text: French-American

text: sculpture

text: installation art

text: printmaker

text: Abstract Expressionists

text: Surrealism

text: Feminist art

text: Paris

text: tapestries

text: Choisy-le-Roi

text: Sorbonne

text: Fernand Léger

text: Musée de Louvre

text: École des Beaux-Arts

text: École du Louvre

text: Académie Colarossi

text: Académie Ranson

text: Académie Julian

text: Académie de la Grande Chaumière

text: André Lhote

text: Fernand Léger

text: Paul Colin

text: Cassandre

text: New York City

text: Art Students League of New York

text: Vaclav Vytlacil

text: Cullen Sculpture Garden

text: Museum of Fine Arts, Houston

text: American Abstract Artists Group

text: Barnett Newman

text: Ad Reinhardt

text: Willem de Kooning

text: Mark Rothko

text: Jackson Pollock

text: terraced house

text: West 20th Street

text: Chelsea, Manhattan

text: Femme Maison

text: Pratt Institute

text: Cooper Union

text: Brooklyn College

text: New York Studio School of Drawing, Painting and Sculpture

text: Anita Steckel

text: Museum of Modern Art

text: Artforum

text: Royal Academy of Arts

text: American art

text: Hermitage Museum

text: LGBT

text: Freedom to Marry

text: AIDS

text: ACT UP

text: heart failure

text: Beth Israel Medical Center

text: The New York Times

text: Robert Goldwater

text: Jean-Louis Bourgeois

text: Maman

text: Tate Modern's

text: installed at the Qatar National Convention Centre

text: Doha

text: Qatar

text: Maman

text: printmaking

text: Atelier 17

text: The Museum of Modern Art

text: catalogue raisonné

text: "Louise Bourgeois: The Complete Prints & Books."

text: Tracey Emin

text: San Francisco Museum of Modern Art

text: San Francisco

text: Art Institute of Chicago

text: Chicago

text: New York City

text: Storm King Art Center

text: Mountainville

text: The Museum of Modern Art

text: New York City

text: Metropolitan Museum of Art

text: New York City

text: Albright-Knox Art Gallery

text: Buffalo

text: Dallas Museum of Art

text: Dallas

text: Venice Biennale

text: Venice, Italy

text: Chicago

text: The Museum of Modern Art

text: New York City

text: San Francisco Museum of Modern Art

text: San Francisco

text: Brooklyn Museum

text: Brooklyn

text: The Corcoran Gallery of Art

text: Washington, D.C.

text: Galerie Rudolfinum

text: Prague

text: Maman

text: Kansas City

text: Maman

text: Guggenheim Museum Bilbao

text: Bilbao

text: Verona

text: Maman

text: Tate Modern

text: London

text: Centre Georges Pompidou

text: Paris

text: Solomon R. Guggenheim Museum

text: New York City

text: Inverleith House

text: Edinburgh

text: National Museum of Capodimonte

text: Naples

text: Maison de Balzac

text: Paris

text: Fondazione Vedova

text: Venice

text: Hauser & Wirth

text: London

text: Fondation Beyeler

text: Riehen

text: Fundación Proa

text: Buenos Aires

text: Instituto Tomie Ohtake

text: São Paulo

text: Museu de Arte Moderna

text: Rio de Janeiro

text: National Gallery of Canada

text: Ottawa, Ontario

text: Qatar Museums Authority

text: Doha

text: Qatar

text: Freud Museum

text: Heide Museum of Modern Art

text: Museum of Contemporary Canadian Art

text: Middlesbrough Institute of Modern Art

text: Southampton City Art Gallery

text: Haus der Kunst

text: Munich

text: Germany

text: Moderna Museet

text: Stockholm

text: Sweden

text: Guggenheim Museum, Bilbao

text: Spain

text: Kistefos-Museet

text: Jevnaker

text: Norway

text: San Francisco Museum of Modern Art

text: Tel Aviv Museum of Art

text: Tel Aviv

text: Israel

text: The Museum of Modern Art

text: Schinkel Pavillon

text: Berlin

text: Glenstone Museum

text: Potomac, MD

text: United States

text: Yale University

text: American Academy of Arts and Sciences

text: National Academy of Design

text: Edward MacDowell Medal

text: MacDowell Colony

text: Lifetime Achievement in Contemporary Sculpture Award

text: National Medal of Arts

text: Praemium Imperiale

text: Golden Lion

text: Venice Biennale

text: Wolf Foundation Prize

text: Austrian Decoration for Science and Art

text: National Order of the Legion of Honour

text: National Women's Hall of Fame

text: National Gallery of Art

text: Museum of Modern Art

text: SFMoMA

text: Tate

text: Centre Pompidou

text: Ginny Williams

text: Agnes Gund

text: Ydessa Hendeles

text: Ursula Hauser

text: Goetz Collection

text: Hauser & Wirth

text: Xavier Hufkens

text: Spider

text: Christie's

text: $28.2 million

text: The Museum of Fine Arts, Houston

text: Louise Bourgeois

text: Louise Bourgeois: The Complete Prints & Books

text: Louise Bourgeois

text: Hauser & Wirth

text: 'My art is a form of restoration'

text: Rachel Cooke

text: Louise Bourgeois

text: Louise Bourgeois

text: Xavier Hufkens

text: Louise Bourgeois: À L’Infini. Exhibition at Fondation Beyeler

text: Webcam of the sculpture "Maman" outside of the National Gallery of Canada, Ottawa

text: Louise Bourgeois

text: Louise Bourgeois

text: Louise Bourgeois | HOW TO SEE the artist with MoMA Chief Curator Emerita Deborah Wye

text: Louise Bourgeois | HOW TO SEE the artist with Sewon Kang

categories: French installation artists,Art Students League of New York alumni,21st-century French sculptors,20th-century French sculptors,Legion of Honour recipients,Members of the American Academy of Arts and Letters,2010 deaths,Recipients of the Austrian Decoration for Science and Art,French contemporary artists,1911 births,Recipients of the Praemium Imperiale,21st-century American sculptors,Artists from Paris,Alumni of the École des Beaux-Arts,École du Louvre alumni,Golden Lion winners,20th-century American women artists,Sculptors from New York (state),Alumni of the Académie Julian,Wolf Prize in Arts laureates,20th-century American sculptors,21st-century American women artists,Fellows of the American Academy of Arts and Sciences,People with acquired American citizenship,French women artists,American women printmakers,20th-century American printmakers,Abstract expressionist artists,United States National Medal of Arts recipients

paragraph: Louise Bourgeois

paragraph: Louise Joséphine Bourgeois (; 25 December 191131 May 2010) was a French-American artist. Although she is best known for her large-scale sculpture and installation art, Bourgeois was also a prolific painter and printmaker. She explored a variety of themes over the course of her long career including domesticity and the family, sexuality and the body, as well as death and the subconscious. These themes connect to events from her childhood which she considered to be a therapeutic process. Although Bourgeois exhibited with the Abstract Expressionists and her work has much in common with Surrealism and Feminist art, she was not formally affiliated with a particular artistic movement.

paragraph: Section::::Life.

paragraph: Section::::Life.:Early life.

paragraph: Bourgeois was born on 25 December 1911 in Paris, France. She was the second child of three born to parents Joséphine Fauriaux and Louis Bourgeois. She had an older sister and a younger brother. Her parents owned a gallery that dealt primarily in antique tapestries. A few years after her birth, her family moved out of Paris and set up a workshop for tapestry restoration below their apartment in Choisy-le-Roi, for which Bourgeois filled in the designs where they had become worn. The lower part of the tapestries were always damaged which was usually the characters' feet and animals' paws.

paragraph: In 1930, Bourgeois entered the Sorbonne to study mathematics and geometry, subjects that she valued for their stability, saying "I got peace of mind, only through the study of rules nobody could change."

paragraph: Her mother died in 1932, while Bourgeois was studying mathematics. Her mother's death inspired her to abandon mathematics and to begin studying art. She continued to study art by joining classes where translators were needed for English-speaking students, in which those translators were not charged tuition. In one such class Fernand Léger saw her work and told her she was a sculptor, not a painter. Bourgeois took a job as a docent, leading tours at the Musée de Louvre.

paragraph: Bourgeois graduated from the Sorbonne 1935. She began studying art in Paris, first at the École des Beaux-Arts and École du Louvre, and after 1932 in the independent academies of Montparnasse and Montmartre such as Académie Colarossi, Académie Ranson, Académie Julian, Académie de la Grande Chaumière and with André Lhote, Fernand Léger, Paul Colin and Cassandre. Bourgeois had a desire for first-hand experience, and frequently visited studios in Paris, learning techniques from the artists and assisting with exhibitions.

paragraph: She opened a print shop next door to her father's tapestry gallery, where she met as a customer the visiting American art professor Robert Goldwater. They married and moved to the United States (where he taught at New York University). They had three sons (one adopted) and the marriage lasted until his death in 1973.

paragraph: Bourgeois settled in New York City with her husband in 1938. She studied at the Art Students League of New York, studying painting under Vaclav Vytlacil, and also producing sculptures and prints. "The first painting had a grid: the grid is a very peaceful thing because nothing can go wrong ... everything is complete. There is no room for anxiety ... everything has a place, everything is welcome."

paragraph: Bourgeois incorporated those autobiographical references to her sculpture "Quarantania I", on display in the Cullen Sculpture Garden at the Museum of Fine Arts, Houston.

paragraph: Section::::Life.:Middle years.

