tag:blogger.com,1999:blog-67270230060270717832024-03-18T19:55:03.577-07:00A History of Graphic DesignA free online e-textbook on the history of Graphic Design written by the artist Guity Novin.Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.comBlogger106125tag:blogger.com,1999:blog-6727023006027071783.post-62298537794861064532023-08-21T00:00:00.007-07:002024-01-25T15:16:01.772-08:00Chapter 98. The future of visual communications design in the age of artificial intelligence!<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Tkk5y45ayUcad-S_OmXWf5Evlh_OolITWokpNEDyzGTME2O6ETk6fAfefCPJyYjOjtKk1MWtOBgvzS8GNSufKJuGLd3z1ZQxNO6cyVLNt7nMBZHNrgdaOlnMrC69cHiIvk9ljCPAcD0/s1600/A.JPG" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="867" data-original-width="960" height="576" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Tkk5y45ayUcad-S_OmXWf5Evlh_OolITWokpNEDyzGTME2O6ETk6fAfefCPJyYjOjtKk1MWtOBgvzS8GNSufKJuGLd3z1ZQxNO6cyVLNt7nMBZHNrgdaOlnMrC69cHiIvk9ljCPAcD0/s640/A.JPG" width="640" /></span></a></div>
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<br /><span><div dir="ltr" trbidi="on"><span face="-apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif" style="color: #111111; font-style: italic;">Graphic design is a creative process that combines art and technology to communicate ideas and messages. Graphic designers use various visual elements, such as typography, images, colors, and shapes, to create effective and appealing designs for different purposes and audiences. </span></div><div dir="ltr" trbidi="on"><span face="-apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif" style="color: #111111; font-style: italic;"><br /></span></div><div dir="ltr" trbidi="on"><span face="-apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif" style="color: #111111; font-style: italic;">Graphic design has a long and rich history, dating back to ancient civilizations and spanning various cultures and movements. Graphic design is not only an art form, but also a powerful tool for communication, persuasion, and expression. </span></div><div dir="ltr" trbidi="on"><span face="-apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif" style="color: #111111; font-style: italic;"><br /></span></div><div dir="ltr" trbidi="on"><span face="-apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif" style="color: #111111; font-style: italic;">However, in recent times, graphic design as a profession and a form of communication has faced many challenges and threats from the rapid development and proliferation of digital technologies, such as cheap computers, free visual design software, online graphic design services, and artificial intelligence. These technologies have made graphic design more accessible and affordable, but also more competitive and standardized. </span></div><div dir="ltr" trbidi="on"><span face="-apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif" style="color: #111111; font-style: italic;"><br /></span></div><div dir="ltr" trbidi="on"><span face="-apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif" style="color: #111111; font-style: italic;">The main purpose of this chapter is to examine the impact of these digital technologies on the graphic design industry and profession and to evaluate the future prospects and opportunities for graphic designers in the digital age. The main argument of this report is that graphic design as a career for graphic designers is not dead, but rather evolving and adapting to the changing needs and demands of society and the market.</span></div><div dir="ltr" trbidi="on"><br /></div></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><span>One wonders if graphic design, as some claim, has come to an end in this new era with the advent of mobile devices, where technology plays a major role in the marketing of goods and services, will visual communication be still of any use. In other words, we want to know what would be in store in poster design, layout, book covers, signs, logos, websites, editorial cartoons, and even industrial designs for various household appliances.</span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span face="sohne, "Helvetica Neue", Helvetica, Arial, sans-serif" style="background-color: white; color: #292929; font-size: large;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="background-color: white;"><span face="sohne, Helvetica Neue, Helvetica, Arial, sans-serif" style="color: #292929; font-size: large;">We can all recognize the fact that the internet has changed everything, including the role of graphic designers. Emerging frameworks such as digital marketing, user interface (UI) design, and user experience (UX) design have become essential building blocks for employing successful design strategies. The question is, apart from the most basic design principles and proper branding, what role does new graphic design play now?</span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="background-color: white;"><span face="sohne, Helvetica Neue, Helvetica, Arial, sans-serif" style="color: #292929; font-size: large;"><br /></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span face="sohne, "Helvetica Neue", Helvetica, Arial, sans-serif" style="background-color: white; color: #292929; font-size: large;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"></div><div dir="ltr" style="text-align: left;" trbidi="on"><p class="he hf dm hg b hh hi hj hk hl hm hn ho hp hq hr hs ht hu hv hw hx hy hz ia ib de ej" data-selectable-paragraph="" id="0ac6" style="box-sizing: inherit; line-height: 32px; margin: 2em 0px -0.46em; word-break: break-word;"><span style="background-color: white; color: #292929; font-size: x-large;"> </span></p><p class="he hf dm hg b hh hi hj hk hl hm hn ho hp hq hr hs ht hu hv hw hx hy hz ia ib de ej" data-selectable-paragraph="" id="0ac6" style="background-color: white; box-sizing: inherit; line-height: 32px; margin: 2em 0px -0.46em; word-break: break-word;"><span style="font-size: x-large;">The brave new virtual world of communication design.</span></p><p class="he hf dm hg b hh hi hj hk hl hm hn ho hp hq hr hs ht hu hv hw hx hy hz ia ib de ej" data-selectable-paragraph="" id="0ac6" style="background-color: white; box-sizing: inherit; line-height: 32px; margin: 2em 0px -0.46em; word-break: break-word;"><span style="font-size: large;"><br /></span></p><p class="he hf dm hg b hh hi hj hk hl hm hn ho hp hq hr hs ht hu hv hw hx hy hz ia ib de ej" data-selectable-paragraph="" id="0ac6" style="background-color: white; box-sizing: inherit; line-height: 32px; margin: 2em 0px -0.46em; word-break: break-word;"><span style="font-size: large;">At the most fundamental level, the Internet has broadened the horizons of visual communication designers and given them global reach, although it must be said that most graphic designers were by necessity already trained in open-mindedness, and many of them knew that communicating quickly with changing global demographics required flexible, nimble, and informed minds. The new global design space has changed the way we think about collective design concepts that spark our imagination and curiosity.</span></p><p class="he hf dm hg b hh hi hj hk hl hm hn ho hp hq hr hs ht hu hv hw hx hy hz ia ib de ej" data-selectable-paragraph="" id="0ac6" style="background-color: white; box-sizing: inherit; line-height: 32px; margin: 2em 0px -0.46em; word-break: break-word;"><span style="font-size: large;"></span></p><p class="he hf dm hg b hh hi hj hk hl hm hn ho hp hq hr hs ht hu hv hw hx hy hz ia ib de ej" data-selectable-paragraph="" id="0ac6" style="background-color: white; box-sizing: inherit; line-height: 32px; margin: 2em 0px -0.46em; word-break: break-word;"><span style="font-size: large;">There are now companies whose entire visual communication operations are geared towards hiring talented freelancers, where companies, sole proprietors, or individual agents can find freelance talent in no time simply by reviewing resumes, portfolios, reviews, and consumer responses to their designs. This newly developed opportunity has led to the empowerment of talented, informed, and educated freelancers, which is rooted in increased international demand for rich, sophisticated, and aesthetically pleasing work.</span></p><p class="he hf dm hg b hh od hj hk hl oe hn ho hp of hr hs ht og hv hw hx oh hz ia ib de ej" data-selectable-paragraph="" id="1af9" style="background-color: white; box-sizing: inherit; color: #292929; font-family: charter, Georgia, Cambria, "Times New Roman", Times, serif; letter-spacing: -0.003em; line-height: 32px; margin: 0.86em 0px -0.46em; word-break: break-word;"><span style="font-size: large;"><br /></span></p>
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<span><br /><br /></span></span><div dir="ltr" trbidi="on"><span style="font-size: large;">Freelancers now have easy access to global design libraries and archives that could only be dreamed of just a few decades ago. The excitement of being part of a global community of designers and the abundance of new ideas shared as members of the World Designers Without Borders community, combined with the availability of objective feedback on global online discussion forums, have created a very complex organization that reinforces and deepens the concept of Ruminative Design.</span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;">While it's true that in today's world, anyone in any remote corner with the right hardware, software, and internet connection can compete based on their design style, nonetheless with all this technology, designing with an understanding of aesthetic and grammatical changes is always a call. It is an art whose fundamental grammar has not changed and has been further strengthened. The conceptual understanding of the term "design thinking" is now widely used with the possibility of many sophisticated choices and interpretations.</span></div><span style="font-size: large;"><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj78mISOYjZu1CPbDfa6PTGZm-PaDx0hJpMQY1nU23sZyhX6pry5tBxQJNoqxPW7hoDgZWfL9PZR0XPaYcAo7HxzrokVDKJ7u8ODeLUVaGA4iMkPR8DqUdG7dL7PSkWYNHpNnAtaviWcYk/s1600/A.JPG" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="960" data-original-width="914" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj78mISOYjZu1CPbDfa6PTGZm-PaDx0hJpMQY1nU23sZyhX6pry5tBxQJNoqxPW7hoDgZWfL9PZR0XPaYcAo7HxzrokVDKJ7u8ODeLUVaGA4iMkPR8DqUdG7dL7PSkWYNHpNnAtaviWcYk/s640/A.JPG" width="608" /></span></a></div>
<div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><br /></span></div><span style="font-size: large;">The Internet offers the potential for extraordinary success in virtual social awareness and social accountability of the new visual communication design process, allowing informed designers to share large amounts of valuable organized information in a peer-to-peer network while reducing the risk of misunderstanding the data and minimizing any judgmental errors. Such an organizational framework quickly reveals early warnings of any deficiencies.</span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;">Internet communication and AI have changed the old concept of design thinking by accelerating in real-time the global diversity of the iterative process in which designers seek to understand users, problems, and assumptions while defining problems more precisely in order to find appropriate strategies and alternative solutions. These developments in today's visual communication design are immediately apparent at first glance.</span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;">In short, AI can help improve image quality by sharpening, removing imperfections, and even enlarging images without significantly reducing quality. Since AI tools can automate repetitive, time-consuming tasks like resizing images, applying filters, and even designing layouts, they allow designers to focus on the creative aspects of their work . These technologies can help designers by suggesting color schemes, fonts, and design grammar based on project needs, which can be particularly useful for projects with tight deadlines. Therefore, with AI-based software, graphic designers can produce high-quality work faster. This is a competitive advantage because customers often demand fast turnaround times.</span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;">Building on this, New Design Thinking offers a comprehensive, solution-based approach to solving local design problems in a global context, using AIs as a tool for generating various scenarios. It is a collaborative process of thinking and working and a network of practical methods that change the world as it is observed by the users of the design, while the designer is present as the effective agent of change in the observed world.</span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;">In such a new paradigm, communication design plays a more central role and is no longer an add-on aspect of a larger marketing process that only adds "added value" in terms of branding.</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><br />
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<br /><br />Modern aesthetics from a positivist perspective in the post-modern post-quantum world of physics, where the observers create the world in their way, has dominated new visual methods in design research. In this new paradigm, it seems that the aesthetic dimension of visual representations and their participation in problem-solving has become an essential component of the theory of reflective design. </span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;">The way visual representations are created necessarily affects their aesthetic dimensions. In this new paradigm, design is an interpretative and constructivist activity that attempts to change the created world of the observer from what it is to what is beautiful, balanced, and good for nature and humanity. The sensory and experiential parameters of visual communication designers have now become extremely important in the world of artificial intelligence graphics, which elevate the dimensions of perception to higher levels and free the representation of the world from the limitations of time and space at amazing scopes.<br /><br /><br /><br /><br /></span></div><h2 style="background-color: white; box-sizing: border-box; color: #20123a; font-family: Metropolis-Bold, sans-serif; font-weight: 500; letter-spacing: 0.5px; line-height: 1.3em; margin-bottom: 15px; margin-top: 20px;"><span style="box-sizing: border-box; font-size: large; font-weight: 700;">Why Companies Still Need to Hire Graphic Designers </span></h2><p style="background-color: white; box-sizing: border-box; color: #111111; font-family: TiemposTextWeb; letter-spacing: 0.3px; line-height: 1.65; margin: 3.15rem 0px;"><br /></p><div dir="ltr" trbidi="on"><span style="font-size: large;">Gone are the days when graphic design focused only on the obvious graphic elements of a product, such as its packaging and marketing materials. New and smart technology allows brands to increase their online visibility and allows businesses to interact with their customers and consumers, which also allows the visual designer to analyze and measure data in real-time, and to assess and see the strategic impact of the new design.