::::External links.

paragraph: BULLET::::- Cincinnati Bengals bio

paragraph: BULLET::::- University of Washington bio

description: Player of American football

wikidata_label: Tank Johnson

wikipedia_title: Tank Johnson


text: Sierpc

text: Lviv

text: Polish

text: Czech

text: historiographer

text: heraldist

text: genealogy

text: émigré

text: exile

text: Moravia

text: Bohemia

text: Bartoszowiny

text: Świętokrzyskie Province

text: Sierpc

text: Poland

text: noble

text: Polish nobility

text: Jastrzębiec

text: Jagiellonian University

text: Krakow

text: historiography

text: heraldry

text: nobility

text: Polish Crown

text: Bolesław I the Brave

text: castellan

text: Sierpc

text: marriage

text: misogynist

text: Warsaw

text: Sigismund II Augustus

text: ambassador

text: Sultan Selim II

text: Constantinople

text: Istanbul

text: cup-bearer

text: Podczaszy

text: Dobrzyń Land

text: Zborowski

text: Habsburg's

text: Maximilian II, Holy Roman Emperor

text: royal election

text: Danzig rebellion

text: Siege of Danzig

text: Maximilian III, Archduke of Austria

text: Sigismund III Vasa

text: Battle of Byczyna

text: Poland

text: exile

text: Moravia

text: Bohemia

text: Czech language

text: Jan Kochanowski

text: indygenat

text: naturalization

text: Michał Sędziwój

text: Czech lands

text: Wąchock

text: Ląd

text: Lviv

text: Franciscan

text: satire

text: panegyric

text: Kraków

text: Jan Willenberg

text: Prague

text: Brno

text: Silesia

text: friendship book

text: Polish literature

text: Polish heraldry

text: Genealogy of Paprocki family

categories: Polish male writers,Czech people of Polish descent,1543 births,Polish historians,Polish genealogists,Polish heraldists,Polish nobility,Historiographers,Jagiellonian University alumni

paragraph: Bartosz Paprocki

paragraph: Bartosz Paprocki (also "Bartholomeus Paprocky" or "Bartholomew Paprocki", , ; ca. 1540/43 in Paprocka Wola near Sierpc – 27 December 1614 in Lviv, Poland, today Ukraine) was a Polish and Czech writer, historiographer, translator, poet, heraldist and pioneer in Polish and Bohemian-Czech genealogy (often referred to as the "father of Polish and Bohemian-Czech genealogy"). Among his many historical works, are the famous publications "Gniazdo Cnoty, Zkąd Herby Rycerstwa slawnego Krolestwa Polskiego..." (The Nest of Virtues, whence the coat of arms of the Knights of the Polish Kingdom, Grand Duchy of Lithuania, Ruthenia, Prussia, Mazovia, Samogitia, and other States to the kingdom of the dukes, and lords have their genesis) in 1578 and "Herby rycerstwa polskiego" (Armorials of the Polish knighthood) in 1584. Paprocki was active in Poland until the turn of the sixteenth to seventeenth century when for political reasons he became an émigré (political exile) in Moravia and Bohemia. He is also founder of the Polish village of Bartoszowiny in Świętokrzyskie Province.

paragraph: Section::::Biography.

paragraph: Paprocki was born in the parish of Paprocka Wola near Sierpc, Poland. He was the son of Jędrzej Paprocki and Elżbiety (Elżbieta) Jeżewska. Born into a noble family, Paprocki's family were members of the Polish nobility, who bore the "Jastrzębiec" Polish coat of arms.

paragraph: Paprocki studied at the Jagiellonian University in Krakow, then stayed with wealthy relatives, among others. He began writing poems and soon after dedicated himself to historiography and heraldry. His works devoted to the nobility of the Polish Crown "Gniazdo Cnoty" (1578) and "Herby rycerstwa polskiego" (1584) deepened and contributed to consolidating the knowledge of the genealogy of Poland's noble families. In 1584, Bolesław I the Brave was first mentioned in a book by Paprocki.

paragraph: Paprocki married Jadwiga Kossobudzka, his wife was the daughter of a castellan from Sierpc and widow of her former husband named Wisniowski. Paprocki's wife was a wealthy woman and older than Paprocki. They had no children and his marriage was unfortunate; Paprocki was tyrannized by his wife. Paprocki's unfortunate marital experience, led him to flee his home, where he remained a fierce misogynist until his death.

paragraph: Summoned to Warsaw, Paprocki worked in the court of Andrzej Taranowski, who was secretary to king Sigismund II Augustus and Polish ambassador to the court of Sultan Selim II in Constantinople (Istanbul). On returning home, Paprocki learned of his wife's death, which occurred in 1572. On his return he also received the dignity of cup-bearer (Polish "Podczaszy") of Dobrzyń Land, having settled there.

paragraph: Between the years 1570-80 Paprocki aligned with the unfortunate political efforts of the Zborowski family, joined ranks with the Catholic Party and supported the Austrian Habsburg's candidacy of Maximilian II, Holy Roman Emperor for the Polish throne (royal election). Paprocki supported the Danzig rebellion, and in 1577 participated in the Siege of Danzig. Following the unsuccessful efforts of Maximilian III, Archduke of Austria for the Polish crown and after the victory of Sigismund III Vasa in 1588 at the Battle of Byczyna, Paprocki was forced to leave Poland and went into political exile in Moravia.

paragraph: Paprocki spent 22 years in Moravia and Bohemia. He learned the Czech language and wrote alongside new poems about the history and the coat of arms of Bohemia and Moravia. He also translated the poems of Jan Kochanowski. Later he received Bohemian indygenat (nobility citizenship naturalization). He was admirer of Michał Sędziwój's (Michael Sendivogius) scientific achievements, whom he dedicated the third part of his book ""Ogród królewski..."" published in 1599.

paragraph: In 1610 at the end of his life and stricken religious wars in the Czech lands, Paprocki returned to Poland. Destitute he lived in Wąchock and Ląd monasteries. Paprocki died suddenly on 27 December 1614 in Lviv, and was buried in a crypt at the Franciscan abbey in the city of Lviv. Paprocki is considered the father of Polish and Bohemian-Czech genealogy and a valuable source of Polish, Moravian and Bohemian-Czech heraldry. He was the author of many historical works, occasional poetry, satires, panegyrics and pamphlets.

paragraph: Section::::Works.

paragraph: Section::::Works.:Polish.

paragraph: BULLET::::- "Dziesiecioro przykazań meżowo", Kraków, 1575

paragraph: BULLET::::- "Koło rycerskie w którem rozmaite zwierzęta swe rozmowy wiodą", Kraków, 1576 (English: "Knights gathering...")

paragraph: BULLET::::- "Panosza to jest wysławianie panów i paniąt ziem ruskich i podolskich", Kraków, 1575

paragraph: BULLET::::- "Historia żalosna o pratkosci i okrutnosci Tatarskiej", Kraków, 1575

paragraph: BULLET::::- "Gniazdo Cnoty, Zkąd Herby Rycerstwa slawnego Krolestwa Polskiego...", Kraków, 1578 (English: "The Nest of Virtues, whence the coat of arms of the Knights of the Polish Kingdom, Grand Duchy of Lithuania, Ruthenia, Prussia, Mazovia, Samogitia, and other States to the kingdom of the dukes, and lords have their genesis")

paragraph: BULLET::::- "Krótki a prawdziwy wypis z jechania do ziemi Wołoskiej Iwana Wojewody, którego Podkową zowią", Kraków, 1578 (English: "Short but True Excerpt in Coming of Iwan Wojewoda into the Land of Wallachia, Whom They Call "Horse Shoe"")

paragraph: BULLET::::- "Hetman", Kraków, 1578 (English: "Head Commander")

paragraph: BULLET::::- "Król", Kraków, 1578 (English: "King")

paragraph: BULLET::::- "Testament starca jednego, który miał trzech synow", Kraków, 1578

paragraph: BULLET::::- "Historia barzo piekna i zalosna o Ekwanusie Krolu Skockim", Kraków, 1578

paragraph: BULLET::::- "Wesele Bogiń", Kraków, 1581 (English: "Wedding Goddess")

paragraph: BULLET::::- "Herby rycerstwa polskiego na pięcioro ksiąg rozdzielone", Kraków, 1584 (English: "The heraldic arms of the Polish knighthood in five volumes")

paragraph: BULLET::::- "Bartosza Paprockiego Dwie broszury polityczne z lat 1587 i 1588" (English: "Two of Bartosz Paprocki' political pamphlets from year 1587 and 1588")

paragraph: BULLET::::- "Pamięć nierządu", 1588

paragraph: BULLET::::- "Nauka rozmanitych philosophów obieranie żony, Kraków", 1590 (English: "The lesson of different philosophers about wife choosing...")