paragraph: For Bourgeois the early 1940s represented the difficulties of a transition to a new country and the struggle to enter the exhibition world of New York City. Her work during this time was constructed from junkyard scraps and driftwood which she used to carve upright wood sculptures. The impurities of the wood were then camouflaged with paint, after which nails were employed to invent holes and scratches in the endeavor to portray some emotion. The "Sleeping Figure" is one such example which depicts a war figure that is unable to face the real world due to vulnerability. Throughout her life, Bourgeois's work was created from revisiting of her own troubled past as she found inspiration and temporary catharsis from her childhood years and the abuse she suffered from her father. Slowly she developed more artistic confidence, although her middle years are more opaque, which might be due to the fact that she received very little attention from the art world despite having her first solo show in 1945. In 1951, her father died and she became an American citizen.

paragraph: In 1954, Bourgeois joined the American Abstract Artists Group, with several contemporaries, among them Barnett Newman and Ad Reinhardt. At this time she also befriended the artists Willem de Kooning, Mark Rothko, and Jackson Pollock.

paragraph: As part of the American Abstract Artists Group, Bourgeois made the transition from wood and upright structures to marble, plaster and bronze as she investigated concerns like fear, vulnerability and loss of control. This transition was a turning point. She referred to her art as a series or sequence closely related to days and circumstances, describing her early work as the fear of falling which later transformed into the art of falling and the final evolution as the art of hanging in there. Her conflicts in real life empowered her to authenticate her experiences and struggles through a unique art form. In 1958, Bourgeois and her husband moved into a terraced house at West 20th Street, in Chelsea, Manhattan, where she lived and worked for the rest of her life.

paragraph: Despite the fact that she rejected the idea that her art was feminist, Bourgeois's subject was the feminine. Works such as Femme Maison (1946-1947), Torso self-portrait (1963-1964), Arch of Hysteria (1993), all depict the feminine body. In the late 1960s, her imagery became more explicitly sexual as she explored the relationship between men and women and the emotional impact of her troubled childhood. Sexually explicit sculptures such as Janus Fleuri, (1968) show she was not afraid to use the female form in new ways. She has been quoted to say "My work deals with problems that are pre-gender," she wrote. "For example, jealousy is not male or female." With the rise of feminism, her work found a wider audience. Despite this assertion, in 1976 "Femme Maison" was featured on the cover of Lucy Lippard's book "From the Center: Feminist Essays on Women's Art" and became an icon of the feminist art movement.

paragraph: Section::::Life.:Later life.

paragraph: In 1973, Bourgeois started teaching at the Pratt Institute, Cooper Union, Brooklyn College and the New York Studio School of Drawing, Painting and Sculpture. From 1974 until 1977, Bourgeois worked at the School of Visual Arts in New York where she taught printmaking and sculpture. She also taught for many years in the public schools in Great Neck, Long Island.

paragraph: In the early 1970s, Bourgeois held gatherings called "Sunday, bloody Sundays" at her home in Chelsea. These salons would be filled with young artists and students whose work would be critiqued by Bourgeois. Bourgeois's ruthlessness in critique and her dry sense of humor led to the naming of these meetings. Bourgeois inspired many young students to make art that was feminist in nature. However, Louise's long-time friend and assistant, Jerry Gorovoy, has stated that Louise considered her own work "pre-gender".

paragraph: Bourgeois aligned herself with activists and became a member of the Fight Censorship Group, a feminist anti-censorship collective founded by fellow artist Anita Steckel. In the 1970s, the group defended the use of sexual imagery in artwork. Steckel argued, "If the erect penis is not wholesome enough to go into museums, it should not be considered wholesome enough to go into women."

paragraph: In 1978 Bourgeois was commissioned by the General Services Administration to create "Facets of the Sun", her first public sculpture. The work was installed outside of a federal building in Manchester, New Hampshire.

paragraph: Bourgeois received her first retrospective in 1982, by the Museum of Modern Art in New York City. Until then, she had been a peripheral figure in art whose work was more admired than acclaimed. In an interview with "Artforum", timed to coincide with the opening of her retrospective, she revealed that the imagery in her sculptures was wholly autobiographical. She shared with the world that she obsessively relived through her art the trauma of discovering, as a child, that her English governess was also her father's mistress.

paragraph: In 1989, Bourgeois made a drypoint etching, "Mud Lane", of the home she maintained in Stapleton, Staten Island, which she treated as a sculptural environment rather than a living space.

paragraph: Bourgeois had another retrospective in 1989 at Documenta 9 in Kassel, Germany. In 1993, when the Royal Academy of Arts staged its comprehensive survey of American art in the 20th century, the organizers did not consider Bourgeois's work of significant importance to include in the survey. However, this survey was criticized for many omissions, with one critic writing that "whole sections of the best American art have been wiped out" and pointing out that very few women were included. In 2000 her works were selected to be shown at the opening of the Tate Modern in London.

paragraph: In 2001, she showed at the Hermitage Museum.

paragraph: In 2010, in the last year of her life, Bourgeois used her art to speak up for Lesbian, Gay, Bisexual and Transgender (LGBT) equality. She created the piece "I Do", depicting two flowers growing from one stem, to benefit the nonprofit organization Freedom to Marry. Bourgeois has said "Everyone should have the right to marry. To make a commitment to love someone forever is a beautiful thing." Bourgeois had a history of activism on behalf of LGBT equality, having created artwork for the AIDS activist organization ACT UP in 1993.

paragraph: Section::::Life.:Death.

paragraph: Bourgeois died of heart failure on 31 May 2010, at the Beth Israel Medical Center in Manhattan.

paragraph: "The New York Times" said that her work "shared a set of repeated themes, centered on the human body and its need for nurture and protection in a frightening world."

paragraph: Her husband, Robert Goldwater, died in 1973. She was survived by two sons, Alain Bourgeois and Jean-Louis Bourgeois. Her first son, Michel, died in 1990.

paragraph: Section::::Work.

paragraph: Section::::Work.:"Femme Maison".

paragraph: "Femme Maison" (1946–47) is a series of paintings in which Bourgeois explores the relationship of a woman and the home. In the works, women's heads have been replaced with houses, isolating their bodies from the outside world and keeping their minds domestic. This theme goes along with the dehumanization of modern art.

paragraph: Section::::Work.:"Destruction of the Father".

paragraph: "Destruction of the Father" (1974) is a biographical and a psychological exploration of the power dominance of father and his offspring. The piece is a flesh-toned installation in a soft and womb-like room. Made of plaster, latex, wood, fabric, and red light, "Destruction of the Father" was the first piece in which she used soft materials on a large scale. Upon entering the installation, the viewer stands in the aftermath of a crime. Set in a stylized dining room (with the dual impact of a bedroom), the abstract blob-like children of an overbearing father have rebelled, murdered, and eaten him.

paragraph: Section::::Work.:Exorcism in Art.

paragraph: In 1982, The Museum of Modern Art in New York City featured unknown artist, Louise Bourgeois's work. She was 70 years old and a mixed media artist who worked on paper, with metal, marble and animal skeletal bones. Childhood family traumas "bred an exorcism in art" and she desperately attempted to purge her unrest with her work. She felt she could get in touch with issues of female identity, the body, the fractured family, long before the art world and society considered them expressed subjects in art. This was Bourgeous's way to find her center and stabilize her emotional unrest. The New York Times said at the time that "her work is charged with tenderness and violence, acceptance and defiance, ambivalence and conviction."

paragraph: Section::::Work.:"Cells".

paragraph: While in her eighties, Bourgeois produced two series of enclosed installation works she referred to as "Cells". Many are small enclosures into which the viewer is prompted to peer inward at arrangements of symbolic objects; others are small rooms into which the viewer is invited to enter. In the cell pieces, Bourgeois uses earlier sculptural forms, found objects as well as personal items that carried strong personal emotional charge for the artist.

paragraph: The cells enclose psychological and intellectual states, primarily feelings of fear and pain. Bourgeois stated that the Cells represent "different types of pain; physical, emotional and psychological, mental and intellectual ... Each Cell deals with a fear. Fear is pain ... Each Cell deals with the pleasure of the voyeur, the thrill of looking and being looked at."

paragraph: Section::::Work.:"Maman".

paragraph: In the late 1990s, Bourgeois began using the spider as a central image in her art. "Maman", which stands more than nine metres high, is a steel and marble sculpture from which an edition of six bronzes were subsequently cast. It first made an appearance as part of Bourgeois's commission for The Unilever Series for Tate Modern's Turbine Hall in 2000, and recently, the sculpture was installed at the Qatar National Convention Centre in Doha, Qatar. Her largest spider sculpture titled "Maman" stands at over and has been installed in numerous locations around the world.

paragraph: It is the largest Spider sculpture ever made by Bourgeois.

paragraph: Moreover, Maman alludes to the strength of her mother, with metaphors of spinning, weaving, nurture and protection. The prevalence of the spider motif in her work has given rise to her nickname as "Spiderwoman".

paragraph: Section::::Work.:"Maisons fragiles / Empty Houses".

paragraph: Bourgeois's Maisons fragiles / Empty Houses sculptures are parallel, high metallic structures supporting a simple tray. One must see them in person to feel their impact. They are not threatening or protecting, but bring out the depths of anxiety within you. Bachelard's findings from psychologists' tests show that an anxious child will draw a tall narrow house with no base. Bourgeois had a rocky/traumatic childhood and this could support the reason behind why these pieces were constructed.

paragraph: Section::::Work.:Printmaking.

paragraph: Bourgeois's printmaking flourished during the early and late phases of her career: in the 1930s and 1940s, when she first came to New York from Paris, and then again starting in the 1980s, when her work began to receive wide recognition. Early on, she made prints at home on a small press, or at the renowned workshop Atelier 17. That period was followed by a long hiatus, as Bourgeois turned her attention fully to sculpture. It was not until she was in her seventies that she began to make prints again, encouraged first by print publishers. She set up her old press, and added a second, while also working closely with printers who came to her house to collaborate. A very active phase of printmaking followed, lasting until the artist's death. Over the course of her life, Bourgeois created approximately 1,500 printed compositions.