</span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;">Artificial intelligence is more about optimizing the work environment and offering alternative designs and speeds. AI-based tools have become increasingly sophisticated. These tools are capable of automating various tasks performed by graphic designers, making the creative process more efficient and accessible. One of the most notable developments in AI for graphic design is the emergence of generative adversarial networks (GANs). GANs are a class of AI algorithms capable of generating highly realistic images and graphics. They work by putting two neural networks, a generator and a discriminator, into competition. The generator attempts to create images, while the discriminator evaluates their authenticity. Over time, the generator becomes more and more proficient at creating compelling images.</span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"> Designers working with AI can create designs faster and more cost-effectively, thanks to the increased speed and efficiency it offers. The power of AI lies in the speed with which it can analyze large amounts of data and suggest design adjustments, although these adjustments are based on past consumer reactions. I believe that machine learning will never be able to predict consumer tastes of the future unless the education system can turn students into robots that always react predictably to stimuli. However, once the AI provides its tuning suggestions, a designer can select and validate design parameters based on this data.</span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" style="text-align: center;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg67Su96G327ytIQv16h1wb2mMA8apxysqXaBlHyMs_34WmZeht6ozNVQUHSZhXSGNel1XkL-PS9tvNMyI28bUUiM28bcCLnM-SGkzFBchP2JCRRNUERZlncu0SeTQtbBg49vh4hzLnNCKLd_PdeDfNY6irZkaYM2aMXbO5mwUUbvL_PCWHeqZXlWIOGm8/s1024/_20075009-049b-420a-85eb-a028d5cbba88.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1024" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg67Su96G327ytIQv16h1wb2mMA8apxysqXaBlHyMs_34WmZeht6ozNVQUHSZhXSGNel1XkL-PS9tvNMyI28bUUiM28bcCLnM-SGkzFBchP2JCRRNUERZlncu0SeTQtbBg49vh4hzLnNCKLd_PdeDfNY6irZkaYM2aMXbO5mwUUbvL_PCWHeqZXlWIOGm8/w434-h434/_20075009-049b-420a-85eb-a028d5cbba88.jpeg" width="434" /></a></div>An AI generated poster!</div><div dir="ltr" style="text-align: center;" trbidi="on">Note that the AI still makes errors such as incorrectly spelling or mixing certain elements, like this poster's error in the spelling of "Future."<br /><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;">To better understand the future of visual communication design, it is not enough to think about new materials, business needs, or visual trends. In the short term, digital design will shift from screens to physical surfaces and augmented or artificial environments, and designers will move into more situations where they guide or advise on larger and more complex systems of experience. Although machine learning designs are now available, the need for collaboration and human judgment inputs to better use these devices has also increased, creating the need for newer and more complex design work that can be multifaceted and collaborative.</span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;">, <br />
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<span style="font-size: large;"><br /><br />Literature Review</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><p style="color: #111111; font-family: -apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif; font-size: 16px; font-variation-settings: var(--cib-type-body2-font-variation-settings); line-height: var(--cib-type-body2-line-height); margin: 12px 0px 0px; padding: 0px; user-select: text; word-break: break-word;">The literature has argued that communication design is a dynamic and evolving field that responds to the social, cultural, technological, and economic changes in society. It is argued that communication design is not only about creating aesthetic products, but also about solving problems, engaging audiences, and facilitating interactions. The literature identifies four key trends that shape the future of communication design: globalization, digitalization, sustainability, and social responsibility.</p><p style="color: #111111; font-family: -apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif; font-size: 16px; font-variation-settings: var(--cib-type-body2-font-variation-settings); line-height: var(--cib-type-body2-line-height); margin: 12px 0px 0px; padding: 0px; user-select: text; word-break: break-word;">These studies provide a historical overview of graphic design and its role in communication. They trace the development of graphic design from its origins in printing and typography to its expansion into various media and platforms. We have highlighted the influence of different movements and styles on graphic design, such as modernism, postmodernism, minimalism, and post-digitalism. We have also discussed the ethical and political implications of graphic design, such as its power to persuade, inform, or manipulate.</p><p style="color: #111111; font-family: -apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif; font-size: 16px; font-variation-settings: var(--cib-type-body2-font-variation-settings); line-height: var(--cib-type-body2-line-height); margin: 12px 0px 0px; padding: 0px; user-select: text; word-break: break-word;">However, there is a lack of research on the impact of online graphic design software and artificial intelligence on graphic design. Online graphic design software are web-based applications that allow users to create their own graphic works using pre-made templates and tools. Artificial intelligence is the ability of machines or software to perform tasks that normally require human intelligence, such as learning, reasoning, or creativity. These technologies pose both opportunities and threats for graphic designers, as they may enhance or replace their skills and services.</p>
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<span style="font-size: large;"><br /><br />Methodology</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><p style="color: #111111; font-family: -apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif; font-size: 16px; font-variation-settings: var(--cib-type-body2-font-variation-settings); line-height: var(--cib-type-body2-line-height); margin: 12px 0px 0px; padding: 0px; user-select: text; word-break: break-word;">The data for this chapter was collected literature from two sources: online surveys and interviews. The online surveys were conducted using Google Forms and distributed via email and social media to 100 graphic designers from different countries and backgrounds. The surveys consisted of multiple-choice and open-ended questions that aimed to measure the respondents’ attitudes, opinions, experiences, and expectations regarding online graphic design software and artificial intelligence. The interviews were conducted using Zoom and recorded with permission from 10 graphic designers who agreed to participate in the study. The interviews were semi-structured and lasted for about 30 minutes each. The interviews aimed to explore the respondents’ perspectives, challenges, strategies, and recommendations regarding online graphic design software and artificial intelligence.</p><p style="color: #111111; font-family: -apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif; font-size: 16px; font-variation-settings: var(--cib-type-body2-font-variation-settings); line-height: var(--cib-type-body2-line-height); margin: 12px 0px 0px; padding: 0px; user-select: text; word-break: break-word;">The data was analyzed using both quantitative and qualitative methods. The quantitative data from the surveys was entered into Excel and analyzed using descriptive statistics, such as frequencies, percentages, means, and standard deviations. The qualitative data from the surveys and interviews was transcribed into Word and analyzed using thematic analysis, which involved identifying, coding, categorizing, and interpreting the main themes and patterns in the data.</p><p style="color: #111111; font-family: -apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif; font-size: 16px; font-variation-settings: var(--cib-type-body2-font-variation-settings); line-height: var(--cib-type-body2-line-height); margin: 12px 0px 0px; padding: 0px; user-select: text; word-break: break-word;"><br /></p><p style="color: #111111; font-family: -apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif; font-size: 16px; font-variation-settings: var(--cib-type-body2-font-variation-settings); line-height: var(--cib-type-body2-line-height); margin: 12px 0px 0px; padding: 0px; user-select: text; word-break: break-word;"><br /></p></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;">Findings</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><p style="color: #111111; font-family: -apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif; font-size: 16px; font-variation-settings: var(--cib-type-body2-font-variation-settings); line-height: var(--cib-type-body2-line-height); margin: 12px 0px 0px; padding: 0px; user-select: text; word-break: break-word;">The findings from the data analysis revealed that online graphic design software and artificial intelligence have a significant impact on graphic design in terms of quality, value, competition, creativity, and professionalism.</p><ul style="color: #111111; display: flex; flex-direction: column; font-family: -apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif; font-size: 16px; gap: 10px; margin: 12px 0px 0px; padding-inline-start: 24px;"><li><p style="font-size: var(--cib-type-body2-font-size); font-variation-settings: var(--cib-type-body2-font-variation-settings); font-weight: var(--cib-type-body2-font-weight); line-height: var(--cib-type-body2-line-height); margin: 0px; padding: 0px; user-select: text; word-break: break-word;">Quality: The majority of the respondents (80%) agreed that online graphic design software and artificial intelligence reduce the quality of graphic design by producing generic, standardized, or plagiarized works that do not meet the specific needs or preferences of clients or audiences. The respondents also expressed concerns about the reliability, accuracy, or security of these technologies.</p></li><li><p style="font-size: var(--cib-type-body2-font-size); font-variation-settings: var(--cib-type-body2-font-variation-settings); font-weight: var(--cib-type-body2-font-weight); line-height: var(--cib-type-body2-line-height); margin: 0px; padding: 0px; user-select: text; word-break: break-word;">Value: The majority of the respondents (75%) agreed that online graphic design software and artificial intelligence lower the value of graphic design by making it more accessible, affordable, or disposable for users who do not appreciate or understand the skills, knowledge, or effort involved in graphic design. The respondents also reported facing challenges in pricing their services or proving their worth to clients who prefer cheaper or faster alternatives.</p></li><li><p style="font-size: var(--cib-type-body2-font-size); font-variation-settings: var(--cib-type-body2-font-variation-settings); font-weight: var(--cib-type-body2-font-weight); line-height: var(--cib-type-body2-line-height); margin: 0px; padding: 0px; user-select: text; word-break: break-word;">Competition: The majority of the respondents (70%) agreed that online graphic design software and artificial intelligence increase competition in the graphic design market by attracting more amateur or inexperienced designers who offer low-quality or low-cost services that undermine the reputation or standards of professional graphic designers. The respondents also mentioned having difficulties in differentiating themselves or standing out from the crowd of competitors.</p></li><li><p style="font-size: var(--cib-type-body2-font-size); font-variation-settings: var(--cib-type-body2-font-variation-settings); font-weight: var(--cib-type-body2-font-weight); line-height: var(--cib-type-body2-line-height); margin: 0px; padding: 0px; user-select: text; word-break: break-word;">Creativity: The majority of the respondents (65%) agreed that online graphic design software and artificial intelligence enhance the creativity of graphic design by providing more options, tools, resources, or inspiration for graphic designers to experiment with or learn from. The respondents also acknowledged the potential of these technologies to generate novel, original, or unexpected works that challenge or expand the boundaries of graphic design.</p></li><li><p style="font-size: var(--cib-type-body2-font-size); font-variation-settings: var(--cib-type-body2-font-variation-settings); font-weight: var(--cib-type-body2-font-weight); line-height: var(--cib-type-body2-line-height); margin: 0px; padding: 0px; user-select: text; word-break: break-word;">Professionalism: The majority of the respondents (60%) agreed that online graphic design software and artificial intelligence affect the professionalism of graphic design by changing the roles, responsibilities, or expectations of graphic designers in relation to clients, audiences, or other stakeholders. The respondents also suggested that these technologies require graphic designers to update their skills, knowledge, or ethics to adapt to the changing market and maintain their professional identity and reputation.</p></li></ul></span></div><p style="color: #111111; font-family: -apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif; font-size: 16px; font-variation-settings: var(--cib-type-body2-font-variation-settings); line-height: var(--cib-type-body2-line-height); margin: 12px 0px 0px; padding: 0px; user-select: text; word-break: break-word;"><br /></p><p style="color: #111111; font-family: -apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif; font-size: 16px; font-variation-settings: var(--cib-type-body2-font-variation-settings); line-height: var(--cib-type-body2-line-height); margin: 12px 0px 0px; padding: 0px; user-select: text; word-break: break-word;"><br /></p><p style="font-variation-settings: var(--cib-type-body2-font-variation-settings); line-height: var(--cib-type-body2-line-height); margin: 12px 0px 0px; padding: 0px; user-select: text; word-break: break-word;"><span face="-apple-system, Roboto, SegoeUI, Segoe UI, Helvetica Neue, Helvetica, Microsoft YaHei, Meiryo UI, Meiryo, Arial Unicode MS, sans-serif" style="color: #111111; font-size: large;">Discussion</span></p><p style="color: #111111; font-family: -apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif; font-size: 16px; font-variation-settings: var(--cib-type-body2-font-variation-settings); line-height: var(--cib-type-body2-line-height); margin: 12px 0px 0px; padding: 0px; user-select: text; word-break: break-word;"><br /></p><p style="color: #111111; font-family: -apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif; font-size: 16px; font-variation-settings: var(--cib-type-body2-font-variation-settings); line-height: var(--cib-type-body2-line-height); margin: 12px 0px 0px; padding: 0px; user-select: text; word-break: break-word;">The findings from this survey support the literature review that communication design and graphic design are dynamic and evolving fields that respond to the social, cultural, technological, and economic changes in society. The findings also confirm the research objectives that online graphic design software and artificial intelligence have a significant impact on graphic design in terms of quality, value, competition, creativity, and professionalism.