paragraph: BULLET::::- "Gwałt na pogany", 1595

paragraph: BULLET::::- "Próba cnót dobrych", Kraków, kolem 1595

paragraph: BULLET::::- "Ogród królewski w którym krótko opisuje historye Cesarzów, Królow Polskich i Czeskich, arcyksiążąt Austryi, książąt Ruskich", Praha, 1599 (English: "Royal garden, in Which I Write Briefly About the History of Emperors, Polish and Czech Kings, Austrian Archdukes and Russian Dukes")

paragraph: BULLET::::- "Cathalogus arcybiskupów", Kraków, 1613

paragraph: BULLET::::- "Nauka i przestrogi na różne przypadki ludzkie", Kraków, 1613 (English: "Lesson and a warning for different human cases...")

paragraph: BULLET::::- "Naprawa Rzeczypospoletej", Kraków, 1895

paragraph: BULLET::::- "Upominek", Kraków, 1900

paragraph: BULLET::::- "Odpowiedź", Kraków, 1910

paragraph: Section::::Works.:Czech.

paragraph: BULLET::::- "Zrcadlo slavného Markrabí moravského", 1593 (illustrated with woodcuts by Jan Willenberg (1571-1613). The work was originally written in Polish, translated into Czech by the Lutheran pastor Jan Wodiczko) (English: "Mirror of a Famous Moravian margraviate")

paragraph: BULLET::::- "Kvalt na pohany", 1595

paragraph: BULLET::::- "Nová kratochvíle", Prague, 1579-1600

paragraph: BULLET::::- "Ecclesia", Prague, 1601

paragraph: BULLET::::- "Kšaft", Prague, 1601

paragraph: BULLET::::- "Půst tělesný", Prague, 1601

paragraph: BULLET::::- "Třinácte tabulí", Prague, 1601

paragraph: BULLET::::- "Diadochus, tj. posloupnost knížat a králů českých, biskupů a arcibiskupů pražských a všech třech stavů slavného království českého, to jest panského, rytířského a městského", Prague, 1602 (English: "Diadochi, i.e. the sequence of Czech Princes and Kings, Bishops and Prague Archbishops and All Three Estates of the Famous Czech Kingdom, the Lords, Knights and Burghers")

paragraph: BULLET::::- "O valce Turecké a jiné Přibéhy: vybor z Diadochu" (English: "The Turkish war and other narratives: an anthology of the Diadochi")

paragraph: BULLET::::- "Obora", Prague, 1602

paragraph: BULLET::::- "Panna, zenitba, zena ve staroceskie uprave polskych skladeb Reje z Naglovic", Praha, 1602

paragraph: BULLET::::- "Historie o příbězích v království uherském", Prague, 1602

paragraph: BULLET::::- "Štambuch slezský", Brno, 1609 (English: "Silesian friendship book [alba amicorum]")

paragraph: Section::::See also.

paragraph: BULLET::::- Polish literature

paragraph: BULLET::::- Polish heraldry

paragraph: Section::::External links.

paragraph: BULLET::::- Genealogy of Paprocki family

description: Czech and Polish genealogist, historian and writer

wikidata_label: Bartosz Paprocki

wikipedia_title: Bartosz Paprocki


text: Eugène de Ligne d'Amblise et d'Epinoy

text: Princess Charlotte de La Trémoïlle

text: Louis Charles Marie de La Trémoille

text: Emmanuel de Merode

paragraph: Henri-Florent Lamoral

paragraph: Prince Henri Florent Eugène François Joseph Lamoral de Ligne (29 December 1881 – 15 May 1967) was a Belgian nobleman, the son of Prince Charles Joseph Eugène Henri Georges Lamoral (1837–1914) and Charlotte de (1854–1933), and the grandson of Prince Eugène de Ligne d'Amblise et d'Epinoy. He married Princess Charlotte de La Trémoïlle, the daughter of Prince Louis Charles Marie de La Trémoille and they had one son, Jean Charles, Prince de Ligne de La Trémoille.

paragraph: Section::::Descendants.

paragraph: BULLET::::- Prince Henri Florent Eugène François Joseph Lamoral de Ligne. (1881-1967)

paragraph: BULLET::::- Prince Jean Charles Lamoral of Ligne-La Trémoïlle (1911-2005)

paragraph: BULLET::::- Princess Hedwige de Ligne (1943-),married Charles-Guillaume, Prince de Merode, Marquis van Westerloo. (1940-)

paragraph: BULLET::::- Prince Emmanuel de Merode.

paragraph: BULLET::::- Charles-Antoine, Prince de Ligne-La Trémoïlle

description: Belgian nobleman

wikidata_label: Prince Henri Florent Lamoral of Ligne

wikipedia_title: Henri-Florent Lamoral


text: multi-instrumentalist

text: New York City

text: Detroit, Michigan

text: Celldweller

text: Dan

text: jack of all trades, master of none

text: Depeche Mode

text: Skinny Puppy

text: drum'n'bass

text: Goa/psychedelic trance

text: Celldweller

text: CCM

text: HM Magazine

text: Godzilla

text: Kaiju

text: Bloody Disgusting

text: David Fincher

text: Seven

text: Fight Club

text: Wish Upon a Blackstar

text: thrash metal

text: R.E.X. Records

text: industrial metal

text: Christian metal

text: self-titled debut

text: Disengage

text: Brainchild

text: Argyle Park

text: Misguided

text: Machines of Our Disgrace

text: Criss Angel

text: Angeldust

text: discography of Criss Angel

text: eponymous Celldweller album

text: Wish Upon a Blackstar

text: The Smashing Pumpkins

text: Tooth & Nail Records

text: Varien

text: FiXT

text: Blue Stahli

text: The Bane of Yoto

text: Josh Viola

text: Blackstar

text: Wish Upon a Blackstar

text: YouTube

text: Stryper

text: Circle of Dust

text: R.E.X. Records

text: Metamorphosis

text: Brainchild

text: Disengage

text: Flying Tart Records

text: Machines of Our Disgrace

text: Misguided

text: Suspension of Disbelief

text: Tooth & Nail Records

text: Celldweller

text: FiXT

text: Wish Upon a Blackstar

text: Demo Vault Vol. 01

text: Blackstar

text: End of an Empire

text: Offworld

text: Satellites

text: Position Music

categories: Alternative rock singers,American electronic musicians,Electronic dance music DJs,20th-century male musicians,American heavy metal guitarists,American rock musicians,American heavy metal singers,American male singers,1963 births,American multi-instrumentalists,American heavy metal musicians,American DJs,Remixers,Living people,American male guitarists,Nu metal singers,20th-century American guitarists,1969 births,Percussionists,Alternative rock keyboardists,American keyboardists,Electro house musicians,American alternative rock musicians

paragraph: Klayton

paragraph: Klayton Albert (born Scott David Albert; June 17, 1969) is a multi-instrumentalist musician from New York City who currently resides in Detroit, Michigan. Klayton has led several cult-status underground bands and has performed under a variety of stage names since the early 1990s. He is best known for his current project, Celldweller, which has been widely successful.

paragraph: Section::::Early life.

paragraph: Klayton Albert grew up in a conservative Christian household in New York, where he attended church with his younger brother Dan and friends Buka and Klank (who would collaborate with him on a number of future music projects). Albert never had formal training on an instrument, instead picking up whatever interested him and learning it himself. He took one semester of music theory in college but dropped out, explaining that "all they wanted to tell me is what I could and couldn’t do according to the laws of music and I couldn’t have cared less." He eventually led to characterizing himself as being a "jack of all trades, master of none" when it came to musical instruments. The first of these instruments was the drums. In his teenage years, Albert listened to a lot of metal, only later being introduced to electronic music through bands such as Depeche Mode and Skinny Puppy. All of these would influence Klayton's musical output in the early and mid 1990s, as he melded heavy guitars with layered samples and synths in the handful of industrial metal bands that he formed. In later years, Klayton has referenced European drum'n'bass and Goa/psychedelic trance as influential on the sound of his project Celldweller.