paragraph: In 1990, Bourgeois decided to donate the complete archive of her printed work to The Museum of Modern Art. In 2013, The Museum launched the online catalogue raisonné, "Louise Bourgeois: The Complete Prints & Books." The site focuses on the artist's creative process and places Bourgeois's prints and illustrated books within the context of her overall production by including related works in other mediums that deal with the same themes and imagery.

paragraph: Section::::Work.:Pervasive themes.

paragraph: One theme of Bourgeois's work is that of childhood trauma and hidden emotion. After Louise's mother became sick with influenza Louise's father began having affairs with other women, most notably with Sadie, Louise's English tutor. Louise was extremely watchful and aware of the situation. This was the beginning of the artist's engagement with double standards related to gender and sexuality, which was expressed in much of her work. She recalls her father saying "I love you" repeatedly to her mother, despite infidelity. "He was the wolf, and she was the rational hare, forgiving and accepting him as he was." Her 1993 work "Cell: You Better Grow Up", part of her "Cell" series, speaks directly to Louise's childhood trauma and the insecurity that surrounded her. 2002's "Give or Take" is defined by hidden emotion, representing the intense dilemma that people face throughout their lives as they attempt to balance the actions of giving and taking. This dilemma is not only represented by the shape of the sculpture, but also the heaviness of the material this piece is made of.

paragraph: Architecture and memory are important components of Bourgeois's work. In numerous interviews, Louise describes architecture as a visual expression of memory, or memory as a type of architecture. The memory which is featured in much of her work is an invented memory - about the death or exorcism of her father. The imagined memory is interwoven with her real memories including living across from a slaughterhouse and her father's affair. To Louise her father represented injury and war, aggrandizement of himself and belittlement of others and most importantly a man who represented betrayal. Her 1993 work "Cell (Three White Marble Spheres)" speaks to fear and captivity. The mirrors within the present an altered and distorted reality.

paragraph: Sexuality is undoubtedly one of the most important themes in the work of Louise Bourgeois. The link between sexuality and fragility or insecurity is also powerful. It has been argued that this stems from her childhood memories and her father's affairs. 1952's "Spiral Woman" combines Louise's focus on female sexuality and torture. The flexing leg and arm muscles indicate that the Spiral Woman is still above though she is being suffocated and hung. 1995's "In and Out" uses cold metal materials to link sexuality with anger and perhaps even captivity.

paragraph: The spiral in her work demonstrates the dangerous search for precarious equilibrium, accident-free permanent change, disarray, vertigo, whirlwind. There lies the simultaneously positive and negative, both future and past, breakup and return, hope and vanity, plan and memory.

paragraph: Louise Bourgeois's work is powered by confessions, self-portraits, memories, fantasies of a restless being who is seeking through her sculpture a peace and an order which were missing throughout her childhood.

paragraph: Section::::Work.:Collaboration.

paragraph: Section::::Work.:Collaboration.:Do Not Abandon Me.

paragraph: This collaboration took place over a span of two years with British artist Tracey Emin. The work was exhibited in London months after Bourgeois's death in 2010. The subject matter consists of male and female images. Although they appear sexual, it portrays a tiny female figure paying homage to a giant male figure, like a God. Louise Bourgeois did the water colors and Tracey Emin did the drawing on top. It took Emin two years to decide how to figure out what she would contribute in the collaboration. When she knew what to do, she finished all of the drawings in a day and believes every single one worked out perfectly. "I Lost You" is about losing children, losing life. Bourgeois had to bury her son as a parent. Abandonment for her is not only about losing her mother but her son as well. Despite the age gap between the two artists and differences in their work, the collaboration worked out gently and easily.

paragraph: Section::::Selected works.

paragraph: Section::::Selected works.:Bibliography.

paragraph: BULLET::::- 1982

paragraph: BULLET::::- 1994

paragraph: BULLET::::- 1994

paragraph: BULLET::::- 1996

paragraph: BULLET::::- 1998

paragraph: BULLET::::- 2000

paragraph: BULLET::::- 2001

paragraph: BULLET::::- 2001

paragraph: BULLET::::- 2008

paragraph: BULLET::::- 2011

paragraph: BULLET::::- 2012

paragraph: Section::::Selected works.:Documentary.

paragraph: BULLET::::- 1987

paragraph: BULLET::::- 2008

paragraph: Section::::Selected works.:Exhibitions.

paragraph: BULLET::::- 1947Persistent Antagonism at San Francisco Museum of Modern Art, San Francisco.

paragraph: BULLET::::- 1949Untitled at Art Institute of Chicago, Chicago.

paragraph: BULLET::::- 1967Untitled at National Academy of Design, New York City.

paragraph: BULLET::::- 1972Number Seventy-Two at Storm King Art Center, Mountainville.

paragraph: BULLET::::- 1982Louise Bourgeois, at The Museum of Modern Art, New York City.

paragraph: BULLET::::- 1982Eyes, marble sculpture, at Metropolitan Museum of Art, New York City.

paragraph: BULLET::::- 1984Nature Study: Eyes at Albright-Knox Art Gallery, Buffalo.

paragraph: BULLET::::- 1992Sainte Sebastienne at Dallas Museum of Art, Dallas.

paragraph: BULLET::::- 1993Loiuse Bourgeois: Recent Work at U.S. Pavilion, 45th Venice Biennale, Venice, Italy.

paragraph: BULLET::::- 1993"Helping Hands" in permanent display at Chicago Women's Park & Gardens as of 2011, Chicago.

paragraph: BULLET::::- 1994The Prints of Louise Bourgeois at The Museum of Modern Art, New York City.

paragraph: BULLET::::- 1994The Nest at San Francisco Museum of Modern Art, San Francisco.

paragraph: BULLET::::- 1994Louise Bourgeois: The Locus of Memory, Works 1982-1993 at the Brooklyn Museum, Brooklyn and The Corcoran Gallery of Art, Washington, D.C.

paragraph: BULLET::::- 1995Louise Bourgeois: The Locus of Memory, Works 1982-1993 at Galerie Rudolfinum, Prague.

paragraph: BULLET::::- 1997Maman at Kemper Museum of Contemporary Art, Kansas City.

paragraph: BULLET::::- 1999Maman at Guggenheim Museum Bilbao, Bilbao.

paragraph: BULLET::::- 2000Fallen Woman at Galleria d'arte moderna Palazzo Forti, Verona.

paragraph: BULLET::::- 2007Maman at Tate Modern, London.

paragraph: BULLET::::- 2008Louise Bourgeois at Centre Georges Pompidou, Paris, Exhibition date: 5 March 2008 - 2 June 2008.

paragraph: BULLET::::- 2008Louise Bourgeois Full Career Retrospective at Solomon R. Guggenheim Museum, New York City.

paragraph: BULLET::::- 2008Nature Study, at Inverleith House, Edinburgh.

paragraph: BULLET::::- 2008Louise Bourgeois for Capodimonte, at National Museum of Capodimonte, Naples.

paragraph: BULLET::::- 2009Louise Bourgeois: Moi, Eugénie Grandet, un processus d'identification, at Maison de Balzac, Paris.

paragraph: BULLET::::- 2010Louise Bourgeois: The Fabric Works, at Fondazione Vedova, Venice. Travelling to Hauser & Wirth, London.

paragraph: BULLET::::- 2011Louise Bourgeois: À L'Infini, at Fondation Beyeler, Riehen, Exhibition date: 3 Sep 2011 - 8 Jan 2012.

paragraph: BULLET::::- 2011Louise Bourgeois. The Return of the Repressed, at Fundación Proa, Buenos Aires.Travelling to Instituto Tomie Ohtake, São Paulo and Museu de Arte Moderna, Rio de Janeiro.

paragraph: BULLET::::- 2011Louise Bourgeois (1911-2010) at the National Gallery of Canada, Ottawa, Ontario, Canada, Exhibition date: 21 Apr 2011 - 18 Mar 2012.

paragraph: BULLET::::- 2012Louise Bourgeois: Conscious and Unconscious at the Qatar Museums Authority Gallery, Katara, Doha, Qatar, Exhibition date: 20 Jan 2012 - 1 Jun 2012.

paragraph: BULLET::::- 2012Louise Bourgeois: The Return of The Repressed at Freud Museum, Exhibition date: 7 March 2012 - 27 May 2012.

paragraph: BULLET::::- 2012Louise Bourgeois: Late Works at Heide Museum of Modern Art, Exhibition date: 24 November 2012 - 11 March 2013.

paragraph: BULLET::::- 2013Louise Bourgeois 1911-2010 at Museum of Contemporary Canadian Art, Exhibition date: 22 June 2013 - 11 Aug 2013.

paragraph: BULLET::::- 2014Louise Bourgeois: A Woman Without Secrets at Middlesbrough Institute of Modern Art, Exhibition date: 18 Jul 2014 - 12 Oct 2014.

paragraph: BULLET::::- 2015ARTIST ROOMS: Louise Bourgeois: A Woman Without Secrets at Southampton City Art Gallery, Exhibition date: 16 Jan 2015 - 18 April 2015.

paragraph: BULLET::::- 2015Louise Bourgeois. Structures of Existence: the Cells at Haus der Kunst, Munich, Germany, Exhibition date: 27 Feb 2015 - 2 Aug 2015.

paragraph: BULLET::::- 2015Louise Bourgeois: I Have Been to Hell and Back at Moderna Museet, Stockholm, Sweden, Exhibition date: 14 Feb 2015 - 17 May 2015.

paragraph: BULLET::::- 2016Louise Bourgeois: Structures of Existence: The Cells at Guggenheim Museum, Bilbao, Spain, Exhibition date: 18 March 2016 - 4 September 2016.