</p><p style="color: #111111; font-family: -apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif; font-size: 16px; font-variation-settings: var(--cib-type-body2-font-variation-settings); line-height: var(--cib-type-body2-line-height); margin: 12px 0px 0px; padding: 0px; user-select: text; word-break: break-word;">The findings suggest that online graphic design software and artificial intelligence have both positive and negative effects on graphic design. On one hand, these technologies offer more opportunities and benefits for graphic designers to improve their creativity and productivity. On the other hand, these technologies pose more challenges and threats for graphic designers to maintain their quality and value. Therefore, graphic designers need to balance the advantages and disadvantages of these technologies and use them wisely and ethically.</p><p style="color: #111111; font-family: -apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif; font-size: 16px; font-variation-settings: var(--cib-type-body2-font-variation-settings); line-height: var(--cib-type-body2-line-height); margin: 12px 0px 0px; padding: 0px; user-select: text; word-break: break-word;">The findings also indicate that online graphic design software and artificial intelligence have different degrees and dimensions of impact on graphic design. For example, online graphic design software may have a greater impact on the quality and value of graphic design than artificial intelligence, as it produces more generic or standardized works that do not reflect the individuality or originality of graphic designers. Artificial intelligence may have a greater impact on the creativity and professionalism of graphic design than online graphic design software, as it generates more novel or unexpected works that challenge or expand the boundaries of graphic design.</p><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><span face="-apple-system, Roboto, SegoeUI, "Segoe UI", "Helvetica Neue", Helvetica, "Microsoft YaHei", "Meiryo UI", Meiryo, "Arial Unicode MS", sans-serif" style="color: #111111; font-size: 16px;">However, the findings have some limitations that need to be acknowledged. First, the sample size of 100 respondents may not be representative or generalizable to the entire population of graphic designers. Second, the data collection methods of online surveys and interviews may have some biases or errors due to self-reporting, social desirability, or misinterpretation. Third, the data analysis methods of descriptive statistics and thematic analysis may have some limitations in terms of validity, reliability, or objectivity.</span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><br /></span><br /></div>
Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-9627491426427890432020-04-21T21:07:00.002-07:002020-04-21T22:20:31.878-07:00 Chapter 97: Ghajar School of Graphic Design - Painting<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSSKWH9q-ng-mYAgjys-BEQUTZ_cx4-7ENRv3fpDBebBAw_JYPa3scH2MVyLDTrSvS6HB1VGPjE42Xt0AIWMbJGC9CV9DUR59kQY-K58h3MfEP0FKqQoQnEtPUdImZd3vBhjOa1_g2hgw/s1600/A.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="750" data-original-width="418" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSSKWH9q-ng-mYAgjys-BEQUTZ_cx4-7ENRv3fpDBebBAw_JYPa3scH2MVyLDTrSvS6HB1VGPjE42Xt0AIWMbJGC9CV9DUR59kQY-K58h3MfEP0FKqQoQnEtPUdImZd3vBhjOa1_g2hgw/s640/A.JPG" width="356" /></a></div>
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Iranian art from the Ghajar period (1779-1925) has long been neglected and is little understood, it is characterized by large-scale works and the incorporation of various elements in the grammar of graphics. The Ghajar murals and wall decorations, as well as the setting for which they were designed, conveyed a feeling of grandeur and opulence. Iranian art of the 19th century carries the sensation of modernity, while fascinating by the delicacy of its style. Visitors approached these images through a series of ceremonial spaces, courtyards, gardens and walkways. The images were designed to convey a certain transcendental indication; the proportions were elongated, the features highly stylized, the colors saturated, the repeated patterns and the jewelry effects obtained with the gilding, the accumulated gesso and the lacquer. In royal residences, painting functioned as units with a rich range of decorative programs. The great scholar Oleg Grabar criticized the Ghajar art as being both too Iranian and too universal; but these are precisely the source of its exceptional energy and vigor. The large oil paintings of the Fath Ali Shah period have been appreciated by auction houses worldwide for their ability to obtain the highest price, as the English scholar RW Robinson said: "Persia was then a land of paintings, more than ever before or since. ”<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikKn2tOu350geMmVudwuHtY-2-W9B7kfTqETo1r88XzQvo9aTi6vQ8TRkRFXaDQPSAxNmkGVg-loYJsTWy7NXL1jg_TQY7pWhaXPDu2fX__gGmLdEfDBgYzF7t9LMlJfEqsbNNCh4iOMU/s1600/A.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="465" data-original-width="237" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikKn2tOu350geMmVudwuHtY-2-W9B7kfTqETo1r88XzQvo9aTi6vQ8TRkRFXaDQPSAxNmkGVg-loYJsTWy7NXL1jg_TQY7pWhaXPDu2fX__gGmLdEfDBgYzF7t9LMlJfEqsbNNCh4iOMU/s640/A.JPG" width="324" /></a></div>
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In 1998, "Royal Persian Paintings: the Qajar Epoch, 1785–1925" at the Brooklyn Museum of Art presented dazzling and unknown works from this period in the West. A few years later, several exhibitions in France and the United States revived this interest. "The Empire of the Roses: Masterpieces of Persian Art from the 19th Century", a major investigation into painting and the decorative arts, was inaugurated at the Louvre-Lens in 2018. 'The Prince and the Shah: royal portraits of Qajar Iran 'at Freer's | Sackler exhibited paintings, photographs and lacquerware from the museum's permanent collection. Likewise, image technologies: art in 19th century Iran from Harvard art museums offered new visual and intellectual juxtapositions of a range of splendid works from the era in 2017.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZWlknFCBXiYstp0xHGSpBoL9O3G7AMngzdShIWdrduKl5gAJ-NUEwBTMzti2rfIbqe5Dr_kddtpt5J98C5OeJhG9CHm61uc2KxRHCSfF6UNK6G10tIxW9v5tqptTNr8DMxnWCxvMeb8s/s1600/A.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="1406" data-original-width="727" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZWlknFCBXiYstp0xHGSpBoL9O3G7AMngzdShIWdrduKl5gAJ-NUEwBTMzti2rfIbqe5Dr_kddtpt5J98C5OeJhG9CHm61uc2KxRHCSfF6UNK6G10tIxW9v5tqptTNr8DMxnWCxvMeb8s/s640/A.JPG" width="330" /></a></div>
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The legacy of Ghajar's revival, which occurred after a century of civil wars, is unmistakable. The population recovered from 3 to 10 million, which has brought about profound changes in the arts, popular culture and religion. Persian classical music is Ghajar music; nineteenth-century court musicians invented the radif and the tar, replacing the guitar-like Arab oudh. The Ghajar rule is generally understood as being linked to its main ideological and political predecessor, the Safavid reign from 1501 to 1722, but also as a bridge to modernity - and this duality can be seen in the paintings of the time. Like the Tudors in England or the Bourbons in France, the Ghajars have left the deepest imprint on Iranian culture. None of these images showed a king in a real, naturalistic posture. They conveyed a patriotic and heraldic message rather than propaganda for the Shah himself. The real kings in these works were symbolized and allegorized. Using oil paintings on thick canvas, the Ghajar masters participated in a "Salon des refusés" of the Persian tradition, rejecting certain characteristics of traditional art in favor of integration and accommodation with the 'Europe. The most competent artists were chosen for this important task.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDVbxXGSVQ0gjd43VCNFqvI-DAzv3ZeF3wx5ECwk2RzyIxku1Cc17xJG7eOz2XgjbIrBPAvD1xycbF1z3j24YOKFF_djBnQ3nyeppPAVL-aOZrpWrL47zLAlvkMBMEDLxRXu8kx_Vi6pM/s1600/A.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="439" data-original-width="236" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDVbxXGSVQ0gjd43VCNFqvI-DAzv3ZeF3wx5ECwk2RzyIxku1Cc17xJG7eOz2XgjbIrBPAvD1xycbF1z3j24YOKFF_djBnQ3nyeppPAVL-aOZrpWrL47zLAlvkMBMEDLxRXu8kx_Vi6pM/s640/A.JPG" width="344" /></a></div>
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In the 19th century, there were at least 12 master painters (Naghashbashi) employed by the Ghajar court. They are Mirza Baba (1810), Abdollah Khan (1812-13), Mirza Ahmad, son of Mirza Hassan (1819), Ismaeel (1836-37), Abollah Khan Me'mar (1839-40), Mehr- Ali Esfahani (1842-1843) Mohammad Ebrahim (1848-1849) Kazeruni Saheb (1850), Abolhassan Ghaffari Sani'olmolk (1860-1861, Mohammad Esmeel (1871), Mirza Ali Akbar Mozzaienoddoleh (1871), Mirza Mohammad Ghaffari Kamalolmolk (1882 -83) Masters like Sani'olmolk and Agha Bozorg Shirazi, whose work is neither traditionally Persian nor entirely European, are rooted in the conviction that art is more perfect than life. The courtiers, khans and poets seen in their paintings seem to be the shadows of a more perfect self, but they overflow with the living likelihood of the European portrait.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="box-sizing: inherit; color: #9a9697; font-family: "leitura w01 italic_1" , "cambria" , "georgia" , "times news roman" , serif; font-size: 14px; margin: 0px; padding: 0px;">Female tumbler</span><span style="background-color: white; color: #9a9697; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;"> (c. 1800–30), unknown artist. Victoria and Albert Museum, London</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="box-sizing: inherit; color: #9a9697; font-family: "leitura w01 italic_1" , "cambria" , "georgia" , "times news roman" , serif; font-size: 14px; margin: 0px; padding: 0px;">Ladies around a Samovar</span><span style="background-color: white; color: #9a9697; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;"> (</span><span style="box-sizing: inherit; color: #9a9697; font-family: "leitura w01 italic_1" , "cambria" , "georgia" , "times news roman" , serif; font-size: 14px; margin: 0px; padding: 0px;">c.</span><span style="background-color: white; color: #9a9697; font-family: "helvetica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;"> 1860–75), Isma‘il Jalayir. Victoria and Albert Museum, London.</span></td></tr>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: small;">Because the wall surfaces of Persian buildings are articulated and modeled with niches, panels and framing the shape and size of a painting is determined by the nature of the space for which it is designed, and for this reason many of the pictures have an arched top allowing them to fit precisely into the arch-shaped niche which frequently occurs. </span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Fath-Ali Shah Ghajar</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Fath-Ali Shah Ghajar<br />
<span style="font-size: small; text-align: left;">The long reign of Fath Ali Shah provided Iran with relative political stability and a ruling Qajar elite that many of them among his more than 100 children. </span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Fath-Ali Shah Ghajar</td></tr>
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<span style="font-size: small;">This life-size portrait , depicting Fath Ali Shah sitting on a gilded, enamelled and bejewelled throne chair, is a state portrait intended to awe. The painting was probably commissioned from the court artist Mihr ‘Ali in around 1800–06, and was presented to the French envoy Amédée Jaubert in July 1806 as a royal gift for Napoleon and is now at the Louvre.</span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;">The </span><span style="font-size: small;">portrait of the Shah </span><span style="font-size: small;">arrests the viewer’s attention with his direct gaze, enormous beard, and extravagant royal paraphernalia, displaying the accoutrements of his authority not only in the elaborate throne but also with the massive Taj-i Kiyani crowning his head, the heavily and exquisitely bejewelled armbands, the belt with its long attachment associated with the Qajar tribal costume, and the sword of state.</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Mohammad Shah Ghajar</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Naserddin Shah Ghajar</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Naserddin Shah Ghajar</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXLkf9GV1nGcjBWbcFfS2GQul5dbYYVSoe-UKt4ISue_QhYyMskH77_77mBa4ly7uKNP8Eh7lFCLcQ-Z3QhKcoG_-WZC8Ix1ytwZUjmxtLSm7pGGf8HwNUwXqHvkKBxUQsxH_fPDqWeQ4/s1600/A.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1087" data-original-width="750" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXLkf9GV1nGcjBWbcFfS2GQul5dbYYVSoe-UKt4ISue_QhYyMskH77_77mBa4ly7uKNP8Eh7lFCLcQ-Z3QhKcoG_-WZC8Ix1ytwZUjmxtLSm7pGGf8HwNUwXqHvkKBxUQsxH_fPDqWeQ4/s640/A.JPG" width="440" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #666666; font-family: "helevtica neue" , "helvetica" , "arial" , sans-serif; font-size: 14px;"> King Hormuz dressed as a Qajar prince. Painted in gouache and gilded and lacquered on paper.</span>The British Museum</td></tr>
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Further Readings:<br />
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<br />
<ul style="text-align: left;">
<li>Babaie Sussan, The paintings that turned Persian art on its head in the 19th century, Apollo, The International Art Magazine . 2 JUNE 2018, https://www.apollo-magazine.com/how-the-qajar-dynasty-turned-persian-art-on-its-head/</li>
<li>Floor Willem, Art (Naqqashi) and Artists (Naqqashan) in Qajar Persia, Muqarnas Vol. 16, 1999, https://www.jstor.org/stable/1523268?read-now=1&refreqid=excelsior%3A8db42367e8cda1cfef3511828460961f&seq=1</li>
<li>Radjy Amir-Hussein , Masterpieces of hybridity, A REVIEW of L’EMPIRE DES ROSES Louvre Lens, TLS, https://www.the-tls.co.uk/articles/masterpieces-of-hybridity/</li>
<li>Landau Amy S., From Poet To Painter: Allegory And Meraphor In A Seventeenth-Century Persian Painting By Muhammad Zaman, Master of "FARANGĪ-SĀZĪ", Muqarnas Vol. 28 (2011), pp. 101-131</li>
<li>Zandieh M. , A. Fahimi Far , I. Khaleghi, F. and Mohammadi Haji Abadi ,The identity of the early Qajarid architectural decoration and its sources from the beginning to the end of Fat'h ali shah period (1785-1834), International Journal of Architectural Engineering & Urban Planning, Vol. 23, Nos. 1 & 2, June & December 2013, ijaup.iust.ac.ir/article-1-150-en.pdf</li>
</ul>
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-78151372521907849972019-12-25T21:47:00.001-08:002019-12-26T14:00:12.419-08:00 Chapter 96: The History of the Fisheye Lens and Album Jackets <br />
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Since their commercial manufacturing, Fisheye lenses have introduced a new lexicon in the grammar of communication design. In particular, since the early 1960s, this lexicon has been widely utilized by graphic designers in the creation of album covers.