paragraph: Though Klayton's numerous projects in the early and mid 1990s were signed to Christian record labels and are generally considered Christian bands, Klayton took great pains to distance himself from that distinction and that subculture in the later 1990s by splitting from the CCM industry and forgoing any further performances at Christian venues. He described this move and the reasoning behind it to great length in a 1998 interview with Christian metal publication HM Magazine and has reiterated his stance in more recent Celldweller interviews. Klayton has stated repeatedly that he is a fan of Godzilla and the Kaiju genre in general. In an interview with Bloody Disgusting, Klayton said that David Fincher's audio commentary on the films "Seven" and "Fight Club" have inspired him to record his own audio commentaries for his Beta Cession releases for "Wish Upon a Blackstar". He is of Italian origin. On September 16, 2017, he posted his wedding picture on Facebook. He has two children, named Phoenix and Jericho. His wife gave birth to their third child Orion.

paragraph: Section::::Music career.

paragraph: Section::::Music career.:Immortal, late 1980s.

paragraph: Immortal was a thrash metal band that put out one demo cassette in the late 1980s. It was this cassette that got the attention of R.E.X. Records, who would later sign Klayton's band Circle of Dust. Dan (lvl) was also a member of Immortal.

paragraph: Section::::Music career.:Circle of Dust, Brainchild, and Argyle Park, 1990–present.

paragraph: Klayton's primary band throughout the 1990s was Circle of Dust, an industrial metal outfit he formed in 1990. Circle of Dust got signed to R.E.X. Records, a small label that concerned itself primarily with underground Christian metal in the late 1980s and early 1990s.Despite heavy touring and some notable success in the underground industrial metal scene, Circle of Dust released only two proper albums, those being a self-titled debut in 1992 and a posthumous collection called "Disengage" in 1998. In between the times of those releases, Klayton created two notable side projects under various aliases and with various collaborators. The first of these was Brainchild, formed with the president of R.E.X. Records, Doug Mann. The only Brainchild album, "Mindwarp", was released shortly after the debut Circle of Dust album in 1992 and featured even heavier thrash metal influences. Later, in 1994, the Mindwarp album was re-issued as a Circle of Dust album titled "Brainchild" to take advantage of a new distribution deal R.E.X. had signed without having to write and record a new album. That same year, Klayton co-formed, along with the mysterious musician Buka, the supergroup Argyle Park, arguably the most controversial Christian industrial metal band in the short history of the genre. Argyle Park produced one album, "Misguided", which was released to both high acclaim and heavy criticism in 1995 and featured a number of collaborators from mainstream industrial rock bands and Christian rock bands alike. 1995 would prove to be a busy and chaotic year for Klayton; he toured and released a complete re-recording of the self-titled Circle of Dust album while R.E.X., it turned out, was losing its distribution deal. This caused the label, who refused to release any of their signed bands from contract, to slide into bankruptcy. Essentially, Circle of Dust was trapped on a sinking ship, unable to record and release new music but also prevented from signing to any other label. Later that year, Klayton decided to end Circle of Dust and find new means of creating and releasing music.

paragraph: It wasn't until early 2016 that Klayton bought the rights to his Circle of Dust music back from the record company it was owned by, and began remastering and re-releasing all of those albums, including the ones from Brainchild and Argyle Park. In the deluxe remastered versions of those albums he added new Circle of Dust singles, which later became part of a brand new album, "Machines of Our Disgrace," which Klayton says showcases what Circle of Dust would sound like in the modern day.

paragraph: Section::::Music career.:Angeldust, 1995–2000.

paragraph: While Circle of Dust was touring in 1994/1995, Klayton had been contacted on a number of occasions by illusionist Criss Angel, who wanted to collaborate on a magic show. When R.E.X.'s legal troubles prevented Klayton from recording or touring in 1995, he put the band to rest and began writing with Angel. The two combined their names and called the band Angeldust and spent upwards of two years creating a live theatrical show that would feature "Illusions, a live band, avant-garde characters that roam the landscape, robotic lighting, television monitors and projectors, performance art pieces and more." They released their first album, "Musical Conjurings from the World of Illusion", in 1998, the same year as the final Circle of Dust album. However, by 2000, all mention of Klayton had been erased from the Criss Angel website and a complete trilogy of albums, including a re-issue of the first album, were released only under the name Criss Angel as the extended soundtrack for his Amystika show. Klayton later explained that it had become apparent to the two that they were better off working on their own projects. Several years later, however, it appeared that the two had made amends, as Klayton recorded and remixed a new theme song for Angel's Mindfreak show in 2006. This collaboration represents Klayton's final contribution to the discography of Criss Angel.

paragraph: Section::::Music career.:Celldweller, 1999–present.

paragraph: Klayton, previously having used Celldweller only as an occasional production moniker, turned the entity into a full-fledged solo band after parting ways with Criss Angel in 1999 and released a five-song limited edition teaser EP that same year. Interest ran high, with several Celldweller demo songs and remixes earning high marks on the charts on the old Mp3.com. A number of setbacks, including attempts to find backing by a major label that fell through, caused the debut eponymous Celldweller album to be delayed by two years. It was independently released in 2003 and has made a number of achievements such as reaching the 17th spot on Billboard's Internet Sales Chart, winning a number of 2004 Just Plain Folks Music Awards, and having every track present on the album being licensed to appear in movie trailers, television shows, or computer games, a feat only previously accomplished by Moby and Crystal Method.

paragraph: In 2008, Celldweller released "Soundtrack for the Voices in My Head Vol. 01", a collection of works that Klayton felt were more apt for theatrical use than main album material. Some of these tracks have now been licensed to media, and additional volumes are expected to appear in the future. Klayton has been working on the second Celldweller album, "Wish Upon a Blackstar", for the past four or five years and recently announced the release method, which involves publishing the album digitally in chapters of two songs each over time as he finishes the songs in the studio. This approach is tailored to the "post-album" atmosphere of the modern music industry, and parallels similar movements by such high-profile artists as The Smashing Pumpkins.

paragraph: Klayton has also produced a number of songs and albums for similar artists since starting Celldweller, most notably appearing on AP2, the resurrection of Argyle Park, on Tooth & Nail Records in 2000. Klayton wrote two songs for the album, while LVL wrote the bulk of the album.

paragraph: Section::::Music career.:Scandroid, 2013–present.

paragraph: Starting on July 24, 2013, Klayton, via his Celldweller social pages, began posting quotes and links to the video titled "What is the Salvation Code?", which revealed a skull-like logo had been posted around July 17, hinting this upcoming project. Later, he posted a new link to the website "SalvationCode.com", requiring a password that was hinted on the video posted previously, which turned out to be "2513", the four final digits of the date at the end of the video. After entering the password, the next page contained a video that had an extended preview of the unreleased song that had been heard on the previous video, both videos of which hinted that the date, August 6, 2013, will be the date that the full song titled "Salvation Code" will be released.

paragraph: Also on the latest video, several images where displayed; one of which was of Klayton on the left, and who was believed to be Varien, an electronica artist, and another image being a possible official artwork of the upcoming single. The second video was later uploaded on July 30, 2013, along with Klayton making a post on both his and the new Scandroid social pages to confirm that the project will consist of both him and Varien, who had made the same post. The post also stated that the Scandroid music will consist of elements of 1980s retro and electronic music with what they described as a "Neo-Tokyo" theme.

paragraph: Shortly after the releases of their first two singles, Varien left the project, resulting in Scandroid currently being managed only by Klayton.

paragraph: On November 11, 2016, Scandroid debuted a full-length, self-titled album, featuring all the singles released prior (including the two with Varien on the project), and continuing the futuristic Tokyo theme, though changing the specific year of the story from "2513" to "2516".

paragraph: On March 31, 2017, a remix album titled "Dreams of Neo-Tokyo" was released, which featured remixes of the ten vocal tracks from the "Scandroid" album.

paragraph: A second full-length album, "Monochrome", was released on October 27, 2017.

paragraph: "The Darkness EP" was released on December 4, 2018, and a companion EP titled "The Light" is under development and set to release at an unknown date.

paragraph: Section::::FiXT.

paragraph: Klayton and his manager had formed Esion Media to release the first Celldweller album themselves, and after the success of that album, Klayton morphed Esion into an all new independent record label, FiXT. FiXT grew quickly over the following few years and now features an extensive online store that distributes artists, including Blue Stahli, signed to both FiXT itself and to a variety of other independent record labels. FiXT has branched into the world of literary publication with two award-winning science fiction novels called "The Bane of Yoto". In early 2013, Klayton announced FiXT would be publishing a novel by Josh Viola called "Blackstar", which is based on Klayton's "Wish Upon a Blackstar" album. FiXT also sells digital art packs, original clothing designs, and other merchandise related to the music and artistic concepts of FiXT-associated artists. Until late 2012, FiXT also sponsored and hosted remix contests in which fans were provided original recordings and tracks ("stems") of songs by FiXT artists to create and submit their own remixes; winners were awarded prizes including FiXT merchandise, artwork, and music production software. FiXT Remix was discontinued due to mounting expenses and the difficulty of maintenance and development

paragraph: Section::::Clothing line.