paragraph: BULLET::::- 2017Louise Bourgeois: Human Nature: Doing, Undoing, Redoing at Kistefos-Museet, Jevnaker, Norway, Exhibition date: 21 May 2017 - 9 Oct 2017.

paragraph: BULLET::::- 2017Louise Bourgeois: Spiders at San Francisco Museum of Modern Art, Exhibition date: 7 Oct 2017 - 4 Sept 2018.

paragraph: BULLET::::- 2017Louise Bourgeois: Twosome at Tel Aviv Museum of Art, Tel Aviv, Israel, Exhibition date: 7 Sept 2017 - 17 Feb 2018.

paragraph: BULLET::::- 2017Louise Bourgeois: An Unfolding Portrait at The Museum of Modern Art, Exhibition date: 24 Sept 2017 - 28 Jan 2018.

paragraph: BULLET::::- 2018Louise Bourgeois: The Empty House at Schinkel Pavillon, Berlin, Exhibition date: 21 April 2018 - 29 July 2018.

paragraph: BULLET::::- 2018Louise Bourgeois: To Unravel a Torment at Glenstone Museum, Potomac, MD, United States, Exhibition date: 10 May 2017 - 1 Jan 2020.

paragraph: Section::::Honors and awards.

paragraph: BULLET::::- 1977: Honorary doctorate from Yale University

paragraph: BULLET::::- 1981: Fellow of the American Academy of Arts and Sciences

paragraph: BULLET::::- 1990: Elected into National Academy of Design

paragraph: BULLET::::- 1990: Edward MacDowell Medal, MacDowell Colony, Peterborough, NH.

paragraph: BULLET::::- 1991: Lifetime Achievement in Contemporary Sculpture Award (Hamilton, New Jersey, USA)

paragraph: BULLET::::- 1997: National Medal of Arts

paragraph: BULLET::::- 1999: Praemium Imperiale for lifetime achievement

paragraph: BULLET::::- 1999: Golden Lion at the Venice Biennale

paragraph: BULLET::::- 2003: Wolf Foundation Prize in the Arts (Jerusalem)

paragraph: BULLET::::- 2005: Austrian Decoration for Science and Art

paragraph: BULLET::::- 2008: National Order of the Legion of Honour

paragraph: BULLET::::- 2009: "Commandeur" of the pataphysical Ordre de la Grande Gidouille.

paragraph: BULLET::::- 2009: Honored by the National Women's Hall of Fame

paragraph: Section::::Collections.

paragraph: Major holdings of her work include the National Gallery of Art in Washington, D.C.; the Museum of Modern Art in New York; the SFMoMA in San Francisco; Tate in London; Centre Pompidou in Paris. Througout her career, Bourgeois knew many of her core collectors, such as Ginny Williams, Agnes Gund, Ydessa Hendeles and Ursula Hauser. Other private collections with notable Bourgeois pieces include the Goetz Collection in Munich.

paragraph: Section::::Art market.

paragraph: Bourgeois started working with Hauser & Wirth in 1997. Since Cheim & Read closed, Hauser & Wirth has been the principal gallery for her estate. Others, such as Kukje Gallery in Seoul and Xavier Hufkens in Brussels continue to deal in her work.

paragraph: In 2011 one of Bourgeois's works, titled "Spider", sold for $10.7 million, a new record price for the artist at auction, and the highest price paid for a work by a woman at the time. In late 2015, the piece sold at another Christie's auction for $28.2 million.

paragraph: Section::::External links.

paragraph: Louise Bourgeois in The Museum of Fine Arts, Houston: https://www.mfah.org/blogs/inside-mfah/a-confessional-sculpture-by-louise-bourgeois

paragraph: BULLET::::- Louise Bourgeois in The Museum of Modern Art Online Collection

paragraph: BULLET::::- "Louise Bourgeois: The Complete Prints & Books" - The Museum of Modern Art

paragraph: BULLET::::- Louise Bourgeois at Hauser & Wirth

paragraph: BULLET::::- 'My art is a form of restoration', interview with Rachel Cooke for "The Observer", 14 October 2007

paragraph: BULLET::::- Louise Bourgeois at the Qatar National Convention Center

paragraph: BULLET::::- Louise Bourgeois at Xavier Hufkens

paragraph: BULLET::::- Louise Bourgeois: À L’Infini. Exhibition at Fondation Beyeler Exhibition and interview with curator Dr. Ulf Küster (video)

paragraph: BULLET::::- Webcam of the sculpture "Maman" outside of the National Gallery of Canada, Ottawa

paragraph: BULLET::::- Louise Bourgeois Louise Bourgeois's Exhibition at Fundació Antoni Tàpies 6/11/1990 - 6/1/1991

paragraph: BULLET::::- Louise Bourgeois at Schinkel Pavillon Berlin

paragraph: BULLET::::- Louise Bourgeois | HOW TO SEE the artist with MoMA Chief Curator Emerita Deborah Wye

paragraph: BULLET::::- Louise Bourgeois | HOW TO SEE the artist with Sewon Kang

description: American and French sculptor

enwikiquote_title: Louise Bourgeois

wikidata_label: Louise Bourgeois

wikipedia_title: Louise Bourgeois


text:
Paris
Jean-Baptiste Lully
Jean-Louis
Pierre Vignon
Marin Marais
Alcide
Orphée
accompanied recitative

categories: French male classical composers,French musicians,French ballet composers,1734 deaths,1664 births,18th-century classical composers,French people of Italian descent,French classical composers,French Baroque composers,Musicians from Paris

paragraph: Louis Lully

paragraph: Louis Lully (4 August 1664 in Paris – 1 April 1734) was a French musician and the eldest son of Jean-Baptiste Lully.

paragraph: Louis Lully was the second child (after Catherine-Madeleine Lully) and eldest son of Jean-Baptiste Lully and his wife Madeleine Lambert. He married Marthe Bourgeois on 27 December 1694, in St. Martial de Paris, "with the tacit and verbal consent of Madeleine Lambert, his mother, to whom a summons had been made". Five children were born of this marriage, in the parish of Saint-Paul in Paris, between 1695 and 1705, including a son, Louis-André Lully, who married Suzanne-Catherine Cartaud, aged 17, daughter of architect Jean-Silvain Cartaud, in St. Germain l'Auxerrois. The son survived Louis Lully by only a little over a year, dying in Paris on 21 July 1735 .

paragraph: Nearly disinherited by his father following dissolute behaviour and imprisonment, Louis did not have the brilliant career anticipated for him, not only because of his behaviour but also due to his lack of talent. What success he had as an opera composer was mostly down to works written in collaboration with others. For example, he collaborated with his brother Jean-Louis and Pierre Vignon on "Zéphire et Flore" (ballet, 1688), and with Marin Marais on "Alcide" (tragédie lyrique, 1693). The one work he composed on his own, "Orphée" (tragédie lyrique, 1690), was badly received when it was performed, though historians find it important for the prominence given in it to accompanied recitative .

description: French Baroque composer

wikidata_label: Louis Lully

wikipedia_title: Louis Lully


text:
Amsterdam
Brussels
Southern Netherlands
Antwerp Guild
Deurne
Brussels
The Hague

categories: 1660 births,1727 deaths,Artists from Amsterdam,Dutch engravers

paragraph: Jacobus Harrewijn

paragraph: Jacobus Harrewijn (baptized 15 September 1660 in Amsterdam – buried 10 June 1727 in Brussels) was an engraver who was mostly active in the Southern Netherlands. He married in 1682 in Amsterdam, but joined the Antwerp Guild in 1688. He remarried in 1689 in Deurne and is known to have worked in Brussels from 1695 to 1714. Some sources have him continue his work from 1727 to 1732 in The Hague, which would be inconsistent with his death date from other sources.

alias:
Jacob Harrewijn
Jacobus Harrewÿn
Jacobus Harrevyn
Jacobus Harrewyn

description: engraver

wikidata_label: Jacobus Harrewijn

wikipedia_title: Jacobus Harrewijn


text:
Saint-Malo
Saint-Malo
Voltaire
La Henriade
Télémaque
Mercure de France
Mme Geoffrin
Académie française

categories: 18th-century French writers,People from Saint-Malo,18th-century male writers,1770 deaths,French male writers,1697 births

paragraph: Nicolas-Charles-Joseph Trublet

paragraph: Nicolas Charles Joseph Trublet (4 December 1697, Saint-Malo – 14 March 1770, Saint-Malo) was a French churchman (canon of Saint-Malo) and moralist, best known for his clash with Voltaire, whose "La Henriade" he critiqued.

paragraph: Section::::Works.

paragraph: BULLET::::- "Réflexions sur Télémaque" (1717)

paragraph: BULLET::::- "Essais sur divers sujets de littérature et de morale" (1735). Édition en 2 volumes : 1749. Édition en 4 volumes : 1754-60. Réédition : Slatkine, Genève, 1968.

paragraph: BULLET::::- "Panégyriques des saints, précédés de Réflexions sur l'éloquence en général, et sur celle de la chaire en particulier" (1755)

paragraph: BULLET::::- "Mémoires pour servir à l'histoire de la vie et des ouvrages de M. de Fontenelle, tirés du « Mercure de France », 1756, 1757 et 1758" (1759)

paragraph: BULLET::::- "Un journal de la vie littéraire au XVIIIe siècle : La correspondance de l'Abbé Trublet, documents inédits sur Voltaire, La Beaumelle, Malesherbes, Fontenelle, Mme Geoffrin, La Condamine, etc." (1926)

paragraph: Section::::External links.