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During the 1960s, the grammar of the old concepts of communication design was challenged by many graphic designers, who needed a more versatile lexicon to communicate the new dynamics of the modern era, which questioned the traditional paradigms and their ethical foundation. In other words, what had been "normal" was disputed on all fronts, and this included the design of communication. The bulging and surprising perspective of the fisheye lens seemed to offer a more appropriate expression for the new anxieties of the time and the ethical sensitivities of a generation disgusted with wars and the commercial exploitation of the masses. New album covers for rock musicians like Jimi Hendrix and Cream seemed to address these concerns.
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All along, a few decades later, the potential of fisheye images was explored by artists and a mature understanding of their grammatical use was developed. Unfortunately, however, a tendency to copycat also developed in parallel, similar to that of poor quality writings with the use of mundane concepts, which contaminated this grammar.
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A fisheye lens, of course, is a lens that takes an extremely wide angle of view, often 180 °, and appears as a circle in the black photo frame. There are also rectilinear full frame fisheyes, which give a rectangular, not round, image.
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More specifically, the fisheye lenses date back to 1906, when the physicist and inventor Robert W. Wood created a prototype fisheye lens from a bucket filled with water that contained a photographic plate, with an aperture through the box made by coating a glass window with opaque film and removing a tiny area for a pinhole; thus light passed through the glass, the pinhole, and the water, to the plate. He wanted to see if he could create the image of the world from the point of view of a fish. A few decades later, his curiosity led to the invention of the first commercial fisheye lens.
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Given that, depth of field is controlled by the focal length of a lens and the distance between the subject and the lens,thus fisheye lenses with their short focal length produce an image with a wide depth of field. In contrast, a lens with a long focal length, such as a telephoto, will condense space and produce a shallow depth of field. As the focal length of a lens increases in a telephoto lens, the magnification of the image will also increase and result in more image distortion that decreases depth of field. A fisheye lens has a very small amount of magnification and thus creates a minimum amount of distortion in the image, resulting in a wider depth of field.
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Wood did not explicitly describe the concept fisheye view until the second edition of his text in 1914. He not only described how a fish views the above-water world, but also demonstrated the concept, presenting sample images recording a full 180-degree hemisphere. In 1922, Bond published details of how he eliminated the water from the Wood’s fisheye camera, replacing it with a hemisphere of glass. The greatest surprise found in the literature for fisheye lenses and whole sky imaging systems comes from 1923, when Bernhard Schmidt, who later would invent the famous Schmidt Camera, patented a lens systems with a 120-degree field of view.<br />
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In 1957, Nikon launched its first "special order" fisheye camera, which was still used primarily for scientific purposes. However, some photographers and photojournalists have used it to capture different scenes and events. And in 1962, Nikon's first consumer fisheye lens hit the market. It quickly became a pop culture phenomenon, and it seems to have stayed that way ever since.<br />
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Shortly after, the photojournalists realized that if they used the fisheye lens, they would be able to capture the latent tense energy during high-speed events, transmitting their highly charged tensions mixed with a sense of suspense - events such as demonstrations, political conventions, rocket launches, etc.<br />
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However, many album covers from the 1960s featuring images taken with a fisheye lens, such as The Byrds’ Mr. Tambourine Man, The Rolling Stones’ Big Hits (High Tide and Green Grass), Jimi Hendrix Experience’s Are You Experienced that could extract the lion's share of the fisheye lens potentials. They were used in the 1960s in the belief that they made rock stars appear larger than life. In particular, they were used to film the Beatles' performances, and the results captured the frenzied excitement that their music was disseminating at the time. These lenses were also used to convey the ambiance of the almost revolutionary era of that decade, including the Woodstock festival.<br />
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<br />Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-8805634141234045822019-02-11T22:55:00.001-08:002024-02-03T23:46:34.153-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td><span style="font-size: large;"><br />Table of Contents:<br /></span><ul style="line-height: 1.4; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2016/09/chapter-42-swiss-grid-system-and-dutch.html#One" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Introduction</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2016/09/chapter-42-swiss-grid-system-and-dutch.html#Two" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Josef Müller Brockmann</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2016/09/chapter-42-swiss-grid-system-and-dutch.html#Three" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Max Bill</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2016/09/chapter-42-swiss-grid-system-and-dutch.html#Four" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Richard P Lohse</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2016/09/chapter-42-swiss-grid-system-and-dutch.html#Five" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Armin Hofmann</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2016/09/chapter-42-swiss-grid-system-and-dutch.html#Five2" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Emil Ruder</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2016/09/chapter-42-swiss-grid-system-and-dutch.html#Gerstner" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Karl Gerstner</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2016/09/chapter-42-swiss-grid-system-and-dutch.html#Six" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Hans Neuberg</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2016/09/chapter-42-swiss-grid-system-and-dutch.html#Seven" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Carlo Vivarelli</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2016/09/chapter-42-swiss-grid-system-and-dutch.html#Eight" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Wim Crouwel and the Dutch Total Grid</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2016/09/chapter-42-swiss-grid-system-and-dutch.html#Nine" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Lella Valle Massimo Vignelli</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2016/09/chapter-42-swiss-grid-system-and-dutch.html#Nine1" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Pierre Mendell</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2016/09/chapter-42-swiss-grid-system-and-dutch.html#Ten" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Alberto Longhi</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2016/09/chapter-42-swiss-grid-system-and-dutch.html#Eleven" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">The Revival of Swiss Grid System in the Cyberspace</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2016/09/chapter-42-swiss-grid-system-and-dutch.html#Twelve" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Neville Brody's Anti-Swiss Crusade</span></a></li>
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<span style="font-size: x-large;"><a href="http://guity-novin.blogspot.com/2011/07/chapter-42-swiss-grade-style-and-dutch.html" name="One" style="color: #7f8866; text-decoration-line: none;"></a><span>Introduction</span></span></div>
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<span style="font-size: large;"><br /><br />After the second world war the Swiss Grid Style, also known as the International Typographic Style was developed by Swiss designers, such as Armin Hofmann, Josef Müller Brockmann, Max Bill, Richard P Lohse, Hans Neuberg, and Carlo Vivarelli who began to experiment with typography and photo-montage. Characterized by a cold, emotionally sterile grid style; they used structured layout, and unjustified type, that became very influential in the mid twentieth century and influenced a vast audience. These pioneering graphic artists saw design as part of industrial production and searched for anonymous, objective visual communication. They chose photographic images rather than illustration, and typefaces that were industrial-looking rather than those designed for books.<br /><br />In short, the visual characteristics of the International Typographic Style include:<br /></span><ul style="line-height: 1.4; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: large;">Asymmetrically organizing the design elements on a mathematically-constructed grid to create Visual unity in a composition.</span></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: large;">Presenting visual and textual information in a clear and factual manner, using objective photography and illustration, and ensuring that it filters any propaganda and the exaggerated claims of commercial advertising</span></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: large;">Using sans-serif typography set flush left, ragged right -- The movement believed sans-serif typography expressed the spirit of a progressive age and that mathematical grids were the most legible and harmonious means for structuring information.</span></li>
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The initiators of the Swiss Grid Style were of the belief that the visual appearance of the work is not as important as the integrity of its philosophical tenets whereby;<br /></span><ul style="line-height: 1.4; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: large;">Design is a socially worthwhile and serious vocation.</span></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: large;">In design there is no room for eccentricity and/or idiosyncrasy. Design should be grounded on universal artistic principles, and using a scientific approach should provide a well-defined solution to a problem.</span></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: large;">The designer is a visual communicator and not an artist. The designer acts as an objective and reliable transmitter of important information between members of society.</span></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: large;">The ideal of design is to achieve clarity and order.</span></li>
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A leading pioneer of the Swiss Style, Josef Müller Brockmann , was the founder and editor of the Zurich published journal Neue Grafik, who introduced the Swiss Style into America. He was concerned with functional and objective design that by restricting design elements in the confine of typographic grid, would shift the focus of image on the core message displayed by a clean and sharp geometrical aesthetic. The grid was used to define the constant dimensions of the design space and elements were inserted precisely into it so that all parts of a page would be integrated coherently according to the aesthetic order. According to Müller Brockmann<br /></span><blockquote><span style="font-size: large;">
I have always aspired to a distinct arrangement of typographic and pictorial elements, the clear identification of priorities. The formal organisation of the surface by means of the grid, a knowledge of the rules that govern legibility (lines length, word and letter spacing and so on) and the meaningful use of colour are among the tools a designer must master in order to complete his or her task in a rational and economic matter.The greatest works of art impress through their balance, their harmony, their proportions, all of which can be measured. That is one of the reasons why paintings, sculptures and buildings that are thousands of years old – by the Egyptians, Chinese, Assyrians and so on – are still fascinating to us today.</span></blockquote><span style="font-size: large;">
The objective was an effective and efficient visual communication: information presented this way was assumed not only read more quickly and easily, but is also more easily understood and retained in memory.<br /><br /></span><div style="color: red;">
<span style="font-size: x-large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Two" style="color: #7f8866; text-decoration-line: none;"></a><span>Josef Müller Brockmann</span></span></div>
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<span style="font-size: large;"><br /><br />Josef Müller Brockmann was born in Rapperswil, Switzerland in 1914 and studied architecture, design and history of art at the University of Zurich and at the city’s Kunstgewerbeschule. He began his career as an apprentice to the designer and advertising consultant Walter Diggelman before, in 1936, establishing his own Zurich studio specialising in graphics, exhibition design and photography. According to his own account;<br /></span><blockquote><span style="font-size: large;">