paragraph: In a March 2014 YouTube video titled "Cellevision", Klayton hinted that he is to announce a new clothing line under the name of 'Outland Industries'. Items in this line are becoming available through the FiXT label and site, with a sister site WeAreOutland used for promotional purposes.

paragraph: Section::::Stage names.

paragraph: Klayton appeared under a number of pseudonyms during the 1990s before settling on the moniker Klayton in 1999. He used his birth name, Scott Albert, for Immortal and for Circle of Dust through their touring years, up until 1995. For the Brainchild side project, Klayton used the alias Tox. Brainchild also gave rise to the handle of Celldweller; an outtake of the album, "Heldweller", appeared on a compilation in 1993 and friends of Klayton twisted the title into "Celldweller", applying it to Klayton with the explanation that he spent all his time in his basement, like a prisoner, working on music. For Argyle Park, Klayton appeared as two fictitious band members, Dred and Deathwish, and also used the Celldweller moniker for the first time as the name of the album's producer. Again, in 1996, Klayton appeared on to Stryper under the slightly altered name Cell Dweller.

paragraph: By 1998, when Klayton had begun working with Criss Angel, he had changed his name from Scott Albert to Klay Scott, explaining in an interview that the name had been given to him by Angel for his ability to "take sounds and shape them as if they were clay". He appeared as Klay Scott on the Angeldust/Criss Angel Amystika releases and on the posthumous Circle of Dust album Disengage. At this stage he also stated he was done with pseudonyms, preferring to establish one identity under which all of his music projects took shape. However, despite this, Klay's name would change once more by 1999, when he made Celldweller his sole musical output. The simple name of Klayton has stuck ever since, with the artist restating in newer interviews that he was done experimenting with musical personas and does not want to confuse his fans any longer: "I've been so guilty of doing a million side projects. I've changed my name on every one of them. It's got to the point when my own fans didn't know whether I worked on an album or not." In a January 2016 question-and-answer video, Klayton explained that "Klayton" is his legal name, and that he thus no longer answers to the name Scott Albert.

paragraph: Section::::Discography.

paragraph: Section::::Discography.:Immortal.

paragraph: BULLET::::- "Dead & Buried" (1990, independent)

paragraph: Section::::Discography.:Circle of Dust.

paragraph: BULLET::::- "Circle of Dust" (1992, R.E.X. Records)

paragraph: BULLET::::- "Metamorphosis" (1993, R.E.X. Records)

paragraph: BULLET::::- "Brainchild" (1994, R.E.X. Records)

paragraph: BULLET::::- "Disengage" (1998, Flying Tart Records)

paragraph: BULLET::::- "Machines of Our Disgrace" (2016, FiXT)

paragraph: BULLET::::- "alt_Machines" (2018, FiXT)

paragraph: Section::::Discography.:Argyle Park/AP2.

paragraph: BULLET::::- "Misguided" (1995, R.E.X. Records)

paragraph: BULLET::::- "Suspension of Disbelief" (2000, Tooth & Nail Records)

paragraph: Section::::Discography.:Celldweller.

paragraph: BULLET::::- "Celldweller" (2003, Esion Media)

paragraph: BULLET::::- "Soundtrack for the Voices in My Head Vol. 01" (2008, FiXT)

paragraph: BULLET::::- "Wish Upon a Blackstar" (2012, FiXT)

paragraph: BULLET::::- "Soundtrack for the Voices in My Head Vol. 02" (2012, FiXT)

paragraph: BULLET::::- "Demo Vault Vol. 01" (2014, FiXT)

paragraph: BULLET::::- "Blackstar" (2015, FiXT)

paragraph: BULLET::::- "End of an Empire" (2016, FiXT)

paragraph: BULLET::::- "Soundtrack for the Voices in My Head Vol. 03" (2016, FiXT)

paragraph: BULLET::::- "Killer Instinct Season 3: Original Soundtrack" (2016, Microsoft Studios Music)

paragraph: BULLET::::- "Offworld" (2017, FiXT)

paragraph: BULLET::::- "Satellites" (2019, FiXT)

paragraph: Section::::Discography.:FreqGen.

paragraph: BULLET::::- "Transmissions: Vol. 01" (2014, FiXT)

paragraph: BULLET::::- "Transmissions: Vol. 02" (2015, FiXT)

paragraph: BULLET::::- "Transmissions: Vol. 03" (2016, FiXT)

paragraph: BULLET::::- "Transmissions: Vol. 04" (2017, FiXT)

paragraph: Section::::Discography.:Scandroid.

paragraph: BULLET::::- "Scandroid" (2016, FiXT)

paragraph: BULLET::::- "Dreams of Neo-Tokyo" (2017, FiXT)

paragraph: BULLET::::- "Monochrome" (2017, FiXT)

paragraph: BULLET::::- "Dreams in Monochrome" (2018, FiXT)

paragraph: BULLET::::- "The Darkness and The Light" (TBD, FiXT)

paragraph: Section::::Discography.:Klayton.

paragraph: BULLET::::- "Terraform Drums Vol. 01" (2017, FiXT)

paragraph: BULLET::::- "Weapons of War" (2018, FiXT/Position Music)

description: American musician

enwikiquote_title: Klayton

wikidata_label: Klayton

wikipedia_title: Klayton


text: OM

text: Norman Manley

text: People's National Party

text: Demeter

text: Earth Mother

text: Picasso

text: neo-classicism

text: Eve

text: "Venus Pudica"

text: the Garden of Eden

text: zoology

text: yakka

text: mahogany

text: Guatemalan redwood

text: juniper cedar

text: primavera

text: Beadseller

text: Listener

text: cubist

text: African diaspora

text: colonial system

text: Negro Aroused

text: Jamaica School of Art

text: Jamaica school of art and craft

text: National Gallery Of Jamaica

text: Noel Coward

text: terracotta

text: institute of Jamaica

text: Into the sun

text: Negro Aroused

text: Sculpture Review

text: Institute of Jamaica

text: National Gallery of Jamaica

text: People's National Party

text: Nomdmi

text: chief minister

text: Flag

text: West Indies Federation

text: Paul Bogle

text: Morant Bay Rebellion

text: terracotta

text: plaster casts

text: matriarchal society

text: Sir Hugh Walpole

text: National Heroes Park

text: Rachel Manley

categories: English people of Jamaican descent,Jamaican women activists,People from Bournemouth,Recipients of the Order of Merit (Jamaica),Jamaican artists,20th-century sculptors,20th-century women artists,1900 births,1987 deaths,Jamaican sculptors,Jamaican people of English descent,Jamaican activists,British emigrants to Jamaica,Alumni of Saint Martin's School of Art,Recipients of the Musgrave Medal,Women sculptors,Jamaican women artists

paragraph: Edna Manley

paragraph: Edna Swithenbank Manley, OM (1 March 1900 – 2 February 1987) is considered one of the most important artists and arts educators in Jamaica. She was known primarily as a sculptor although her oeuvre included significant drawings and paintings. Her work forms an important part of the National Gallery of Jamaica's permanent collection and can be viewed in other public institutions in Jamaica such as Bustamante Children's Hospital, the University of the West Indies, and the Kingston Parish Church.

paragraph: Her early training was in the British neoclassical tradition. In the early 1920s and 1930s she experimented with modernism eventually adapting it to her own aesthetic.

paragraph: Manley was an early supporter of art education in Jamaica. In the 1940s, she organised and taught art classes at the Junior Centre of the Institute of Jamaica. These classes developed in a more formal setting with the establishment of the Jamaica School of Art and Craft in 1950. Jamaica's first Art School would eventually expand into a college and was renamed Edna Manley College of the Visual and Performing Arts in 1995 to honour the artist's pioneering role in Jamaican Art.

paragraph: Edna Manley was also the wife of Norman Manley, the founder of the Jamaican People's National Party. She is often considered the "mother of Jamaican art".

paragraph: Section::::Personal life.

paragraph: Early Life

paragraph: Born Edna Swithenbank on 28 February 1900, Edna Manley lived out her early years in England with her cleric father, Harvey Swithenbank, her mixed Jamaican mother, Ellie Shearer, and her 8 siblings. Her father passed when she was nine, leaving his widow to raise all their nine children by herself. Edna Manley was described as incredibly independent, rebellious and spirited, exemplified in the uproar and unrest she caused among her own family as she embraced her ‘coloured’ ancestry from her mother’s side. This ancestry had been swept under the rug due to the possible repercussions it would have had on not only her parents but he whole family during the racially tense times of the early twentieth century.