paragraph: BULLET::::- Académie française

description: French writer

wikidata_label: Nicolas-Charles-Joseph Trublet

wikipedia_title: Nicolas-Charles-Joseph Trublet


text: Simón Bolívar

text: Venezuela

text: Antonio José de Sucre

text: Bolivia

text: Cork

text: Ireland

text: Protestant

text: Roger O'Connor

text: Arthur O'Connor

text: France

text: Robert Emmet

text: United Irishmen

text: MP

text: Chartist

text: Feargus O'Connor

text: Dangan Castle

text: Roderic

text: Francis Burdett

text: Simon Bolivar

text: William Aylmer

text: Margarita Island

text: Riohacha

text: Cartagena

text: Santa Marta

text: Mariano Montilla

text: mutiny

text: Jamaica

text: Peru

text: Battle of Junín

text: Battle of Ayacucho

text: Antonio José de Sucre

text: Campaign in Upper Peru

text: Pedro Antonio Olañeta

text: Tarija

text: Erin

text: Battle of Montenegro

text: Bolivia

categories: Irish emigrants to Bolivia,1791 births,Bolivian politicians,1871 deaths,People of the Spanish American wars of independence

paragraph: Francisco Burdett O'Connor

paragraph: Francisco Burdett O'Connor (12 June 1791 - 5 October 1871) (born Francis Burdett O'Connor) was an officer in the Irish Legion of Simón Bolívar's army in Venezuela. He later became chief of staff to Antonio José de Sucre and minister of war in Bolivia.

paragraph: Section::::Family.

paragraph: Francis Burdett O'Connor was born in Cork, Ireland, into a prominent Protestant family. His parents were Roger O'Connor and Wilhamena Bowen. His uncle Arthur O'Connor (1753-1852) was the agent in France for Robert Emmet's rebellion of the United Irishmen. His brother was the MP and Chartist leader Feargus O'Connor (1794-1855). He spent much of his childhood in Dangan Castle, former childhood home of Arthur Wellesley, 1st Duke of Wellington.

paragraph: O'Connor's father Roger was known for his eccentricities. After his wife died in 1806, he became increasingly erratic. Matters worsened in 1809 when there was a serious fire that destroyed part of the house. Francisco wrote in his autobiography 60 years later that he had accidentally started the fire himself when melting lead to create bullets. In 1817 his father was arrested for allegedly organising a mail robbery. He was acquitted, but local rumours continued to blame him for the crime. The family no longer felt welcome in the area. Francis and his brother Feargus decided to leave, stealing horses from their brother Roderic, travelling to London and asking to be taken in by family friend M.P. Francis Burdett. Burdett looked after them, and Francisco later added his name to his surname.

paragraph: Section::::Venezuela and Colombia.

paragraph: In 1819, Francis O'Connor enlisted in the Latin American independence cause of Simon Bolivar, and sailed from Dublin with 100 officers and 101 men of the Irish Legion under the command of Colonel William Aylmer. The force arrived at Margarita Island off the coast of Venezuela in September 1819 to find that conditions were squalid and nothing was prepared. After losses through death and desertion, in March 1820 the force attacked the city of Riohacha on the mainland, which they temporarily occupied. Later the force was involved in the siege of Cartagena and the campaign against Santa Marta. However, the Irish soldiers became demoralized by the cautious and inept conduct of the war by General Mariano Montilla and indiscipline evolved into mutiny. In June, 1820 the force was disarmed and shipped to Jamaica.

paragraph: Section::::Peru and Bolivia.

paragraph: O’Connor joined the United Army of Liberation in Peru in 1824, and six months later Bolívar appointed him chief of staff. He fought at the Battle of Junín in August 1824 against heavy odds and chose the site of the Battle of Ayacucho. In 1825 Antonio José de Sucre chose him to direct the Campaign in Upper Peru, the final operation of the war, the pursuit and elimination of general Pedro Antonio Olañeta, the last royalist commander to offer resistance.

paragraph: In 1826 Francisco O'Connor was appointed military governor of Tarija. In 1827, he published a proclamation encouraging Irish people to settle in the 'New Erin' of Tarija. He was involved in the later wars between the successor states in South America, helping to defeat an Argentine army at the Battle of Montenegro in Bolivia on 24 June 1838.

paragraph: He died in Tarija on 5 October 1871 at eighty years of age. His memoirs entitled "Independencia Americana: Recuerdos de Francisco Burdett O'Connor" were published in 1895.

description: Bolivian politician

wikidata_label: Francisco Burdett O'Connor

wikipedia_title: Francisco Burdett O'Connor


text: murderer

text: Brooklyn

text: New York

text: United States

text: inquest

text: psychological assessment

text: committed

text: Auburn

text: New York press

text: New York Times

text: chief of police

text: Plymouth

text: Massachusetts

text: probate court

text: Boston

text: Taunton Lunatic Asylum

text: mania

text: milliner

text: teacher

text: New York City

text: Philadelphia

text: Hartford

text: alias

text: inmate

text: bonnets

text: Spring Street

text: personal ad

text: Brownstone

text: Fifth Avenue

text: trunks

text: Christian name

text: post-mortem

text: hearse

text: Albany

text: family vault

text: reward

text: suspect

text: New York detective

text: bail

text: undercover

text: petticoat

text: coroner

text: Glen's Falls

text: Gloversville

text: Albany

text: Manhattan

text: Fulton Ferry

text: fugitive

text: locket

text: Raymond Street Jail

text: New Jersey

text: boarding

text: Trenton, New Jersey

text: confession

text: seals

text: juror

text: courtroom

text: clerk's

text: counsel

text: testimonials

text: Fulton Street

text: Board of Police Commissioners

text: interrogation

text: verdict

text: remanded

text: county jail

text: watch over her to prevent a suicide attempt

text: Hyde Park

text: Bible

text: prayer book

text: Auburn

text: Poughkeepsie

text: ex post facto law

text: Alonzo B. Cornell

text: Governor of New York

text: petition

text: Abraham Lincoln

text: Fifth Avenue

text: Prospect Park

text: Staten Island

text: brig

text: Ann Jones

categories: People acquitted by reason of insanity,1847 births,People from Plymouth, Massachusetts,American female criminals,Crimes in New York City,American murderers,American female murderers,Year of death missing

paragraph: Lizzie Lloyd King

paragraph: Elizabeth Lloyd King (born 1847) was the alleged murderer of Charles Goodrich, whom she is said to have shot three times in the head on 20 March 1873 in Brooklyn, New York, United States. The murder was headline news in the city, until her capture more than three months after the event. Her inquest drew large crowds, and prisoner church sermons drew requests for attendance from the general public, some of whom were granted entry. After a year in jail, a psychological assessment deemed that she was unfit to stand trial, and she was committed to a life sentence at the State Lunatic Hospital at Auburn.

paragraph: Her inquest was held on the same day and at the same court as that for Mary Ann Dwyer, who had murdered her three children, making the story even more sensational for the New York press. The "New York Times" story headline the next day was ""TWO INSANE WOMEN"".

paragraph: The chief of police who handled her case, Patrick Campbell, would recall her case decades later as "a great one", and one of the most memorable of his career.

paragraph: Section::::Description.

paragraph: King was described as a "remarkable woman", who was "attractive in face, manner and figure, and was a fine musician". She was also intelligent:

paragraph: Section::::Early life.

paragraph: King was born Elizabeth Lloyd King in Plymouth, Massachusetts to Isaac B. King and Harriet A. Hoyt, and had an older sister. She was described to have a normal childhood, for which her mother could not recall King as having "ever said an immodest word". After puberty, "she grew more and more unnatural and strange", and led a troubled youth, leaving and returning to school at her whim. When in school, she did well in her studies.

paragraph: She left home shortly afterward. On 25 April 1867, a probate court in Boston committed her to the Taunton Lunatic Asylum, during which time she was also known as Alice Howard. Her attending physician was Norton Folsom, who indicated the "form of her disease was mania, which was manifested by excitement, irascibility, incoherence of speech and violent conduct", and that her condition was "caused by some disease peculiar to females". He indicated that by 10 May 1867, she appeared better. She was discharged on 10 September 1867. From then until 1873, she worked as a milliner and teacher in New York City, Philadelphia, and Hartford, not returning to her hometown during this period.

paragraph: Section::::Relationship with Charles Goodrich.

paragraph: In New York City, she roomed with Mary Handley at 45 Elizabeth Street from February 1872, until late June or early July of that year. Handley knew King by the name Kate Stoddard, an alias in recent use by her, and the name by which she was commonly known at the time. She was an inmate of the Working Women's Home, and worked as a milliner making straw bonnets at a warehouse on the corner of Broadway and Spring Street.

paragraph: King met Charles Goodrich after responding to a personal ad in a newspaper, identifying herself to him as Kate Stoddard. A relationship between King and the widower Goodrich ensued, established no later than early 1872. In a letter to Goodrich from early 1872, King refers to him as "my dear Charlie".

paragraph: She would write seven more letters to Goodrich between then and March 1873, and he would write to her five times. She would sign her letters to him using the alias Amy, or sometimes Kate. The letters indicate that the two had married on 20 May 1872, after which her letters to him are addressed "my dearest husband". Goodrich always addressed King as "Amy" in his letters to her.

paragraph: Her letters revealed that from June 1872 to February 1873, she had been living at a house on Degraw Street.

paragraph: His second letter to her after their marriage states that "it is better for both that we should separate". Goodrich's last letter to King states his intention of providing her with a room in New York City and to aid her financially, if she would cease to refer to herself as his wife, and not mention their relationship to his family.

paragraph: Section::::Relationship with Charles Goodrich.:Eviction, and a letter to William Goodrich.

paragraph: King refused the proposal, and on the evening of 15 February 1873 wrote a letter to his brother William W. Goodrich, sending it to his office.