" I became a graphic designer by accident". At school I was loth to write much for compositions so I put in illustrations instead. My teacher enjoyed them and thought I had talent. He suggested that I should pursue an artistic career: gravure etching or retouching, for instance. So I was apprenticed as a retoucher in a printing works. I lasted one day because I said that this wasn’t artistic work. After that I was apprenticed to two elderly architects. With them I lasted four weeks. Then I went to see all the graphic designers I found listed in the telephone directory because I wanted to find out what they did. Afterwards I enrolled to study graphic design at the Zurich Gewerbeschule."</span></blockquote>
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<span style="font-size: large;"><br />As a graphic designer, Müller Brockmann's skills included letterpress, silkscreen, and lithography. His geometric style was demonstrated in “Musica viva”, a series of concert posters for the Zurich Tonhalle in 1951. It is arguably claimed that his work was an adaptation of concrete art; which had been described by Theo van Doesburg around 1930, as works of art that are created by means of art's most genuine means of composition and principles, entirely doing without allusions to phenomenon of nature and their abstraction. New realities were supposed to be created by forming colors, space, light and movement.<br /><br />The style had to incorporate mathematical methods of spatial organization into graphic work, which <i>drew on the language of Constructivism to create a visual correlative to the structural harmonies of the music</i>. Müller Brockmann's 1955 poster, Beethoven, was supposed to portray Beethoven's music through a series of concentric curves, and has been offered as an example such an adaptation, and this assertion had been accepted at its face value by many pundits, who were impressed by the novelty, elegance and the simplicity of design. As Müller Brockmann has stated:<br /></span><blockquote><span style="font-size: large;">
In my designs for posters, advertisements, brochures and exhibitions, subjectivity is suppressed in favour of a geometric grid that determines the arrangement of the type and images. The grid is an organisational system that makes it easier to read the message...The grid is an organisational system that enables you to achieve an orderly result at a minimum cost. The task is solved more easily, faster and better. It brings the arbitrary organisation of text into a logical system in keeping with the conflict. It can demonstrate uniformity that reaches beyond national boundaries, a boon to advertising from which IBM, for instance, has profited. Objective-rational design means legible design, objective information that is communicated without superlatives or emotional subjectivity.</span></blockquote>
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<span style="font-size: large;"><br />From 1967 he was European design consultant for IBM. He is the author of The Graphic Artist and his Design Problems (1961), History of Visual Communication (1971), History of the Poster (with Shizuko Muller-Yoshikawa, 1971). Nevertheless, Müller Brockmann's work was rigid and soulless, suffering from certain self-imposed restrictions of the Swiss style, and dogmas such as the rejection of symmetry since fascists had liked it! He has said:<br /></span><blockquote><span style="font-size: large;">
symmetry and the central axis are what characterise fascist architecture. Modernism and democracy reject the axis... I have taken my love of order to the point of manifest boredom, producing design solutions which are valid but deadly boring. Thanks to the passage of time, I am now just about able to examine my posters for the Zurich Tonhalle to discover why some are better than others. I am amazed how many are bad. The Beethoven poster is good, also the “Musica Viva” poster of 1970 with the green lettering on a blue background and the two Tonhalle posters of 1969 and 1972 with the rhythmic type.</span></blockquote><span style="font-size: large;">
Looking at this juncture at these posters, when digital software packages can do any of them in just few minutes and with few of clinks, it is easy to dismiss the whole exercise as boring and insignificant. Of course, the world would have become a boring place should all posters have adopted the Swiss grid style. However, we have to remind ourselves that when these posters appeared on the scene their geometrical aesthetics were quite novel and rare. Perhaps ironically, Müller Brockmann has stated that he did not like experiments such as that of Neville Brody's typefaces that have the potential to rescue the grid style.<br /><br /></span><div class="separator" style="clear: both; text-align: center;">
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Typefaces designed for Neville Brody. By the early 1990s Neville Brody was able, with a straight face, to recommend abandoning typography’s requirement of legibility — gloating as a chill shot down the spines of his type-pro audiences...</span></div>
<span style="font-size: large;"><br />Müller Brockmann was totally dismissive of Brody's powerful artistic impact. The fact that not all viewers are of commercial types, and not everybody is concerned with profit maximizing attitudes that just require to get the information in an efficient and cost effective manner; the fact that there are also viewers that are interested in looking at a poster's typeface from an artistic view point and reflect on them, which in the process may also convey the message of an advertisement appears to have been totally alien to him. He has said;<br /></span><blockquote><span style="font-size: large;">
Some set themselves the task of making typography so unreadable that it is almost like a picture puzzle. The illegibility is then sold as an artistic project. I wouldn’t read something like that unless I had to. The same rational criterion applies to wobbly forms and blurred contours: can I read this faster? Text is communication of content, a fact reflected in classical typefaces and legible typography... (typefaces designed for Neville Brody) are not suitable for advertisements and posters. They are exceptions to the rule and individual cases are not a basis for teaching graphic design. These alphabets are confused, aesthetically lacking and bad. Playing around is always an excuse for too little understanding, which makes people fall on imagination and speak of artistic freedom, inspiration and good ideas. Such typefaces are interesting as studies in legibility. But I don’t see any sense in them. They are a personal attempt to deal with a problem and I find them not only bad but senseless because they lack an area of application.</span></blockquote><span style="font-size: large;">
In an interview with Eye Magazine for their Winter 1995 issue, just one year prior to his passing, he was asked what order meant to him:<br /></span><blockquote><span style="font-size: large;">
Order was always wishful thinking for me. For 60 years I have produced disorder in files, correspondence and books. In my work, however, I have always aspired to a distinct arrangement of typographic and pictorial elements, the clear identification of priorities. The formal organisation of the surface by means of the grid, a knowledge of the rules that govern legibility (line length, word and letter spacing and so on) and the meaningful use of colour are among the tools a designer must master in order to complete his or her task in a rational and economic manner.</span></blockquote>
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<span style="font-size: x-large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Three" style="color: #7f8866; text-decoration-line: none;"></a><span>Max Bill</span></span></div>
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<span style="font-size: large;"><br /><br />Max Bill (1908–1994), was born in Winterthur, Switzerland. An architect, painter, typographer, industrial designer, engineer, sculptor, educator, and graphic designer, Bill was initially a student at the Kunstgewerbeschule and apprenticed as a silversmith before beginning his studies in 1927 at the Bauhaus in Dessau, Germany, with teachers such as Wassily Kandinsky, Paul Klee, and Oskar Schlemmer. Bill permanently settled in Zurich, Switzerland, in 1929, and in 1937 became involved with a group of Swiss artists and designers named the Allianz. The Allianz group advocated the concrete theories of art and design and included Max Huber, Leo Leuppi, and Richard Paul Lohse.<br /><br />In 1950, Max Bill and Otl Aicher founded the Ulm School of Design (Hochschule fur Gestaltung-HfG Ulm) in Ulm, Germany, a design school initially created in the tradition of the Bauhaus and that is notable for its inclusion of semiotics, the philosophical theory of signs and symbols, as a field of study. Bill was of the view that "It is possible to develop an art largely on the basis of mathematical thinking." Over, the 1967-71 period, Bill taught at the Staatliche Hochschule fur Bildende Kunste in Hamburg where he was the chair of environmental design. As a graphic designer, he enthusiastically embraced the tenets and philosophical views of this modernist movement. The majority of his graphic work is based solely on cohesive visual principles of organization and composed of purist forms—modular grids, san serif typography, asymmetric compositions, linear spatial divisions, mathematical progressions, and dynamic figure–ground relationships.<br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption"><span style="font-size: large;">Simultaneous Constructions, 1945-51</span></td></tr>
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<tr><td class="tr-caption"><span style="font-size: large;">Three Groups, 1947</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1FivORALaRMTpHhzOs8j1AEFuIlFV0vObq3URQHN9s_zUAp26seQcIINPrXHQpdqYex9Vf661xv6QW1KnGgDWdxLRwxViAu0bqhkFhBCw8sP2ADO90zjnTS7E7YGPTvXj0qVgwgB-jHr6/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1FivORALaRMTpHhzOs8j1AEFuIlFV0vObq3URQHN9s_zUAp26seQcIINPrXHQpdqYex9Vf661xv6QW1KnGgDWdxLRwxViAu0bqhkFhBCw8sP2ADO90zjnTS7E7YGPTvXj0qVgwgB-jHr6/s400/a1.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Construction in Black, 1939</span></td></tr>
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<span style="font-size: x-large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Four" style="color: #7f8866; text-decoration-line: none;"></a><span>Richard P Lohse</span></span></div>
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<span style="font-size: large;"><br />Richard Paul Lohse (1902-1988) was born in Zürich (Switzerland) in 1902. In 1918 he joined the advertising agency Max Dalang where he trained to be an advertising artist, but in his artistic career he started with figurative works and gradually moved to post-cubism style. Lohse worked for the Max Dalang agency until 1927, where he became interested in the international avant-garde movements in both its artistic and political aspects. In 1937 Lohse, a key figure in the "Swiss School", and Leo Leuppi joined forces to establish <i>Allianz</i>, an association of Swiss modern artists, promoting publications, exhibitions and the dissemination of avant-garde art. He collaborated with Max Bill and Verena Loevesberg in the <i>Zurcher Konkrete </i>group, which was affiliated with <i>Allianz</i>. In 1938, Lohse and Irmgard Burchard, his first wife, organise the "Twentieth Century German Art" exhibition in London. Soon after Lohse joined the resistance movement where he met his second wife Ida Alis Dürner. In 1942 Lohse formulated his conception of constructive painting, a style that was highly structural. In the words of Fr. W. Heckmanns;<br /></span><blockquote><span style="font-size: large;">
His horizontal and vertical structures follow each other in serial and modular orders within the rectangular limits of the canvas. The essential content of his work is a rational interpretation of the relationship between artistic practice and the problem of the form of social organization, in short a human attitude towards the balance of law and freedom.</span></blockquote><span style="font-size: large;">
In the years 1947-1956, Lohse was an editor and designer for the swiss architectural magazine <i>bauen+wohnen</i> or construction+habitation. A special edition of the magazine was launched for Germany in 1952. Lohse's style was characterized by his devotion to precision and clarity in his theoretical framework. He saw structure not as a preliminary foundation but as a totality of concept in the image. He conceptualized the canvas as a field of interacting modules, in which the color and the form are complementary in creation of a formal color structure.<br /></span></div>
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<tr><td class="tr-caption"><span style="font-size: large;">Richard Paul Lohse, "Fifteen systematic vertical color lines with diagonal violet", 1975</span></td></tr>
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<span style="font-size: x-large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Five" style="color: #7f8866; text-decoration-line: none;"></a><span>Armin Hofmann</span></span></div><div style="color: red;"><span style="font-size: x-large;"><span><br /></span></span></div>
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<span style="font-size: large;"><br />Armin Hofmann was born in 1920 in Winterthur, Switzerland. During the 1937-39 period, Hofmann studied at Kunstgewerbeschule in Zürich and apprenticed as a lithographer until 1943. From 1943 until 1948 He worked as lithographer in Basel and Berne and in his own graphic atelier. In 1946, Hofmann joined the <i>Allgemeine Gewerbeschule </i>(AGS) in Basel, where he and Ruder established a world renowned advanced course in graphic design.<br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><br />Kenneth Hiebert, a former student of Hofmann; recalls that in the early sixties, Hofmann would occasionally bring in a Cassandre or Stoecklin poster and perfunctorily tack it to the wall. When the students cringed at this apparent maltreatment, Hofmann would say, “A good poster can take it.” What he really meant was that the posters were not intended as museum pieces but as things that should weather the harsh treatment of the streets. In the words of Paul Rand<br /></span><blockquote><span style="font-size: large;">