paragraph: Education

paragraph: After leaving high school Edna studied art at several different institutions including St. Martin's School of Art in London. She also studied privately with Maurice Harding, the animal sculptor, going on to continue her art studies at the Regent Street Polytechnic as well as the Saint Martin's School of Art in London. During this time she had intentions of becoming a zoologist.

paragraph: In 1921, she married her cousin, Norman Manley. The two met when Norman came to England for university, Edna was only 14 at the time and Norman was eight (8) years her senior. They fell out of touch but later reunited after Norman finished school and while Edna was working at a pension office studying art on the side. The two had a controversial union, due to not only family ties but the obvious deepness of Norman's complexion. They went on to have two children, Michael Manley (a future prime minister) and Douglas Manley, a sociologist and minister in his brother's government, moving to Jamaica in 1921 after Douglas's birth. Edna Quickly realized how differently the Jamaican Middle class was in comparison to the life she knew in England and kept journals of her thoughts, observations and experiences.

paragraph: Politics

paragraph: The political standings of her husband and children would prove influential to her art as well as impact her life and career in a way she may have never expected. Manley was involved politically, not only through the association of her sons and husband, but also through the subject matter she addressed in her work, such as sexuality, culture and feminism. Manley’s feminism influences were arguably due to her a first-wave feminist sister, Lena, who fought alongside the suffragettes for the right to vote for females. Though this did not manifest itself in the same way as her sister, she paved a way of her own unique to Jamaica. She did not fight outright for new wave feminism, but her excellence, notoriety and dominance in the predominantly male world of visual arts, fought in their way. Thoughts around socialism also preoccupied Edna’s mind following the years after her marriage. As her sons and husband became more apart of the Jamaican political sphere, forming the People’s National Party (PNP), Edna also became more preoccupied with Fabian Socialism ideology and avidly supported the party and its socialist democratic ideals. Politics was a large and unavoidable part of her light and would go on to be further highlighted in her works dome in the 1960s and 1970s when Jamaica was dealing with great civil and political unrest.

paragraph: Later Years

paragraph: Norman Manley, her husband, died in 1969 leaving her in ruin. She shared that 'after Norman died, the thing that saved me was my art.' In 1975 she decided to delve more into painting, giving up sculpting, due to her age and strain it placed on her body. She maintained her own identity and did not live in the shadow of her famous husband. Edna Manley died on 10 February 1987; a few weeks short of her 87th birthday. She was an amazing woman in the eyes of many; a woman who carved her path independent of the name of her husband or son and continues to influence and inspire many artists to this day.

paragraph: Section::::Artistic life.

paragraph: Early Artistic Life

paragraph: During this period of Edna’s life, she faced frustration at the lack of Exhibitions in Jamaica, as well as the attitudes the people had towards art. To her, it seemed as if people only considered it to be an unimportant hobby to be enjoyed by amateurs but that did not deter her. She created her first Jamaican work that would go onto be one of her most notable, The "Beadseller" (1922). Her early years were a transitional period, not only stylistically, but During this period she centred herself around adapting and understanding her new home in Jamaica. She began moving away from the academic ways of creating that she was so accustomed to, into a truer version of modernism seen in The "Beadseller"- inspired by these new and exciting observations of life in Jamaica. Shortly after, the "Beadseller" was followed up by a male counterpart, "The Listener" (1922) which also reflected the geometric and cubist style she was exploring. This cubist influence can be directly credited to famous artist Pablo Picasso, who disrupted the European art world with his geometric and exploitative creations. Edna Manley was not safe from his influence as she studied all the art trends and ideas circulating in Europe before her departure to the Caribbean. She brought plaster versions of both these works back to England with her in 1923, which she had cast into bronze on her arrival. This would cause her acceptance into the Society of Women’s Artists and had "Beadseller" displayed in their 1924 Exhibition. She would continue to go between Jamaica and England seeking out exhibition spaces and artistic inspiration.

paragraph: Back in Jamaica in early 1924, she quickly set to work with new carving tools and produced Wisdom and then the Ape. At that time, too, she began to model realistic portraits in clay first of Norman and the two-year-old Douglas and then of a friend, Esther Chapman. Then, testing the possibilities of her new medium, she did the head of another friend, Leslie Clerk in wood. During this period of Edna’s life, she would end up facing frustration at the lack of Exhibitions in Jamaica, as well as the attitudes the people had towards art. To her, it seemed as if people only considered it to be an unimportant hobby to be enjoyed by amateurs

paragraph: Between 1925 and 1929, Manley softened some of her geometric forms, replacing them with more massive, rounded ones. "Market Women," a study of two voluptuous women sitting back to back, and Demeter, a carving of the mythical Earth Mother, are indicative of Manley's late-1920s influence. The 1930s saw another change in her sculptural style. She tamed her early-1920s cubist lines with rounder forms, and produced a new, definitive style that lasted into the 1940s. She recalled the strong influence of classical art on her voluptuous sculptures. Her interest in the classical tradition was sparked by the works of Picasso’s neo-classicism phase. His "Two Nudes" of 1906, greatly influenced the neo-classicism of her adolescence.

paragraph: This voluptuousness can also be seen in her work entitled "Eve (1929), which" derived from the story of the first woman mentioned in the bible. The overall dimension of the work is 2006.6 x 508mm, and was carved from a single piece of mahogany wood. The nude "Eve" is seen standing on a circular platform with her head facing behind her. The figure has one hand who's fingers are rolled into a fist to cover her pubice; similar to the arm gestures are a combination of the "Venus Pudica". The other hand is bent at the elbow and covers a breast while the back of the hand awkwardly rests on the shoulder with fingers curled inwards. In this pose of the arm we see the influence of Picasso's "Two Nudes." The sculpture is seemingly filled with tension, as suggested by the clenching of the fists, the abnormal twist of the body and the awkward attempt to obscure a breast. The body gives a sense of youthfulness and its long hair flowing downwards onto the chest matches the curvy rhythm of her body. Wayne Brown has described the sculpture as "woman startled to look over her shoulder" an "image of nakedness surprised" yet, Manley seemed had removed all traces of expression from the face of the sculpture of her re-interpretation of "Eve" and instead focused the expressions into the pose of the figure. Her idea of this sculpture was to draw reference to the expulsion of Eve out of the Garden of Eden. The face looking backwards is also said to represent Eve looking back at the garden after her expulsion.

paragraph: During the early 1920s, Edna Manley continuously sent her works back to England for exhibition which allowed the works to become greatly recognized by 1927. The first recognition she had received came from the French press, and her works were published in the "Les Artistes D’Aujourd’Hui" and "La Revue Moderne". The author of the articles "La Revue Moderne", Clement Morro, had significantly linked her with the modern abstractionists.  In 1929, Edna Manley had returned to England with her most recently completed works namely; "Eve", "The boy and the reed," "Torso", "The ape" ("Edna Manley (1900-1987). This small collection of sculptured has gained entry into the "Goupil" Summer exhibition which was a major event which took place annually in London.

paragraph: Her move to Jamaica had a profound impact on her work. She abandoned studying zoology back in London, and her work took on a more "inspired formal elegance", according to Boxer. Manley's materials consisted mostly of native woods—she used yakka, mahogany, Guatemalan redwood, juniper cedar, and primavera. Some work dating from her first year on the island are Beadseller, and Listener. In describing "Beadseller", Boxer said, "It was as if in one fell swoop, nearly a hundred years of sculptural development had been bridged: in this, her first work done in Jamaica, Edna seems to have given expression to her ideas about contemporary British sculpture with which she had saturated herself prior to leaving England. Both pieces exhibited Manley's more progressive and cubist style.

paragraph: Jamaica was facing many political changes during the late 1930s and early 1940s. Members of the African diaspora were looking to do away with the aging colonial system that remained on the island. They were ready for a new social order, and voiced their displeasure with the colonial system by incurring strikes (along with riots), instigating food shortages, and promoting protest marches. Manley's work of the time reflected this civil unrest. Works like "Prophet", "Diggers", "Pocomania", and "Negro Aroused" "caught the inner spirit of our people and flung their rapidly rising resentment of the stagnant colonial order into vivid, appropriate sculptural forms," wrote poet M. G. Smith.