paragraph: In that letter, King made many revelations, including that she has been living in the third Brownstone house from Fifth Avenue on Degraw Street. Seven units had been built and owned by Charles Goodrich, and were completed in the fall of 1872; he had assumed residence of the unit at 731 Degraw Street. The letter also indicated that Goodrich had married King in what she now knew was a mock marriage, since the clergyman who conducted the ceremony was Reuben Smith, a doctor by trade and a friend of Goodrich. Further, it notes that Goodrich had treated her cruelly, that they had a child in December, and that on the day she wrote her letter, he had evicted her, throwing her trunks and clothing into another unit. She lamented that she had neither friends nor money, and that "it seems like some dreadful nightmare". She signed the letter Amy G., intended to mean Goodrich.

paragraph: At the urging of his brother, Charles Goodrich temporarily separated from King for about a week, but she had returned to live with him for at least a few days before he was shot.

paragraph: Section::::Shooting and investigation.

paragraph: When Goodrich attempted to finally terminate the relationship and evict her from his home, King shot him in the head three times. The murder occurred at his home. King had descended to the basement, with Goodrich following her, during an argument. He insisted that she leave his house, and reiterated that he "would do all he could afford for her". At this, she shot him in the head, dragged his body near the fireplace grate, and cleaned off the blood.

paragraph: A search of the house by police netted a set of letters with "only the Christian name of the writer" (that is, the given name) signed therein.

paragraph: During the first few days of the investigation, it was hypothesized that Goodrich had committed suicide. The post-mortem investigation revealed that he had been shot three times, the "three bullets in the brain...being as fatal to the theory of self-destruction as they were to the victim". Others persisted in the suicide conjecture; the claim was that he shot himself once, and that the person who discovered him shot him twice more to give the appearance of a murder, and then wiped away the blood. By 25 March, this conjecture was abandoned.

paragraph: Despite daily questioning of the neighbors up to 26 March, an accurate account of the events could not be established because they offered conflicting information. It was unanimous that a woman was either visiting or living at Goodrich's house, but little was known about her:

paragraph: The neighbours also unanimously endorsed the hypothesis that it was murder, and that the woman was "directly concerned in the affair".

paragraph: Section::::Shooting and investigation.:Reward offer.

paragraph: Goodrich's body was removed from his residence at 17:00 on 22 March, placed in a hearse, and transported to Cumberland Street, to the residence of his brother William Goodrich. A funeral service was conducted there on the afternoon of 23 March, and his body was then transported on that evening's train to Albany, where he was buried in a family vault the next day. Three days later, William Goodrich offered a $2,500 reward for the capture of the woman who had sent him the letter. On 2 July 1873, Brooklyn Common Council unanimously adopted the motion to offer another $1,000 in reward for the capture of King, bringing the total reward to $3,500.

paragraph: King had been the primary suspect from the start of the investigation, according to the New York Times:

paragraph: The name Kate Stoddard was first considered for suspicion in the murder when a book of poems was found in Goodrich's home by detectives Folk and Videtto during their search for evidence. Her name appeared on one of the pages of that book.

paragraph: By 1 April 1873, several suspects for the murder had been proposed: an Englishman named Barnet or Barrett; a man named James, using the alias "Pop" Tighe, and two other burglars; a Spaniard named "Roscoe"; and Kate Stoddard, based on several letters that were found during the initial investigation of the crime scene. The suspicion of Roscoe was based on an interview of Lucette Meyers by Chief of Police Patrick Campbell, in which she proposed that Goodrich had been "followed to his house and killed by a man—an enemy". The police efforts were by now being criticized, having failed to apprehend or even nominate a viable suspect. When a New York detective apprehended a Frenchman named Charles Dalzen, of "Hayti, West Indies" (sic), mistakenly believing him to be Roscoe, the New York Times noted:

paragraph: Lucette Armstrong had been in jail at this time, unable to make a $1,000 bail. She had refused to divulge information she claimed to know about the murder. The police resorted to using an undercover female detective, labeled a "petticoat" by the press, "by whose wiles it was confidently expected Mrs. Armstrong would be induced to tell all she is supposed to know about the Goodrich murder". She was placed in the same room as Armstrong, posing as a witness named Lucy in a civil case, but failed to elicit any relevant discussion from Armstrong.

paragraph: Goodrich's father made a request to coroner Whitehill on 19 April 1873 to inspect the pistol used in the murder. He stated that it was not his son's pistol, which "had a white handle, ivory or pearl, while this is wood". The location of the son's pistol was unaccounted. Lucette Meyers corroborated the father's account in May.

paragraph: The burglar conjecture was largely ignored as implausible by this time. Various stories regarding Roscoe were known, and by July 1873, he was deemed an accomplice of King to the murder.

paragraph: Having failed in their search for Stoddard, increasingly the prime suspect in the case, the police hired Mary Handley, making her a detective to the chief of police, paying her a stipend of $2 per day for 40 days. Handley had revealed to the police that she was an "intimate friend" of King's, and had approached the police to assist in searching for her. At first, she dealt with a cold trail as had the other detectives on the case, but after a public tip "relating to the former haunts of Kate Stoddard" was given to the chief, Handley was "put on the track". She made trips to Glen's Falls, Gloversville and Albany, but none were productive.

paragraph: Section::::Shooting and investigation.:Capture.

paragraph: By chance, on the afternoon of 8 July 1873 Handley was returning to Brooklyn from Manhattan via the Fulton Ferry, exiting the gates at the ferry dock, when she observed King headed that way, presumably on her way to Manhattan. Handley asked officer Doherty, the on-duty ferry officer, to arrest King. He did so after some persuasion, and took both Handley and King to the Second Precinct Station of the Brooklyn police, at York Street. On the way there, King was seen to discard several letters onto the street, which were collected by the officer.

paragraph: Here, Handley introduced King to chief Campbell and captain James McConnell as the fugitive Kate Stoddard. King was interviewed, but denied the charge that she was Kate Stoddard. Campbell noticed a large gold locket pendant from a chain about her neck, and requested to see it. King denied, but Campbell took it anyway. After fumbling with it for some time, it opened, some of its contents falling to the floor. King picked them up and ate them. They were flakes of desiccated blood. Upon inquiry from the chief, she replied "that's blood—dried blood", then refused to answer any further questions.

paragraph: She was later taken to the Raymond Street Jail. Meanwhile, Campbell inspected the letters, which were addressed to individuals in Manhattan and New Jersey, and inferred that King must reside in Brooklyn.

paragraph: At this time, the police were reticent with the media, not yet having ascertained the identity of the woman. The police had, to their embarrassment, mistakenly arrested Lucette Meyers earlier in the investigation.

paragraph: Meanwhile, detectives were continuing their search for Roscoe, who was now also considered a myth in some circles, and had summoned Dr. Reuben Smith and Charles Green to the police station. Smith and Green were friends of Charles Goodrich, and had met King during her relationship with Goodrich. This would allow the police to identify the woman in jail as Stoddard, whom they knew to be the author of the "Amy G." letters.

paragraph: Section::::Shooting and investigation.:Identification.

paragraph: Her identity was incontrovertibly confirmed by 11 July 1873, and King confessed to being "Kate Stoddard" and to the murder of Goodrich. She also admitted that she had been boarding at the home of the widow Ann Taylor, at 127 High Street in Brooklyn, a three-story brick house near Jay Street. Taylor's daughter Anna Knight would later testify at the inquest, indicating that King used the alias "Minnie Waltham" in association with Taylor.

paragraph: King had been living at High Street since the third week of April, continuing to work in Manhattan. By June, however, she discontinued her work commute, instead working from her room at Taylor's house. She had friendly and frequent association with the Taylor family, who were unaware of her true identity; they became concerned about her disappearance on 8 July 1873, but King's friends suggested she had gone to visit her parents, whom she had said lived in Trenton, New Jersey. They learned of her capture by police two days later, when as a result of the confession, an officer was dispatched to Taylor's house.

paragraph: Taylor was brought to the Second Precinct for questioning, where she identified King by her alias "Minnie Waltham".

paragraph: Section::::Shooting and investigation.:Evidence.

paragraph: Subsequently, a police officer and a detective executed a search of King's room at the Taylor residence, where they found two trunks, one of which contained a watch, pocket book, revolver, a ring, and two seals, all possessions of Goodrich, which were seized as evidence.

paragraph: Handley's friends urged her to apply for the reward.

paragraph: By the time she was captured, King had reverted to using the name Lizzie Lloyd King, and had abandoned the Stoddard alias. She was interested in news about herself, and requested the day's papers while in jail.

paragraph: Section::::Inquest.

paragraph: An inquest was held on 12 July 1873 at the court house on Livingston Street. Stoddard arrived by carriage with Captain McConnell at 11:00 that morning, but the court room was already full by 10:00, as some had believed the inquest to start at that time. Spectators who wished to attend the inquest thus had to endure several hours of petty cases, or relinquish their seats to those waiting outside.

paragraph: The captain escorted King to coroner Whitehill's office, where they met with the jury in consultation for about an hour. Infrequently, the coroner or a juror would enter the courtroom, causing excitement among those assembled of the imminent commencement of the inquest, but they returned to the coroner's office almost immediately. At 13:00, the captain entered the courtroom with Mary Handley, causing a "decided sensation, the majority of the spectators evidently mistaking Miss Handley for Kate Stoddard". By this time there was a throng of people in the hallways wishing to enter the courtroom, though "none but reporters, officials, and the influential outside few were admitted" to the already overcrowded courtroom. The jurors entered the courtroom via the clerk's office at 13:10, promptly taking their seats. King entered the courtroom shortly after via the main corridor, accompanied by Captain McConnell and her counsel William C. de Witt, to a great uproar.