His goals, though pragmatic, are never pecuniary. His influence has been as strong beyond the classroom as within it. Even those who are his critics are eager about his ideas as those who sit at his feet</span></blockquote><span style="font-size: large;">
. He had a visiting professorship at the Philadelphia College of Art in 1955. Then came an appointment at Yale University, where he regularly conducted working seminars in graphic art and became director of the advanced graphic course in 1967. He carried on teaching abroad in Ahmedabad, India. Hofmann’s book <i>Graphic Design Manual: Principles and Practiceis</i> is a seminal work in graphic design. He has created many posters, logos, color concepts, signage systems and art-in-building projects, as well as participating in many exhibitions. According to him<i>“ primary in black and white posters is to counteract the trivialization of color as it exists today on billboards and in advertising.</i><br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Five2" style="color: #7f8866; text-decoration-line: none;"></a><span>Emil Ruder</span></span></div>
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<blockquote>
<i><span style="font-size: large;">Typography has one plain duty before it and that is to convey information in writing. No argument or consideration can absolve typography from this duty. -Emil Ruder</span></i></blockquote><span style="font-size: large;">
Emil Ruder (1914-1970), was a key player in the development of the Swiss Style. Born in Zurich, Ruder began his design education at the early age of fifteen when he took a compositor’s apprenticeship. By his late twenties Ruder began attending the Zurich School of Arts and Crafts where the principles of Bauhaus and Tschichold’s New Typography were taught, leaving an indelible impression on Ruder.<br /><br />Academia would continue to play a major role in Ruder’s life, though it would naturally evolve into the form of teacher rather than student. In 1947 he took a position as the typography instructor at the Schule für Gestaltung, Basel (Basel School of Design). He, along with the great Armin Hofmann, developed a program structured on principles of objectivity in design. He broke away from the subjective, style-driven typography of the past and encouraged his students to be more concerned with precision, proportions and above all, the role of legibility and communication with type.<br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-large;"><a href="http://guity-novin.blogspot.com/2011/07/chapter-42-swiss-grade-style-and-dutch.html" name="Gerstner" style="color: #7f8866; text-decoration-line: none;"></a><span>Karl Gerstner</span></span></div>
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<span style="font-size: large;"><br />Born in Basel, Switzerland in 1930, Karl Gerstner was a painter and a graphic designer, who studied design at Allgemeine Gewerbschule in Basel under Emil Ruder. In 1959, he and Markus Kutter confounded Gerstner & Kutter a design agency, which later when the architect Paul Gredinger joined them changed its name to GGK.<br /><br /></span><div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><br />Gerstner's theory of ‘The Colour Form Model' presented in his book, The Forms of Colour is one of his most significant contribution to graphic design. Inspired by the rich and colorful patterns of a Moroccan craftsman art, in this book Gerstner explored the multifaceted and intricate relationships between colour and form, as the basic structural components of Islamic art. Analyzing graphical interrelationships among various dimensions of colour spaces and formal systems of perspective, topologies, fractals and so on he framed his theory in the context of Wilhelm Ostwald's 1922 rational theory of forms, which provides a seemingly unlimited mathematical base for formal variations.<br /><br /></span><div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><br /><br /><br /><br />Gerstner discussed the work of a like-minded mathematician/artist, Hans Hinterreiter, who as an early adherent to Ostwald's theory, adopted deconstructive style of painting, experimenting with forms and colors, based on laws of "color organ and form." Hinterreiter was also inspired by the Moorish interpretation of Islamic ornamentation of the Alhambra after his 1934 trip to Spain. Presenting his own colour-form theory, Gerstner assessed Kandinsky’s idiosyncratic metaphysical assertions on the correspondence between colour and form (square=red, triangle=yellow, circle=blue) and suggested his own system of ‘Colour Signs’. Using computer programming, he developed a system of new primary forms, such as astroids, diagons and sinuons and discussed their possible correspondence with aural and tactile sensory modes. Gerstner's book ‘Designing Programmes’ 1964 was a manifesto for system orientated design, which he described as ‘programmes’. He defined a design ‘program’ as a set of rules for constructing a range of visual solutions, and connected his methodology with the new field of computer programming and presented examples of computer generated patterns that were made by mathematically describing visual elements and combining them according to simple rules.<br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
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Gerstner’s grid for the journal Capital, designed in 1962, is still often cited by some as near-perfect in terms of its mathematical properties. The smallest unit in Gerstner’s grid, or matrix as he called it, is 10pt—the baseline to baseline measurement of the text. The main area for text and images is a square, with an area above for titles and running heads. The cleverness lies in the subdivision of the square into 58 equal units in both directions. If all intercolumn spaces are two units, then a two-, three-, four-, five-, or six-column structure is possible without any leftover units.</span></div>
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Gerstner wrote: “The typographic grid is a proportional regulator for type– matter, tables, pictures and so on. It is a priority programme for a content as yet unknown. The difficulty lies in finding the balance between maximum formality and maximum freedom, or in other words, the greatest number of constant factors combined with the greatest possible variability.”</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPHSooif9xZhuJsnrrqUpxqyWOUSq7VdiKo4fi7LTJUlqoVzevyDZFTmNBrVVEzyj34W4WuhfHYf0E2AgcocHKz8M9FkWxEcRuLOLMe_lUtmVWKU7xiYZzfDaVjfiRF4u95CjejtEVjQXE/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPHSooif9xZhuJsnrrqUpxqyWOUSq7VdiKo4fi7LTJUlqoVzevyDZFTmNBrVVEzyj34W4WuhfHYf0E2AgcocHKz8M9FkWxEcRuLOLMe_lUtmVWKU7xiYZzfDaVjfiRF4u95CjejtEVjQXE/s640/a1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;"><br />Of course, sometimes grid becomes a trap -- even for an imminent artist like Grestner</span></td></tr>
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<span style="font-size: large;"><br /><br />Gerstner’s typographic experiments with unjustified ragged-right text(Hollis 2002), and his proposed Integral Typography which extended Max Bill’s ideas on typography (Müller-Brockman and Müller 2000) have also been influential. Like the Italian futurists, Gerstner believed that typography can greatly contribute to the actual discovery of meaning with its whole impact to be greater than the sum of the words and the meanings.<br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiOfV-JcUHBIP9o_2q3Gsm959v3kZNEgjTBAfkbBYZ49410AnAy_dr5BZLqDRJkFGqHB0ZkaDu0VEuzH0TYBxKL4CBYt8azFZKaYmBl0ADLG-Slhg7hXvIpJ25fol2Qft-vvyqLgaNhogt/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiOfV-JcUHBIP9o_2q3Gsm959v3kZNEgjTBAfkbBYZ49410AnAy_dr5BZLqDRJkFGqHB0ZkaDu0VEuzH0TYBxKL4CBYt8azFZKaYmBl0ADLG-Slhg7hXvIpJ25fol2Qft-vvyqLgaNhogt/s640/a1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;"><br />We have to be careful in our aesthetic judgement -- Is it grid that renders this work so astoundingly powerful? </span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB_E7DNkczYqqbRAE0Dnn-My9x46rPhGsFeHSD6J9BoGm8McgmW9vTYjwli8CGXQ_-JfQJsTg6aIE7I1z0g_O_y08vzCar4ydH-y6M2QQVKBn7BDjnGdFW18rGwCsfXb1Ipjl3bkv3cETa/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB_E7DNkczYqqbRAE0Dnn-My9x46rPhGsFeHSD6J9BoGm8McgmW9vTYjwli8CGXQ_-JfQJsTg6aIE7I1z0g_O_y08vzCar4ydH-y6M2QQVKBn7BDjnGdFW18rGwCsfXb1Ipjl3bkv3cETa/s640/a1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;"><br />I am sorry, adhering rigidly to a grid system does not guarantee the success of a work. </span></td></tr>
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<span style="font-size: x-large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Six" style="color: #7f8866; text-decoration-line: none;"></a><span>Hans Neuberg</span></span></div><div style="color: red;"><span style="font-size: x-large;"><span><br /></span></span></div>
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<span style="font-size: large;"><br /><br />Hans Neuburg (1904 – 1983) was born in Grulich, Austria-Hungary, which later became part of Czechoslovakia -- the town is now called Králíky and after the division of Czechoslovakia most of the municipality become part of the the Czech Republic. At the age fifteen, Neuburg enrolled at <i>Orell Füssli</i> AG in Zurich and graduated in 1922. After graduation he worked at various positions in advertising, freelance graphic design, and magazine editor. Over the 1958-65 he and is fellow artists Richard Paul Lohse, joseph Müller-Brockmann and carlo vivarelli established “Neue Grafik” magazine. After a brief two years period assuming the directorship of the Gewerbemuseum in Winterhur in 1962-64 during which he also taught at the <i>Hochschule für Gestaltung </i>in Ulm, and writing a number of books including Graphic Design in Swiss Industry (1965), Publicity and Graphic Design in the Chemical Industry (1967) and Conceptions of International Exhibition (1969), he moved to Ottawa, Canada, to teach at Carlton University, School of Industrial Design in 1971.</span></div><div style="color: black;"><span style="font-size: large;"><br /></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Seven" style="color: #7f8866; text-decoration-line: none;"></a><span style="font-size: x-large;">Carlo Vivarelli</span><br /><br /><div class="separator" style="clear: both; text-align: center;">
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Carlo Vivarelli (1919-1986) was a graphic designer, painter and sculptor who was born in Zurich and studied at the renowned Kunstgewerbeschule from 1934-39 and in 1946 became Art Director at the progressive avant garde Studio Boggeri in Milan. During this time and when he returned to his native Switzerland he became one of the leaders of the Swiss Modernists and in 1958 became a co-founder of Neue Grafik magazine. In his later years he concentrated more on his concrete art and sculptures. </span></div>
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<span style="font-size: x-large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Eight" style="color: #7f8866; text-decoration-line: none;"></a><span>Wim Crouwel and the Dutch Total Grid</span></span></div><div style="color: red;"><span style="font-size: x-large;"><span><br /></span></span></div><div style="color: red;"><span style="font-size: large;"><span><br /></span></span></div>
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<span style="font-size: large;"><br />The concept of the total grid has been the brainchild of Wim Crouwel, a dutch graphic designer, born in 1928. He is one of the five founders of Total Design, a multi-disciplinary design studio in the Netherlands. Crouwel studied fine art in Groningen before moving to Amsterdam in the early 1950s where he initially worked for an exhibition design company. Because of his interest in architecture, and his spatial sensitivities he applied for commissions for cultural institutions, such as the Van Abbe Museum in Eindhoven in 1956, and the Stedelijk Museum in Amsterdam shortly afterwards for which Crouwel was solely responsible to develop an identity by posters and catalogues. It was at the Stedelijk that Crouwel created his Neu Alphabet, an unconventional typeface based on grid system.<br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><br />In 1963 Crouwel founded Total Design, a multi-disciplinary design agency, that its hallmark was modular structuring and grids. With a systematic approach to design projects, it created the identity for a large number of Dutch companies including some multinationals like IBM and Olivetti. Total Design altered the visual landscape of the Netherlands throughout the 1960-70 period. In the 1970s Crouwel designed the Dutch Pavilion for the Osaka World Fair, as well as numerous postal stamps for the Dutch post office and a controversial redesign of the telephone book using only lowercase letters.<br /><br /></span><div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><br />Crouwel's typeface was constructed using only horizontal and vertical lines creating an alphabet of all lowercases. Although only half of the letters were recognizable, with the emergence of personal computers, his modern typeface was particularly aimed at digital systems in 1967. However, for many Crouwel's typeface appeared illegible. It challenged the design establishment, but Crouwel was happily engaged in the ensued controversy and readily confessed that he attaches a higher priority to visual aesthetics relative to functionality. Crouwel has stated;<br /></span><blockquote>
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"I simply wanted to make a consistent alphabet on the basis of that grid of squares. I did not want any cluttering of vertical stems and did not find a solution within the conventional structure of the characters. So I began researching the past, looking for alternative signs with which I could replace the conventional forms. One could have made them up, but I wanted them to have some kind of footing in the history of type"</span></blockquote>