paragraph: Her works were exhibited very frequently in England between 1927 and 1980. Her first solo exhibition in Jamaica was in 1937. The show marked a turning point in Jamaica's undeveloped art movement, and it prompted the first island-wide group show of Jamaican artists. Manley was also one of the founders of the new Jamaica School of Art. After premiering in Jamaica, her show opened in England, where it was received with much fanfare. It was the last time Manley's work would be shown in London for nearly 40 years.

paragraph: Active for much of her life as an artist, she also taught at the Jamaica School of Art, now a component of the Edna Manley College of Visual and Performing Arts.

paragraph: 1930 - 1939

paragraph: 1929 brought significant recognition to Edna Manley’s early career as a sculptor and artist. This came in the form of Eve which was inspired by Picasso’s "Two Nudes" (1906) and "Boy with Reed", a response to "Singing Negro" statuette (Bibliotheque Nationale in Paris). These two carvings were exhibited at the summer exhibits at the Goupil Gallery in England and received raved reviews. "Eve" travelled extensively throughout England’s art gallery circuit as her captivating presence was magnetic.

paragraph: Edna and Norman Manley were putting down roots in Jamaica and each was easing into their respective careers with notability. Edna’s fledging art career was taking off and Norman Manley was earning a reputation of being an astute lawyer. Recommendations were well written and submitted for him to be bestowed the enviable appointment of Kings Counsel (KC). This would no doubt boost his law career and came to fruition in August 1932. Despite the financial rewards from his law practice, being among the social elites and awarded the coveted title of KC, Norman Manley struggled with depression seemingly caused from not being able to represent something more meaningful. This sentiment was echoed in his letters to Edna who was away in England due to interest in her art. On returning home to Jamaica, she now too had her own precipitous path to navigate with being a wife, mother and backbone of her family as well as being an artist on the rise. These emotive feelings manifested themselves in the artwork titled "Sun and Earth" depicting a male and a female in deep embrace, the man’s head resting on the chest of the woman. The woman stands erect as a support with one arm around his waist. With the international success of "Eve", "Boy with Reed" and other works such as "Dawn", "Woman With Basket" (in stone), "Dance", "Sixteen", "Seventeen" and "Rachel" the visions of self as an artist and the actual reality of life seems possible and gave her intrinsic strength to carry her family and her art into the unknown future. The aforementioned artworks had a new aesthetic not yet seen anywhere, “voluptuous” was the word used to describe the pieces. Cubism and other Avant grade movement dominated Europe at the time but Edna Manley’s pieces had an air of freshness to them which sparked countless curiosity all over London. Even though the essence of cubism was evident in her sculptures in terms of the positioning of the forms they did not have that hard angular rendering which was evident in her earlier works such as the "Beadseller".

paragraph: By 1934 Jamaica had been experiencing serious economic depression, marked by the decline in exports and the return of disheartened migrant workers from Cuba and Panama. Everywhere in Jamaica persons were clamoring for better pay, more jobs, better job conditions and housing as the common people buckled of under the weight of colonial marginalization. The economic crisis coupled with the agitation for change is creatively summed up in Edna Manley’s most famous sculpture, "Negro Aroused" done in 1935. The sculpture, even though in the round has a high relief quality and depicts an African man with head upturned to the heavens atop square shoulders, a twisting torso and thick slab - like arms set in an unusual akimbo position. He seems to be communicating anguish while looking towards the heavens for a solution or the dawning of a better tomorrow. Other notable sculptures created during this time were, "Pocomania, Market Woman, The Prayer, Young Negro, The Diggers and The Prophet".

paragraph: The Prophet

paragraph: "The Prophet" is a carving of an African man with powerful, over-emphasized arms raised above his head, creating a diamond shape. His opened palms are affixed one in front of the other similar to when person is waking up and stretching after a deep sleep. The head is turned to the right, looking slightly down with a stern unapproachable face. There is a backward tilt in the upper torso which creates an open stance. Even though the sculpture is not full bodied and only represented from the tip the fingers down to mid thighs, it provokes a ready to fight alertness, combative stance in every sense. The simplification of the form gives it a towering presence of authority which forces the viewer to contend with the determined stare of the seer. "The prophet" embodies a warrior spirit that has been awoken and forced into action. It explains how the common people at that time were feeling, like that of a gun powder keg waiting for that opportunistic spark to explode. Mrs. Manley describes "The Prophet" as:

paragraph: “A figure that denounce, oh powerfully denounced, cruelty, poverty, injustice and it came, the prophet, the Amos who came down from the hills and denounce the world as he saw it. Denounced those that had so much and offered to the poor and weak so little.”

paragraph: Edna Manley’s seemed to be that gauging mirror absorbing and reflecting the plight of the common people through her new found aesthetic.

paragraph: With a significant body of work Mrs. Manley was ready to tackle England’s art world, but before she did, she held her first solo show at the Mutual Life Assurance Society building on Barry Street Kingston Jamaica In January 1937. This was the first solo art show for anyone in Jamaica and was extremely successful with over eight hundred person passing through the exhibition. The show lasted for five days but before it ended persons were requesting for the state to purchase Negro Aroused. The sculpture was purchased through organized fundraisers and handed over to the Institute of Jamaica.

paragraph: In England her exhibition opened on the second of March and lasted for twenty three days and was received with “lukewarm” reviews. Many critics and newspaper articles question her craftsmanship and approach. The lack of political understanding by the English critics who were far removed from the uprisings of political consciousness in Jamaica made it rather difficult for them to truly embrace the significance of the sculptures and only evaluated the pieces based on form. Later that same year Mrs. Manley got sick and spent a lengthy time recuperating.

paragraph: There were great upheavals in Jamaica in 1938, strikes and labour riots caused many arrests and even deaths. No place in Jamaica was spared from the unrest however Westmoreland and Kingston had the biggest foray as the common people pushed for better wages and jobs. A pugnacious agitator for change named Alexander Bustamante was at the front of the line defending the cause of common people, relentless remonstrating landed him in jail. The Peoples National Party (PNP) was also formed by Norman Manley who found his political stride and true purpose which was eluding him for many years. During this time Mrs. Manley completed several pieces of work, notably the piece titled "Strike" which was a response to the political turbulence going on in the county. The piece not only represented the mood of the people but also captures her deep involvement in political activism with her husband. She also design "The Rising Sun" logo for the PNP which represented the dawning of Jamaican politics. Other artworks done during 1938 - 1939, were "Mrs. Molesworth", "Tomorrow", "Youth", "In the Beginning", "Idyll" and "The Sawyers". These carvings were labeled as “ecstatic carvings” by David Boxer to describe their stylistic similarities in form and movement.

paragraph: Professional life and Horse of the Morning (1940s)

paragraph: Edna Manley produced a number of famed sculpture including, “"Negro Aroused"” and many more which are a part of her permanent collection at the National Gallery (NGJ) leaning up to the 1940s. Some of her works between (1935) and (1940), are, "“Mountain Girl”, “The Prophet”", and “"Pocomania”. “Before Thought”, “The Forerunner”, “Before Truth”," and “"Into the Mist"” followed between (1941) and (1948). These are works that expressed her thoughts on her personal life with family relationship. Edna Manley also created works such as "Digger", ink on paper (1940), "Dispossessed", Sepia wash on paper and many others. According to the book Edna Manley Sculptor by David Boxer, “In July 1941, she records in a diary: Oh, but I want to carve my two Gods dark and light. I would like to carve them where the echoes of the mountains would take up the song, where the mists… round, where there’s freedom and light and no desire… I want an icy silence and an icy stillness and an icy loneliness…“ In creating the series "Dying God", Edna Manley moves away from the elongated style of 1939/40/41 and began a new style. Accord to the book, “It is difficult to define; there are Blakean concepts and motifs, definitely, and motifs occasionally come from other Romantics-Fuseli and Redon perhaps; the works occasionally tend to be ‘pictorial’ rather than sculptural, yet we sense a unique personal involvement with the materials-yacca, mahogany, Guatemalan redwood, juniper cedar, primavera-and an attempt to capture in these woods the "light" of Nomdmi.” Dying God carving are one of Mrs Manley most universal works and according the book, one of her most private. Leading up to 1943 Mrs. Manley did an extensive amount of carvings such as, "New World", "Old World" on a large scale just to name a few. In these carvings she mainly focused on design and details. According to the book by David Boxer, “The most successful carving of the Sun God, however, would abandon this system of the cycle of the sun and revert to the image of the spirited horse of the "Forerunner".” According to Edna Manley the Diary, “15 April 1943 the mountains help me to realize that I must not strain to work, not worry over what I produce. For me it must flow lawlessly. Of a choice of flawless and lawless it must be the latter. It was not always so, however.”