paragraph: Section::::Inquest.:Testimony.

paragraph: Nine people provided testimonials to the court. Lucette Meyers, who had been quoted in newspapers regarding the murder, identified King by several of her aliases, including "Kate Stoddard", "Amy Snow", "Amy Stone" and "Amy Gilmore"; "she is called by all of these names". She also identified various articles. Adeline Pabor, who had been engaged to Goodrich for months before the murder, testified that Goodrich had introduced her to King, claiming King was his sister. She also identified articles presented to her.

paragraph: Mary Handley testified next, and stated that she had known King when they had roomed together at an apartment at 45 Elizabeth Street, between February and June or July 1872. At the time, King was known as Kate Stoddard, and made straw bonnets. King then left for the Working-women's Home, and they did not see each other again until Handley spotted King on Fulton Street in Brooklyn, at which time she requested an officer apprehend King. Handley was employed as a detective for chief Campbell at this time.

paragraph: Anna Knight was the fourth person to testify. She indicated that King boarded at a home owned by Knight's mother at 127 High Street, and diligently paid her rent of $2.50 per week despite being "in rather poor circumstances". Knight indicated that King used the alias "Minnie Waltham" during her stay from April 1873 until her capture. She worked in New York, or sometimes brought it home with her.

paragraph: The father of the victim, David Goodrich, was next to take the stand. He identified various items, but noted that the wooden-handled pistols were not like that owned by his son, which was white-handled. He also noted that in February 1872, a woman brought him a letter, signed "Amy G."; he had verified some of the contents of the letter with his son, and advised him that he extricate himself from the position resultant from the association with King.

paragraph: Captain McConnell testified that he had seized a trunk from King's boarding room on High Street, and that it contained the items presented to the court, and two pistols, one of which was used to fire the three shots that killed the victim. He noted that King had been apprehended and brought to the Second Precinct station at noon the previous Tuesday.

paragraph: Charles Green noted that he had spent a night in Goodrich's house with King, during which she penned the letter signed "Amy G.", and identified the articles presented to the court.

paragraph: General Jourdan, the president of the Board of Police Commissioners, testified that the day before the trial, he had warned King "not to commit herself to the Jury without the advice of counsel".

paragraph: Patrick Campbell, the Chief of Police of Brooklyn, indicated that King had made statements "as to the manner in which Charles Goodrich came to his death", and that she requested that she be called "Amy G." during her first interrogation at the police station. He also stated that he had hired Mary Handley as a detective "on account of her personal acquaintance with Kate Stoddard".

paragraph: Finally, King herself was called to the stand, and identified herself as Lizzie Lloyd King, and that she was a bonnet maker. She declined further comment regarding Goodrich, on advice from her counsel, and was dismissed.

paragraph: Section::::Inquest.:Verdict.

paragraph: The jury retired at 16:00, and at 16:30 returned to the courtroom to announce that the testimony was sufficient to render a verdict. They received the usual instructions from the judge, then retired for final deliberations, during which time the courtroom crowd openly discussed the possible outcome.

paragraph: At 18:00, the jury returned, and rendered the verdict:

paragraph: Section::::Jailhouse.

paragraph: King was remanded into the custody of sheriff and keeper Courady of the county jail at Raymond Street, where she was assigned to a room by herself on the second floor. Three prisoners at the jail, Fanny Hyde, Mrs. Burgess, and Mrs. Simmons, were assigned to keep constant watch over her to prevent a suicide attempt. Simmons and Burgess were pardoned by the governor on 19 July 1873, and subsequently released from jail and their supervisory duties. Miss Palin, betrothed to Goodrich, visited King on 14 July 1873 and stayed until late in the evening. The police were still looking for Roscoe at this time, and sent a description of him to "the police of all the cities in the United States and Canada".

paragraph: On 22 July 1873, her father and brother-in-law visited her at the jail, with her counsel for the future trial, O.T. Gray of Hyde Park. During the visit, which lasted over three hours, nobody else was allowed into that part of the prison. By this time, her family resided at Walbridge, Massachusetts.

paragraph: Her new counsel, D.B. Thompson, made an application to the court on 2 March 1874 to release himself from "further conduct in the case", citing the actions of King to dismiss various previous counsels, and that "so many embarrassments had been put in their way". Judge Gilbert denied the request, and instructed Thompson and Lowe to act as defense counsel for King. Thompson indicated that although the defense was insanity, "the accused is not now insane, but was insane at the time of the crime, if any crime is proven, was committed".

paragraph: While in jail, she was deemed to be of normal disposition:

paragraph: She was also said to be "pretending to be very religious", reading the Bible and Episcopal prayer book.

paragraph: Section::::Commitment to State Lunatic Asylum.

paragraph: Dr. Charles Corey examined King sometime in May 1874 to evaluate her psychological condition, and on 21 July 1874 she was committed to State Lunatic Asylum in Auburn, New York. King had stated a preference for the new asylum in Poughkeepsie, and to stay at the Raymond Street Jail until that facility's completion. On 14 July 1874 the District Attorney had sent a letter requesting information about the status of the Poughkeepsie facility, and whether it would be accepting patients. A court investigation into her state of mind concluded on 15 July 1874 that she was not fit for trial, and that an order of commitment would be issued pending a reply from the Poughkeepsie facility. Even when sent to Auburn, she inquired whether she could be transferred to the Poughkeepsie facility upon its completion: "If I go to Auburn now, I wish to know if I can be transferred to Poughkeepsie as soon as there is any room for me there".

paragraph: She continued to read stories about herself, even sending complaint letters to newspapers about inaccuracies in the reports she read. On 17 July 1874, she objected to the wording of the commitment announcement by Judge Moore, noting that he misrepresented the jury's indictment from the inquest:

paragraph: A syndicated report in the "Oswego Daily Times" of 18 May 1880 indicates that at the asylum, King had composed a curious letter:

paragraph: King was criticizing the New York state "lunacy law" authorizing that those indicted for a crime, but not convicted, be sent to an insane asylum. She considered this an ex post facto law. The letter was given to Alonzo B. Cornell, the Governor of New York.

paragraph: Section::::Aftermath.

paragraph: Neighborhood residents were concerned about "the unpleasant associations" of the name of their street to the murder, that within days they had petitioned to change it to "Lincoln Place", in honor of Abraham Lincoln. The name of the street, between Fifth Avenue and Sixth Avenue, was changed from Degraw Street to Lincoln Place on 15 April 1873 by the Brooklyn Common Council. Eventually, the remainder of the eastward segment, to Prospect Park, was also renamed to Lincoln Place.

paragraph: In May 1873, Goodrich's father filed a lawsuit against Mrs. Finlay of Staten Island. They had an apparent agreement to exchange the brownstone houses owned by Charles Goodrich for the clipper brig "Hattie Haskett" owned by Finlay. The suit was denied because it was signed by Finlay's husband, who "had not been shown to be an authorized agent for his wife".

paragraph: By 1874, Handley had made an application to claim the $1,000 reward offered by Brooklyn Common Council in June 1873. After the Law Committee of the council heard testimony on 24 November 1874 from Handley, and corroboration from Patrick Campbell and General Jourdan, it passed a resolution recommending the payment of that reward; the committee would present the resolution to council when it next convened.

paragraph: In the book "Women Who Kill", Ann Jones argues that women like Lizzie Lloyd King, who are subjugated from childhood and then abandoned by their mates, are capable of engaging in crimes they would not otherwise commit to prevent their own destitution.

paragraph: Section::::Recollections.

paragraph: A newspaper report in 1889 about Charles McElvaine, who murdered a grocer, recounted the Goodrich murder. It incorrectly noted that Stoddard "remained in hiding for over six months" (it was actually three and a half months).

paragraph: Those involved in the case would reminisce about it years later. In 1895, speaking to officers at police headquarters after announcing his retirement, Patrick Campbell spoke about the loyalty necessary to conduct police duties, citing the King case as an exemplary demonstration of that loyalty:

paragraph: In a 1906 interview with the "Brooklyn Daily Standard Union", Campbell, 80 years old at this time, recounted a few of his most memorable cases. He was chief of police for Brooklyn from 1870 until 1895, and identified the Kate Stoddard case as "a great one". Although he accurately recounted many details, he also stated that "as she made no effort to escape we got her easily enough". After she was sent to the asylum in 1874, he no longer kept track of her. "A commission adjudged her insane and she was sent to an asylum. She may be living yet, for all I know."

paragraph: Section::::References.

paragraph: Section::::References.:Further reading.

paragraph: Claudia Barnett. "No. 731 Degraw-street, Brooklyn, or Emily Dickinson's Sister: A Play in Two Acts". Pittsburgh: Carnegie Mellon UP, 2015.

paragraph: Leonard Benardo and Jennifer Weiss . "Brooklyn by name: how the neighborhoods, streets, parks, bridges, and more got their names" (2006) New York: New York University Press.

description: alleged murderer

wikidata_label: Lizzie Lloyd King

wikipedia_title: Lizzie Lloyd King


text: Seoul

text: South Korea

text: South Korea

text: relief pitcher

text: Hanwha Eagles

text: KBO League

text: Seoul

text: South Korea

text: ace pitcher

text: President's Cup National Championship

text: MLB

text: LG Twins

text: KBO

text: Hanyang University

text: South Korea national baseball team

text: World University Baseball Championship

text: Messina

text: Italy

text: 2003 Asian Baseball Championship

text: Sapporo

text: Hanyang University

text: LG Twins

text: Lotte Giants

text: setup man

text: starting pitcher

text: middle relief

text: bullpen

text: hold

text: saves

text: starting rotation

text: starter

text: Nexen Heroes

text: Park Byung-ho

text: Kim Seong-hyun

text: Song Shin-young

text: Samsung Lions

text: Lotte Giants

text: Korea Baseball Organization

categories: LG Twins players,Hanyang University alumni,Kiwoom Heroes players,South Korean baseball players,1981 births,KBO League pitchers,Hanwha Eagles players,Lotte Giants players,Living people

paragraph: Shim Soo-chang

paragraph: Shim Soo-chang (born February 9, 1981 in Seoul, South Korea) is a South Korean relief pitcher for the Hanwha Eagles of the KBO League. He bats and throws right-handed.