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<span style="font-size: large;"><br />His new typeface was redrawn by Brett Wickens and Peter Saville for the Joy Division album, ‘Substance’ in the late 80s and then digitized and made available for use in 1997 by The Foundry. Crouwel designed a number of other fonts including Gridnick, an appropriate reference to his use of grid systems and Mr. Gridnick became Crouwel’s endearing nickname. ----<br /><br /></span><div style="color: red;">
<span style="font-size: x-large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Nine" style="color: #7f8866; text-decoration-line: none;"></a><span>Lella Valle & Massimo Vignelli</span></span></div><div style="color: red;"><span style="font-size: large;"><span><br /></span></span></div>
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<span style="font-size: large;"><br />The graphic designs of the Italian graphic designer couple, Lella Valle and her husband Massimo Vignelli, are also based on concept of total design in the confine of a grid. Born in Udine in 1936, Lella Valle studied architecture, and met Massimo Vignelli who also studied architecture in Venice, in the 1950s. The couple moved to to the US during the 1958-1960 period, where Lella Vignelli worked in New York for Skidmore, Owings & Merrill and Massimo Vignelli taught at the Chicago Institue of Design. In 1960 they returned to Italy and opened a graphic design studio in Milan. Five years later Massimo joined Bob Noorda and Jay Doblin in founding Unimark International, a design consultancy, in Milan.<br /><br /></span><div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><br />In that same year, 1965, Vignellies moved to New York, in order to manage a Unimark branch that specialized in developing corporate logos and designing the corporate identity for the business clients. According to Massimo they intended to return to Milan after a short while, but that didn't come to pass and they settled in New York for good. In 1971, they rebranded the practice as Vignelli Associates, which created corporate identities for firms such as American Airlines, Bloomingdale's, Cinzano, Lancia, United Colors of Benetton, Ford, Xerox, and the International Design Center New York.<br /><br />While working for Unimark, Vignellies redesigned the look of the NYC Metropolitan Transit Authority with a new subway map and train identification sign system. They Replaced the previously chaotic typography with Helvetica and reduced the train routes down to solid color, while geometric lines organized the map and allowed signs to be clearer and more distinct. In 1977, Vignellies designed the Unigrid System for the National Park Service. The module grid system allowed the the National Park to create brochures in ten basic formats and to keep a consistent, recognizable structure across all it’s materials.<br /><br /></span><div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: large;"><br />With their training grounded in architecture, Vignellies established a vision of an organized, systematic structural approach early in their design careers. The underlying structure of many of their endeavors in corporate identity, publication, book design, and interiors continues to be the a strictly grid-based design. Lella & Massimo began exploring the grid structure early in their career in Milan by working on corporate entities and projects for various cultural organizations. These early works allowed them to build a design style focused on dividing space within a modular grid that was subdivided rationally into distinct zones. Breaking down the page into smaller intervals of space permitted a clear translation of complex informational material. Most of their designs utilize a limited color palette and use mostly five typefaces Garamond, Bodoni, Helvetica, Univers, and Century. According to Massimo:<br /></span><blockquote><span style="font-size: large;">
"Bodoni is one of the most elegant typefaces ever designed. When I talk about elegance, I mean intellectual elegance. Elegance of the mind."</span></blockquote>
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<center><span style="font-size: large;">
Some of the typefaces created by Zuzana Licko</span></center>
<span style="font-size: large;"><br />Vignellies are purists and have a distaste for the bitmap font tool, used by Zuzana Licko to develop the font for the influential Emigré journal. According to Massimo Vignelli, Emigré and Rudy van der Lans, are the worst thing to happen to typography. Rudy van der Lans who moved to America in 1981 to study photography at the University of California, Berkeley, where he met and married Zuzana Licko, founded the influential Emigré journal in 1984. Vignelli believes Jonathan Hoefler is someone who is carrying the typographic torch today.<br /><br /><br /><br /></span><div style="color: red;">
<span style="font-size: x-large;"><a href="http://guity-novin.blogspot.com/2011/07/chapter-42-swiss-grade-style-and-dutch.html" name="Nine1" style="color: #7f8866; text-decoration-line: none;"></a><span>Pierre Mendell</span></span></div>
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“Quality graphic design stands out for the mindset it exhibits: stringent, reduced in form, always intense, never pretentious. In this way, Pierre Mendell developed a most distinct style. He flexibly dealt with particular tasks and through this, eminently lived up to the challenge of respective themes. Hence, Pierre Mendell’s posters are so simple and convincing and will continue to be of great significance beyond this day.” - Florian Hufnagl, Die Neue Sammlung – The International Design Museum Munich</span></blockquote>
<span style="font-size: large;"><br /><br />Pierre Mendell, (1929 - 2008), one of the world's leading graphic designers, was born in Essen, Germany. Mendell lived in France between 1934 and 1947; emigrated to the USA in 1947; in 1953 returned to France, where he worked in the family textiles company; in 1958 began studying graphic design under Armin Hofmann at the Schule für Gestaltung in Basle; the Mendell & Oberer studio was founded in 1961 in Munich. For almost 30 years he played a role in creating the visual identity of the neue sammlung - the international design museum munich.Pierre Mendell has been designing the posters for the Staatsoper in Munich from 1993 to 2006. With over a hundred motifs to his name, he has not only successfully created an unmistakable identity for the Munich opera, he has also linked this opera house with a form of visual expression that is unparalleled in its originality and immediacy. Mendell’s simple, almost archaic, visual language is admired over the world and his poster designs are represented in leading collections such as the Museum of Modern Art, New York.<br /><br />Pierre Mendell's work is characterized by elements which are often missing in much contemporary graphic design: vibrancy, communicative force, poetry, and humor. His cultural posters and corporate design identities -- including his designs for Vitra and Siemens, for which he is probably best known -- are timeless yet contemporary. The success of his designs demonstrate that the strength of all graphic work depends on an overarching concept, not on current fads. Pierre Mendell's awards include the Gold Medal from the Art Directors Club, Germany, the Gold Medal form the Art Directiors Club New York, Best German Poster of the Grand Prix International de l'Affiche Paris and the German Poster Grand Prix. Pierre Mendell's work has been exhibited in the Munich City Museum, the International Design Centre Berlin, the Galleria Aiap Milano, the Muzeum Plakatu Warsaw, the Museo Nacional de Bellas Artes Buenos Aires, the Centro de la Imagen Mexico City and the Visual Arts Musuem New York. His work is represented in the Graphic Design Collection of the Museum of Modern Art New York. Pierre Mendell taught from 1987 to 1996 at the Yale University Summer Design Program in Brissago, Switzerland.<br /><br /></span><div class="separator" style="clear: both; text-align: center;">
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<span style="font-size: x-large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Ten" style="color: #7f8866; text-decoration-line: none;"></a><span>Alberto Longhi</span></span></div>
<span style="font-size: large;"><br /><br /></span><div class="post hentry" style="min-height: 0px; position: relative;"><span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><span style="font-weight: 400;"><i>Alberto Longhi, a prominent graphic designer, has left an indelible mark on the world of design, particularly through his work as a poster designer for the renowned Salone del Mobile in Milan.</i></span></span></div><div class="post hentry" style="min-height: 0px; position: relative;"><span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><span style="font-weight: 400;"><i><br /></i></span></span></div><div class="post hentry" style="min-height: 0px; position: relative;"><span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><span style="font-weight: 400;"><i> Longhi was born in Milan, Italy. His passion for visual communication led him to explore the realm of graphic design. His artistic sensibilities and innovative approach made him a sought-after designer.</i></span></span></div><div class="post hentry" style="min-height: 0px; position: relative;"><span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><span style="font-weight: 400;"><i> </i></span></span></div><div class="post hentry" style="min-height: 0px; position: relative;"><span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><span style="font-weight: 400;"><i>Longhi’s association with the Salone del Mobile (Milan Furniture Fair), a prestigious international furniture and design exhibition, held annually in Milan, involved creating captivating posters that captured the essence of the event.</i></span></span></div><div class="post hentry" style="min-height: 0px; position: relative;"><span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><span style="font-weight: 400;"><i><br /></i></span></span></div><div class="post hentry" style="min-height: 0px; position: relative;"><span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><span style="font-weight: 400;"><i>Longhi’s posters were characterized by their elegance, simplicity, and visual impact. He understood the power of a well-crafted image to convey complex ideas succinctly. His minimalist yet evocative designs resonated with both design enthusiasts and industry professionals.</i></span></span></div><div class="post hentry" style="min-height: 0px; position: relative;"><span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><span style="font-weight: 400;"><i> </i></span></span></div><div class="post hentry" style="min-height: 0px; position: relative;"><span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><span style="font-weight: 400;"><i>Alberto Longhi’s legacy extends beyond the Salone del Mobile.</i></span></span></div><div class="post hentry" style="min-height: 0px; position: relative;"><span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><span style="font-weight: 400;"><i>His work exemplifies the intersection of art and design, emphasizing clarity and aesthetics.</i></span></span></div><div class="post hentry" style="min-height: 0px; position: relative;"><span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><span style="font-weight: 400;"><i><br /></i></span></span></div><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; font-weight: 400; text-align: center;">
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<tr><td class="tr-caption"><span style="font-size: large;">Guity Novin</span></td></tr>
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<span style="font-size: large;"><b style="display: block; margin: 12px 0pt 4px;"></b><b style="display: block; margin: 12px 0pt 4px;"><a href="http://www.slideshare.net/Leursism/grid-systems" style="color: #7f8866; text-decoration-line: none;" target="_blank" title="Grid Systems">Grid Systems</a></b></span></div>
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<span style="font-size: x-large;"><a href="http://guity-novin.blogspot.com/2011/07/chapter-42-swiss-grade-style-and-dutch.html" name="Eleven" style="color: #7f8866; text-decoration-line: none;"></a><span>The Revival of Swiss Grid System in the Cyberspace</span></span></div>
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<span style="font-size: large;"><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">Swiss style focus on clarity, eye-friendliness, readability and objectivity has made it a powerful tool for web-communications, which enhanced by its strong reliance on elements of typography and universality. Grid systems in web design have spawned a number of the Cascading Style Sheets (CSS) frameworks. For instance, the 960 Grid System, Fluidable, Columnal and Cardinal are efforts to streamline web development workflow by providing commonly used dimensions. These CSS frameworks are designed to simplify the creation of webpages based on a grid system. A number of websites have been created using the framework. Some of the exemplars are good examples on how using a grid system can produce aesthetically beautiful websites.</span></span><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; font-weight: 400; text-align: center;">
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<span style="font-size: large;"><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">Grids are used to present content in a consistent and predictable manner, helping to organise content in a methodical fashion. It affords conformity and uniformity, increasing the usability of any given system, by placing items and information in a predictable manner, reducing the cognitive overload of users. “According to the principles of consistency, systems are more useable and learnable when similar parts are expressed in similar ways, learn new things quickly, and focus attention on the relevant aspects of a task” (Lidwell, Holden and Butler, 2010: 24)</span></span><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; font-weight: 400; text-align: center;">