paragraph: "Horse of the Morning" (1943)

paragraph: Mrs. Manley carved "Horse of the Morning" in 1943, this carving was done using Guatemalan redwood. According to the National Gallery of Jamaica Blog, “Her work entered another phase in which she combined private symbolism, inspired by the Jamaican Blue Mountain landscape, with an almost painterly approach to form and surface. "Horse of the Morning" (1943), which was donated to the collection by Edna Manley’s son and former Prime Minister of Jamaica, the late Michael Manley, is arguably the best known work of this cycle.” Mrs. Manley went on to explained "Horse of the Morning’s" genesis: according to the book by David Boxer, “It was early in the morning… I wanted to watch the dawn come up, and I went along the little path behind the house, and I did see him leap from behind the mountains. I saw him… he was there for an instant and then he was gone. But I did see him.”  The book further went on to state that the, "“Horse of the Morning" presents a specific aspect of the Sun God, namely his sexual, libidinous self. Caught in a moment of searing erotic intensity with phallic leg and carefully articulated “ping pong ball” eyes that red both on the suns and as symbols of a fully charged sexuality”.

paragraph: Section::::Artistic life.:Professional life 1950's.

paragraph: Edna Manley promoted the development of Jamaican art as a teacher, coordinator and patron and contributed in the founding of the Jamaica school of art and craft in 1950. Although the 1950s and 1960s were less active years for Edna Manley, she produced a few works. National Gallery Of Jamaica In 1951, Edna Manley was tasked her first public commission which involved the creation of a crucifix for the all saints Anglican church in downtown Kingston, The crucifix was devoted in commemoration of Joseph Francis an elder of the church on the 10th of Dec 1951. The sculpture of these years were subsequently secluded pieces and usually they were commissioned work.

paragraph: The year of 1952 was spent tussling with ideas for a competition in Britain for a monument to the unknown political prisoner. In May she began a small carving, the carving in fact a preparatory carving in the true sense and was quite independent of the ideas for the monument. "The Secret" is a charismatic work in which is in smaller format and has a basic idea of night. Moreover, from this period is a small satin wood plaque, designed to fit into the center of a gramophone cabinet this commission came from Noel Coward. He had recognized a home on the north coast of the island. Its attitude is one significant to that of the secret but its subject, the two heads of a man and a woman, with hands raised in characteristics Manley gesture represents an intimate dialogue between the sexes. Edna Manley titled it the mountains. The exception of a small terracotta mountain woman dated 1956, no sculpture has surface from the period 1952 to 1958 although there is evidence that other terracottas from this period may exist. We also know that an exhibition of drawing was planned for the institute of Jamaica in 1954 but even this was cancelled because there was not enough new works to warrant the exhibition. Edna did take part in tercentenary exhibition held at the institution of Jamaica in November 1955.

paragraph: "Into the sun". a black man, astride a white horse with blazing sun eyes, charges across the heavens from the darkness of the day. Coming as it did during the early months of the campaign for the general election of 1955. The image is a descendant of negro aroused cast now as a man of action and set now in the context of the sun and moon symbolism developed in the forties. He is the herald of the new Jamaica charging forth and claiming his “place in the sun”. in 1958 the chips started flying again and an impressive coda to the dying god series, growth resulted the basic idea involves themes exposited in the independent work such as the "Sun God Heads" of 1941 and T"he Horse of the Morning" of 1943. The horse of the morning surmounted by the sun god, a head of infinite wisdom and energy. The link between the two zones in the top most figure of the bank of the sleeping figures who just begins to lift his head and opens his eyes as he re-awakes to another existence. Growth was completed in time for its inclusive in the all island exhibition of sculpture which opened in October 1958 at the institution of Jamaica, at which time it was acquired by the institute. In 1959, it saw the creation of a far more intimate carving a commission from friends the artist chose as the subject a young girl endearing embracing a small goat. Inspired by her 12-year-old granddaughter Racheal who had come to Jamaica to live with Edna and Norman in 1949.which speaks to a since innocence.

paragraph: “Into the sun” (1954)

paragraph: "Into the sun" Is a inventive reproduction of Edna Manley’s work, it depicts a colored man in the foreground hugged on to a white horse, the horse I situated in a galloping pose and the figure on him clamps on tightly to the horse with his left arm stretched out pointing forward. The background then shows two different time of the day and use the sun and moon in symbolizing the difference between each side. Beneath him lies a green mountain with two different shade of green. The side of the mountain to the left with a night like background expresses to be darker than that side which has a day background. It also gives the indication of the horse and the man riding towards the sun. however, the iconography of the horse appears in other works in the decade such as "Only the Brave" where a male and a female is joint in one silhouette situated on the mountain top. There two horse comes to rear up beside them. "The horse of the night" and "the horse of the morning". The moon and sun are also symbolized in this piece and reigns in the sky. Similarly, the "Growth". The 1950’s and 60s where deemed crucial periods in which Edna Manley’s iconography was being developed. Finding many codas to the "Dying God Cycle" such as the mahogany relief "Growth" (1958) and the drawing "Into the Sun" (1954) and none but the "Brave" (1960) as well as the anthropomorphic mountain imagery of the mountains.

paragraph: Section::::"Negro Aroused" - the art piece.

paragraph: While she was at London, Manley had discovered that the people of Jamaica had collected the money to buy her piece "Negro Aroused". Individuals pitched in whatever they could afford, purchasing the piece to begin a national art collection. She was highly moved by this act, partly because she claimed that it was such a difficult piece for her to create: "Negro Aroused...was trying to create a national vision, and it nearly killed me, it was trying to put something into being that was bigger than myself and almost other than myself," Manley told "Sculpture Review".

paragraph: The original sculpture of "Negro Aroused" was created in 1935 and was first exhibited in 1937. From its exposure, "Negro Aroused" excited the public's imagination; it was acquired by public subscription and presented to the Institute of Jamaica to form a nucleus for its modern art collection. This collection in 1974 became the basis for the National Gallery of Jamaica collection.

paragraph: In 1977, work began to enlarge the sculpture and to create a monument to the workers of Jamaica and the Worker's Movement that was born in 1938. Edna Manley was commissioned to recreate the work in bronze, at a scale three to four times that of the original. She was assisted by several young sculptors. Prior to being shipped to New York for bronzing, the seven-foot version was destroyed in a warehouse fire.

paragraph: In 1982, Manley produced a third version, closer in size to the original, but it incorporated some subtle changes she had introduced in the destroyed sculpture.

paragraph: In 1991, the sculpture was posthumously enlarged by utilizing the "scaling up" technique of bronze foundries for the enlargement of a sculpture. The third version was selected because it was closer in size to the destroyed version. The cost was met by public subscription.

paragraph: Section::::Professional Life (1960s) and The Bogle Statue.

paragraph: Norman Manley entered politics, and founded the People's National Party in 1938. Although Edna Manley was hesitant at first, she quickly accepted her husband's place—and her own—in Jamaican politics. She also designed The Rising Sun logo for the People's National Party. The beginning of Jamaica's new government-—and the fall of colonialism-—was reflected in Manley's work, which at the time dealt with the cyclical, birth-and-death themes of the sun and moon. Her work was also heavily influenced by the nature that surrounded her at Nomdmi, the mountain retreat she had built with her husband.

paragraph: Many commissions awaited Edna Manley in the 60s such as "Mother and Child Tondo" for the Children's Hospital and "The Bush which was not Consumed" for the Webster United Church.

paragraph: Edna Manley has always been interested in Rastafarians and in 1961, she made a series of drawings using young Rastafarians which served as the backbone for her carving "Brother Man. This" helped her to come to terms with her philosophy was seen as suspicious and regarded with animosity.

paragraph: The 1950s and 1960s were quiet times for Manley as an artist. Her husband became more involved with politics, becoming the chief minister of Jamaica in 1955. Manley's responsibilities as the wife of a politician left little time for art. In 1958, she designed the Flag of the West Indies Federation. She held her third exhibition at the Hills Galleries in 1960 (gallery opened in 1953), where she only showed drawings as she had very little time to maker sculptures due to the opposition politics of Norman Manley and the People's National Party. Her works were mostly of women and having mythological concepts. A few of these works include "Youth Early and Night Flower." One of her works "I Saw My Land" (1960) shows the significance of Norman Manley to Jamaica as his goal was to deliver the country. In 1965, she created a statue of Paul Bogle to commemorate his martyrdom in Jamaica's 1865 Morant Bay Rebellion. The Morant Bay Rebellion was due to unrepresentative nature of the Jamaican government and the economic problems that Jamaica was suffering from during this time. This meant that the mass of black Jamaicans had no feeling of being represented by their government. Paul Bogle was the leader and was hanged as punishment as he led the last large scale rebellion for voting rights and an end to legal discrimination and economic oppression against African Jamaicans faced and due to his ability to stand tall an take charge he was recognized as a national hero in Jamaica in 1969.