paragraph: Section::::Amateur career.

paragraph: Shim attended Baemyung High School in Seoul, South Korea. In , as the team's ace pitcher he led his team to runners-up in the President's Cup National Championship. During the competition, Shim drew attention from MLB scouts, and then negotiated a contract with a few Major League teams. However, he eventually failed in his attempt to secure the contract with any team.

paragraph: Upon graduation from the school in , he was selected by the LG Twins with the 11th pick in the 2nd round of the 2000 KBO Draft, but chose to play college baseball at Hanyang University instead of turning pro.

paragraph: In August 2002, as a junior Shim was called up to the South Korea national baseball team and competed in the inaugural World University Baseball Championship held in Messina, Italy. Shim started for South Korea in the 5th place game against Italy. He earned the win in that game, racking up 5 strikeouts and giving up just an earned run in 4 innings pitched.

paragraph: In November 2003, as a senior Shim was named as a member of the South Korean national team for the 2003 Asian Baseball Championship in Sapporo, Japan. He was the only amateur player in the Team Korea's roster but was omitted from the roster a week before the start of the competition due to injuries.

paragraph: Section::::Professional career.

paragraph: After graduating from Hanyang University in 2004, Shim began his professional career in the LG Twins. He picked up his first professional league win on October 9, 2004, beating the Lotte Giants in relief at home. However, Shim finished his rookie season with a disappointing record of 2-1 and a 4.55 ERA, appearing in only 16 games as a setup man.

paragraph: In 2005, Shim had another disappointing season with a record of 0-1 and an ERA of 4.22 in 32 innings pitched in relief, spending most of the year pitching for the Twins reserve team.

paragraph: Shim had a very solid season in 2006, when he finished the season with a record of 10-9 and an ERA of 4.38 in 135.2 innings pitched, amassing 56 strikeouts as a starting pitcher. In July, Shim was elected to the 2006 KBO All-Star Game for the first time.

paragraph: Following the double-digit win season, Shim was shifted back to the middle relief role to fill a void in the Twins' bullpen in the 2007 season. He posted a record of 3-5 and an ERA of 4.31 with a career-high 10 holds and 2 saves, appearing in a career-high 56 games as a utility pitcher.

paragraph: In 2008, Shim spent most of the season in the reserve team, failing to earn his spot either in the starting rotation or in the bullpen due to the decrease of ball velocity and the absence of command. He finished with a 6-5 record as a starter, recovering from the slump later in the season, but had a 5.16 ERA, which was the highest ERA of his pro career.

paragraph: While with the Twins, from June 26, to July 21, , Shim lost 17 consecutive decisions as a starter and reliever. This losing streak is the longest in the Korean professional baseball history, breaking the record of 16 losing streak set by Kim Jong-Seok in 1987–91. On July 31, 2011, Shim was traded to the Nexen Heroes along with Park Byung-ho for Kim Seong-hyun and Song Shin-young. On August 3, Shim lost a record 18th straight game, allowing 3 earned runs in six innings pitched against the Samsung Lions. On August 9, Shim finally won to break a streak of 18 consecutive games lost, hurling 6.1 innings of one-run ball in a 3-1 victory over the Lotte Giants.

paragraph: In , however, Shim had one of his worst seasons, posting a 7.30 ERA as a long reliever and mop-up man. He claimed no wins but earned five losses, continuing another 9 losing streak including four consecutive losses in the 2011 season.

paragraph: Section::::External links.

paragraph: BULLET::::- Career statistics and player information from Korea Baseball Organization

description: South Korean baseball player

wikidata_label: Shim Soo-chang

wikipedia_title: Shim Soo-chang


text:
footballer
defender
youth system
Coventry City
Tranmere Rovers
2010–11
Shrewsbury Town
Colchester United
Birmingham
Coventry City
youth system
Championship
Watford
League One
Tranmere Rovers
Football League Trophy
Accrington Stanley
League Two
Shrewsbury Town
Burton Albion
red card
Torquay United
2011–12
Southend United
right-back
Graham Turner
2012–13
Port Vale
2013–14
Leyton Orient
2014–15
Micky Mellon
League Cup
Premier League
Leicester City
Carlisle United
Cheltenham Town
Colchester United
under-23
2016–17
defensive positions
Graham Turner
2012–13
step over
2011–12
2014–15
Football League Two

categories: Coventry City F.C. players,Black English sportspeople,Sportspeople from Birmingham, West Midlands,Tranmere Rovers F.C. players,Shrewsbury Town F.C. players,Association football defenders,English footballers,1990 births,Colchester United F.C. players,Living people

paragraph: Jermaine Grandison

paragraph: Jermaine Mickel Grandison (born 5 December 1990) is an English professional footballer who plays as a defender.

paragraph: Grandison progressed through the youth system at Coventry City, making eight appearances for the first-team. He had three loan spells away from the club, twice at Tranmere Rovers in the 2010–11 season, and then Shrewsbury Town later in the same season. He joined Shrewsbury on a permanent basis following his loan, and over five years he played 174 games for the club. He was released in summer 2016, and joined Colchester United in December 2016. He left Colchester in March 2017 having failed to make a first-team appearance.

paragraph: Section::::Career.

paragraph: Section::::Career.:Coventry City.

paragraph: Born in Birmingham, Grandison is a product of the Coventry City youth system. He made his professional debut as a substitute on 25 April 2015 in a 3–2 Championship loss to Watford.

paragraph: Section::::Career.:Coventry City.:Tranmere Rovers loan.

paragraph: On 31 August 2010, Grandison completed a loan move to League One club Tranmere Rovers to gain first-team experience. The move was an initial one-month deal, with an option for a further extension. He made his debut the same day in a Football League Trophy match against Accrington Stanley. He returned to Coventry after his loan expired on 1 October, He returned to Tranmere on 29 October for a second loan spell following an injury, returning to his parent club on 3 January 2011.

paragraph: Section::::Career.:Shrewsbury Town.

paragraph: On 14 January 2011, Grandison signed for League Two club Shrewsbury Town, initially on loan. However, on January transfer deadline day, he signed for the club permanently on a free transfer, on a two-and-a-half year contract. He made his debut after signing on loan on 18 January 2011, in a 3–1 away win against Accrington Stanley. He made his second debut after joining permanently in a 3–0 home win against Burton Albion on 1 February. On 12 March, Grandison received the first red card of his career during a 5–0 loss to promotion rivals Torquay United. He finished the campaign after making 15 appearances for Shrewsbury, including his three loan appearances.

paragraph: Grandison scored his first professional goal in the 2011–12 season. On 21 January 2012, he scored a late header to win the game as his side beat Southend United 2–1. He helped Shrewsbury to promotion to the third tier of English football, making 43 appearances during the season.

paragraph: Initially utilised at right-back by then manager Graham Turner, Grandison was increasingly used as a central defender in the 2012–13 season and was almost ever-present in the side until he picked up a pelvic injury in January 2013, making only one more appearance thereafter.

paragraph: Having failed to come to an agreement over a new contract in the close season, Grandison was released by Shrewsbury Town, although they were obliged to work with him until he fully recovered from long term injury. However, having carried out his rehabilitation at the club and coming through 45-minutes of a reserve match against Port Vale unscathed, Grandison agreed to rejoin the club on 3 December 2013. He agreed a deal until the end of the 2013–14 season with Shrewsbury holding the option for a further year. He made his return to first-team action on 7 January 2014 as a substitute in Shrewsbury's 2–0 home defeat by Leyton Orient.

paragraph: Despite Shrewsbury suffering relegation back to League Two, both player and club opted to exercise their option to extend Grandison's contract to the end of the 2014–15 season on 13 May 2014. Initially left out of the team by new manager Micky Mellon, Grandison made his first appearance of the season in a League Cup second round tie against Premier League side Leicester City on 26 August 2014, which Shrewsbury won 1–0. Three weeks later, he scored his first senior goal in two years with the winner at home against Carlisle United. Grandison helped Shrewsbury win promotion to League One for the second time in his career following a 1–0 win over Cheltenham Town on 25 April 2015.

paragraph: Grandison signed a one-year contract extension, funded by club chairman Roland Wycherley in August 2015, but was released at the end of the season having made 150 league appearances for the club over six seasons.

paragraph: Section::::Career.:Colchester United.

paragraph: After leaving Shrewsbury in the summer of 2016, Grandison joined Colchester United on trial, where he impressed in Colchester's under-23 matches. He agreed to sign a contract until the end of the 2016–17 season on 22 December 2016. After picking up a hip injury which ruled him out of contention for much of his time at the club, Grandison was released in March 2017, failing to make a first-team appearance for Colchester.

paragraph: Section::::Style of play.

paragraph: Grandison can perform in a variety of defensive positions - at right-back, centre-back or as a sweeper. Former Shrewsbury manager Graham Turner identified before the 2012–13 season:

paragraph: He is known to regularly perform step overs during matches, and also posting videos of himself singing onto social media, which established him as a cult figure amongst Shrewsbury supporters.

paragraph: Section::::Honours.

paragraph: BULLET::::- Shrewsbury Town

paragraph: BULLET::::- 2011–12, 2014–15 Football League Two runner-up

description: English footballer

wikidata_label: Jermaine Grandison

wikipedia_title: Jermaine Grandison