paragraph: The statue was highly controversial because it was the first Jamaican public monument to depict a black man in Jamaica. The statue was a commission in 1964 by Edward Seaga commemoration of the centenary of the Morant Bay Rebellion She was unable to get a proper description as there were not photographs available of Bogle at the time. This caused Edna to then see information elsewhere as this was very vague, they quoted that he was "black and shiny heavy marks of smallpox on face, especially on nose…large mouth, red thick lips; about five feet eight inches tall, broad shoulders… no whiskers.", so she visited Stony Gut and received a bit of information from an old woman who had said "But, Bogle was a BOLD man." the form of the statue was created and it was seen as a symbol of Bogle. She made various Maquette and sketches of Bogle. The statue has been infront of the Morant Bay Courthouse.

paragraph: The '"Bogle"' statue was made in 1965. She made numerous maquettes as her ideas constantly changed and her visions for the statue fluctuated. the finished piece stood tall and upright with a machete in hand having the blade point downwards. both elbows raised as hi hands firmly held the machete showing his seriousness and passion. Prominent muscles and rib cage are seen along with sunken cheeks, broad nose and big eyes. This piece was seen as controversial once an image of how Paul Bogle actually looks surfaced as Morant Bay stakeholders wanted a new statue to be done that really looked like Bogle. The photographer is unknown. When Edna arrived to Morant Bay Court to put up the statue, she was met with rage from Bogle's followers wanting him alive and Edna was smug with her responses yet polite.

paragraph: Manley returned, in her personal carvings, to the animal sculptures that she did as a young woman. Norman Manley became ill in August of 1968 with a respiratory illness, which got worse by the 6th of October. he had various illnesses such as his blood pressure was giving him problems. Edna Manley stated, " He woke at night with his first attack of cardiac asthma". In 1968, Edna Manley was commissioned to make a Mary where she captured emotion using geometry rather than facial expression and entitled it "The Grief of Mary". Within a year of the completion of the work, by 1969, Edna Manley's husband (Norman Manley) had died on September 2nd and buried at the National Heroes Park. After Norman Manley's death, Edna started her mourning period. He had helped Jamaica to achieve total independence from Britain and self-government by 1962. Manley's carvings during this period were very personal—-reflections on her husband's death, her pain, and sense of loss. She retreated to the mountains and created "Adios," a piece interpreted as lovers in a last embrace, and "Woman," an agonized woman in reclusion. Before Norman died, Edna created a small, rough clay study of an angel cradling a small figure in one of its wings upwards reaching for the heavens. it is as if she knew in her heart that he would die soon. The end of this grieving period was marked by her creation of the triumphant "Mountain Women". She had accepted the loss of her husband. "I felt that because my roots were here in Jamaica, I could survive," she told Americas. "It was my return to the world after that period of intense grief.

paragraph: After creating several more profound carvings, including "Faun", "Message" and "Journey", Manley gave her carving tools away to a young Jamaican sculptor and declared that she would never work with wood again. Instead, she worked with modeled terracotta or plaster casts. During the 1970s, the major themes of Manley's work were expressions of her "grandmother," or "old woman" image, of matriarchal society, and memories of her life with her husband Norman.

paragraph: Manley continued to sculpt until her death in 1987. Although a great deal of her work was intensely personal, she created a body of sculpture that embodies Jamaican culture and spirit. English novelist Sir Hugh Walpole, a collector of her work, spoke at the opening of her 1937 London show. "There is a very strange and curious spirit there and Mrs. Manley has got within that strange spirit," he remarked. "There is in Jamaica a beauty that finds its expression through her, that comes partly from the Jamaican material she uses, partly from her own individuality, and partly also, I think, from the sort of sense of beauty that the different people of Jamaica themselves possess." For Manley, expressing the beauty of Jamaica was second nature. "I carve as a Jamaican for Jamaica," she told Americas, "trying to understand our problems and living near to the heart of our people."

paragraph: Professional Life 1970s-88

paragraph: In the late 1960s- early 1970s was a sad period in Edna Manley’s life, it was the period where her husband Norman Manley was ill and unfortunately he passed away. Most of her works during this mourning period were intense and expresses grief, some of these works are: "Angel" (1970), Kingston parish church, "Journey" (1974), National Gallery of Jamaica "Woman" (1971), "Adios" (1971). "Journey" was the last wooden carving done by Edna Manley, all her works after that was modeled in clay and cast, she started exploring other Medias like drawing and painting. According to the book Edna Manley Sculptor by David Boxer “After a short break which saw the five completed Mourning Carvings exhibited at the Bolivar Gallery in an enormously successful one-man exhibition (her first include sculpture since 1948), Edna returned once again to carving and two more works were added to the series.” The book also states “it is a symbol of the inner, frightened self and while she was carving the Faun, the initial ideas for Journey began to surface.” Manley played a major role in helping his husband fight for Jamaicans independence and despite her husband’s death she continued to play a major role in the cultural development of Jamaica. Between 1970-1974 Edna Manley did two solo exhibitions, in 1971 she did one at Bolivar Gallery, Kingston with eighteen sculptures and the other in 1973 at Spelman College, Atlanta, Georgia with fifteen sculptures and three drawings. In 1972 Manley’s son Michael Manly succeeded his father to become the prime minister of Jamaica after a turmoil election period.

paragraph: Ghetto Mother

paragraph: "Ghetto Mother" was a sculpture done by Edna Manley in 1981 it shows five characters, with the larger character seeming to be the mother looking to the sky with a sad look on her face while the other four characters around her seeming to be her children have gestures and facial expressions of sadness and fear. There are two children to the front and two in the back, one of the two in the front has two hands on its jaw and the other child is kneeling down in a praying position. The child to the left at the back has his hand in his mouth and the one on the left has his hand on his chest. The mother seems to be kneeling down by the positioning of her hands.

paragraph: Death

paragraph: According to Edna Manley: Sculptor a Retrospective: “During Edna Manley’s final years, she re-created several older works, some of which are on view in the introductory lobby. Perhaps the finest re-creation is "tomorrow" (1985) which is based on one of the major examples of ecstatic carvings of the late 1930’s. The same ecstatic, spiritual atmosphere prevails in most of Edna Manley’s last works and several ponder on the subject of death and rebirth. This is movingly illustrated by such works as "The" "Listener" (1986), "future" (1983), the painting "Birth" (1986) and the studies for "Raising of Lazarus" on which the artist was working until the day before her death on 10th February, 1987.”

paragraph: When Edna Manley died in 1987, she was accorded an official funeral and buried in the tomb of Norman Manley at the National Heroes Park, her work having earned her the unofficial title of "Mother of Jamaican Art"

paragraph: Section::::Works.

paragraph: Her works include: "Whisper"; "Into The Mist", "Before Thought ", "Moon", "Eve (Ceremonial Dance)", "Into The Sun", "Growth", "The Ancestor", "The Mother", "Negro Aroused", "Pocomania", "Diggers", "Man and Woman", "Bead Sellers ", "The Trees are Joyful", "Rainbow Serpent", "Rising Sun", "Prophet", "Ghetto Mother", "Mountain Women" and others mentioned above.

paragraph: Section::::Legacy.

paragraph: The Jamaican School of Art was renamed the Edna Manley College of the Visual & Performing Arts in 1995 to commemorate her life; enduring legacy; and impact on Jamaican art, Caribbean Art and the art world as whole. The renaming of the institution was part of its reclassification as a tertiary institution. Edna Manley was selected in part because of her contributions to Jamaica's art, which included co-founding the school in 1950, a school that is still the only of its kind in the English-speaking Caribbean. A long list of awards and prizes were awarded to her in lifetime, including:

paragraph: BULLET::::- Silver Musgrave Medal of the Institute of Jamaica (1929)

paragraph: BULLET::::- Gold Musgrave Medal of the Institute of Jamaica (1943)

paragraph: BULLET::::- Honorary Degree of Doctor of Letters from the University of the West Indies (1975)

paragraph: BULLET::::- The Order of Merit (Jamaica, 1986)

paragraph: Section::::Diaries.

paragraph: Her granddaughter Rachel Manley edited her diaries which were published in 1998.

description: Jamaican sculptor

wikidata_label: Edna Manley

wikipedia_title: Edna Manley