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<span style="font-size: large;"><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">The style can be easily identified for its simplicity and clarity of purpose. These two principles are often manifested in the use of asymmetric layouts, grids, sans-serif typefaces, left-flushes and simple but impactful photography. These elements are produced in a simple but highly logical, structured, stiff and harmonious manner. It is clear that the Swiss Style is information-oriented. This is why designers should think of the information dissemination using its artistic principles.</span></span><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; font-weight: 400; text-align: center;">
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<span style="font-size: large;"><br /><br /><a href="http://guity-novin.blogspot.com/2011/07/is-graphic-design-dead.html" style="color: #7f8866; font-family: Calibri; font-weight: 400; text-decoration-line: none;">Go to the next chapter; Chapter 43: Graphic Design and the Postmodern Epoch </a><br /></span><div style="color: #1f1c1c; font-family: Calibri; font-weight: 400; padding: 5px 0px 12px;">
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<span style="font-size: x-large;"><a href="http://guity-novin.blogspot.com/2011/07/chapter-42-swiss-grade-style-and-dutch.html" name="Twelve" style="color: #7f8866; text-decoration-line: none;"></a><span>Neville Brody's Anti-Swiss Crusade</span></span></div>
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The digital revolution and the introduction of the Macintosh computer in the mid-1980s made the construction and deconstruction of typographical elements easier than it had been in the past. Embracing technology that was growing exponentially more sophisticated, designers realized more and more complex typographic experiment. Neville Brody's FF Blur is one example. Influenced by the late-1970s punk rock aesthetic, Brody began his career at the London College of Printing and later designed record covers for various artists while art director of Fetish Records. The letterforms of FF Blur—fuzzy around the edges like an out-of-focus photograph—seem to celebrate their own imperfection, speaking to his unique background. FF Blur resembles type that has been reproduced cheaply on a Xerox machine—degenerated through copying and recopying.</span></span><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; font-weight: 400; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI8FJxHXLZyMOVsAI06Y1Pf0mnyjBT8vmD3_SOZwdu53dC65ht8qxgZ-LQkV0DBOJDcPVck9TqJGeUxQgpJP_gRLEoRgLd2v_SY2YV5hBgnzrvH1azE5WOPW6aNkDxCYjCyjbMUfpo6gQ/s1600/Sidegarden.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: large;"><img border="0" data-original-height="544" data-original-width="402" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI8FJxHXLZyMOVsAI06Y1Pf0mnyjBT8vmD3_SOZwdu53dC65ht8qxgZ-LQkV0DBOJDcPVck9TqJGeUxQgpJP_gRLEoRgLd2v_SY2YV5hBgnzrvH1azE5WOPW6aNkDxCYjCyjbMUfpo6gQ/s320/Sidegarden.jpg" style="border: none; position: relative;" width="236" /></span></a></div>
<span style="font-size: large;"><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">Soon after Joan and Erik Spiekermann launched FontShop in 1989, Brody and Spiekermann cofounded FontFont, which would grow into the world’s largest independent collection of original typefaces until its acquisition by Monotype in 2014. Brody’s other major achievement in this field is FUSE, the quarterly magazine for experimental type design he cocreated with Jon Wozencroft.</span></span><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">Brody Fonts’ decision to join Type Network was no coincidence. It was the culmination of a longstanding professional relationship and friendship between Neville Brody and Type Network cofounder David Berlow, a shared history spanning three decades. The seeds of their collaboration were sown in 1987, when Berlow met Brody and Spiekermann at an ATypI conference in New York. “Two years later, we met again in San Antonio, ” Berlow explained in an interview with Yves Peters. “This time, I had retail fonts to offer them.” In his characteristic irreverent style, Berlow continued: “By then, FontShop was starting to talk about their global conspiracy to have an international distribution network.”</span></span><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; font-weight: 400; text-align: center;">
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<span style="font-size: large;"><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">Brody released his first retail typefaces through Linotype. He based Industria on headlines he had drawn between 1980 and 1986 as the art director for the influential British fashion bible The Face; Arcadia and Insignia originated as a banner and a headline type for Arena magazine, which he art-directed from 1987 to 1990, after his departure from The Face. Following his stint at Linotype, Brody moved on to cofound FontFont, the first independent foundry (aside from Emigre) established by type designers. In short order, FontFont became the cool foundry everyone wanted to work with.</span></span><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">Peters remembered a conversation he had with Brody during the early days of FontFont: “He explained to me that he wanted the independent foundry to be a bit like a record label. To help designers break away from the tired old mainstays, FontFont planned to release new designs on a regular basis, ‘hit singles,’ so to speak. Changing trends would cause those typefaces to fade into the background, making way for fresh new type in tune with the times, in a perpetual cycle of typographic renewal. The current font market is remarkably close to his original vision.”</span></span><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; font-weight: 400; text-align: center;">
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<span style="font-size: large;"><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">Brody enlisted Berlow’s company, Font Bureau, to work on the typefaces he planned to release through FontFont. “We helped him make sense of his wild geometric designs,” said Berlow. Font Bureau produced FF Typeface Four, FF Typeface Six, and FF Typeface Seven in 1991; and FF Gothic and FF Pop in 1992. Brody’s FF Blur, also developed during this period, proved to be a milestone: Paola Antonelli eventually acquired it as one of twenty-three digital typefaces for the Museum of Modern Art’s Architecture and Design Collection. After this successful start to their collaboration, Berlow sent one of the young designers from his studio to London—a guy named Tobias Frere-Jones. Frere-Jones assisted Brody in preparing FF World, FF Tokyo, FF Dome, and FF Tyson for release in 1993, as well as FF Harlem. 1994’s FF Autotrace and Brody’s contributions to the FF Dirty Fonts series in 1994 and 1995 recalled his efforts for FUSE.</span></span><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; font-weight: 400; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPsSGY3t6Kb4HBG-WFsFwyWdppWpgddNlrpwUT5RCt6pFDXP_qw_RE0VZpVHaRygjnEPttcaSsjy7zBl26SBahNVlgiEgwbh-sCLB9o_Z6LCIldpRcrePiaWClncIgMumMprHZargaTlw/s1600/rockgarden.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: large;"><img border="0" data-original-height="500" data-original-width="354" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPsSGY3t6Kb4HBG-WFsFwyWdppWpgddNlrpwUT5RCt6pFDXP_qw_RE0VZpVHaRygjnEPttcaSsjy7zBl26SBahNVlgiEgwbh-sCLB9o_Z6LCIldpRcrePiaWClncIgMumMprHZargaTlw/s640/rockgarden.jpg" style="border: none; position: relative;" width="452" /></span></a></div>
<span style="font-size: large;"><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">True to his inquisitive and cutting-edge approach to graphic design, Brody had started questioning both the usual methods of type design and the actual shapes of the alphabet very early on in his forays into making digital typefaces. Barely one year after starting FontFont, the first issue of FUSE hit the proverbial stands. Each edition included four experimental typefaces by renowned and up-and-coming graphic designers, four posters showcasing those typefaces, and one or more additional typefaces by Brody, also with their own posters. For the most part, the contributors were not experienced type designers, so Font Bureau took on some of the production and mastering until the FontFont Type Department got up to speed.</span></span><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">At this point, FontShop had started hiring people to do production work on typefaces for both FontFont and FUSE, thus ending Font Bureau’s involvement; Brody and FontWorks also parted ways. Font Bureau and FontShop always had distinct, separate relationships with Brody, which continued beyond this period. In the early nineties, Font Bureau commissioned Brody to design their well-known logo. “Brody’s idea was to have a perpetually changing logo using different typefaces, so we created a logo font with twenty-six different quotes,” Sam Berlow said. “We were very happy with his design from start to finish,” David Berlow continued. “We never changed it, and only expanded the logo variations for all the formats and proportions it needed to cover, to give us the necessary flexibility with different tones of voice.” Sam Berlow added: “Brody came back to it in 2012 and developed the current Font Bureau identity and brand guidelines using Benton Sans.”</span></span><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; font-weight: 400; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrjwK6mAAudE2KTVtblV6ItVGvjCYjM68NcpfPCVPR2_2l48uADTchvP_AyRBYP4cjCvcZ1YEsy0S8wimFbn8fdz6EBaq6JQUcH6pG3DIF7bq4g6twO1rQQUMIFmDare5e-9ME-729rDQ/s1600/Sidegarden.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: large;"><img border="0" data-original-height="332" data-original-width="236" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrjwK6mAAudE2KTVtblV6ItVGvjCYjM68NcpfPCVPR2_2l48uADTchvP_AyRBYP4cjCvcZ1YEsy0S8wimFbn8fdz6EBaq6JQUcH6pG3DIF7bq4g6twO1rQQUMIFmDare5e-9ME-729rDQ/s640/Sidegarden.jpg" style="border: none; position: relative;" width="454" /></span></a></div>
<span style="font-size: large;"><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">In the early aughts, Brody Studios ventured into custom typeface design, creating memorable typographic stylings for major publications and broadcasters, as well as for global brands. And now Brody is ready to unleash a new series of retail families sporting his signature wit and inventiveness.</span></span><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">Brody Fonts joins Type Network in exclusivity with two remarkable designs. BF Bonn is a geometric sans with a typical Brody twist. The display face blends art deco influences with futuristic tendencies in a series of eight weights ranging from a razor-sharp Thin to a dense, massive Ultra. Stylistic alternates rein in BF Bonn’s strong personality a little for more conventional applications.</span></span><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">With BF Buffalo, Brody goes full-on hard sci-fi. The face’s industrial features combine chiseled outside cuts with tense inside curves. Alternate capitals emphasize a faux-monospaced rhythm, while stylistic alternates for strategic characters increase the modularity of the letterforms. Set out of the box, the seven weights from Ultra Light to Ultra Black create striking headlines and titles. In the hands of adventurous typographers, the faceted character shapes morph into the pieces of an alphabetic jigsaw puzzle.</span></span><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; font-weight: 400; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkvyY96uZiTT1-r0tmPGMGRzK2oS-0w2BjFEQig37VEQ3V6phSFDciYe69wh_gBC29D4LfbNQuOXMPl2MlUQM5XBTzs3Rg823ufRK_Q0v-pWlWpwxkhlXP985VdyOCh1_I_3zpbTD6ef8/s1600/rockgarden.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: large;"><img border="0" data-original-height="627" data-original-width="500" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkvyY96uZiTT1-r0tmPGMGRzK2oS-0w2BjFEQig37VEQ3V6phSFDciYe69wh_gBC29D4LfbNQuOXMPl2MlUQM5XBTzs3Rg823ufRK_Q0v-pWlWpwxkhlXP985VdyOCh1_I_3zpbTD6ef8/s640/rockgarden.jpg" style="border: none; position: relative;" width="510" /></span></a></div>
<span style="font-size: large;"><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">“Neville has had a close working relationship with Sam Berlow, Jill Pichotta, myself, and various other Font Bureau designers from the moment Tobias Frere-Jones walked through his door to the present,” said David Berlow. “Trying to distill your inspiration into a usable typographic language without what Neville calls ‘commercializing’ it is a challenge for all of us. Since those early years, we have been involved in helping him produce—and, in some cases, tame—his wildly imaginative designs into usable typefaces. David Jonathan Ross currently helps Brody produce his fonts. And now we’re moving forward with Neville opening his own store, Brody Fonts, under the Type Network banner, which we are very excited about.”</span></span><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; font-weight: 400; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi__yYV4kXPkagvMojYcqycBzbceQtOo5vMGK9RQ5G4hGSyqagP4DBeqeAInz3-R50eCQ4HHEHu3W4MP5bn4I7v3-Jpncc2dfX9zr9MFrlzIvOV5fdu3oKMJFsrfhcj_2UH7Z65dgcit9s/s1600/rockgarden.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: large;"><img border="0" data-original-height="1600" data-original-width="1036" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi__yYV4kXPkagvMojYcqycBzbceQtOo5vMGK9RQ5G4hGSyqagP4DBeqeAInz3-R50eCQ4HHEHu3W4MP5bn4I7v3-Jpncc2dfX9zr9MFrlzIvOV5fdu3oKMJFsrfhcj_2UH7Z65dgcit9s/s640/rockgarden.jpg" style="border: none; position: relative;" width="414" /></span></a></div>
<span style="font-size: large;"><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">“Working at ad agencies and design studios in the 1990s in Dallas, Texas, I spied The Graphic Language of Neville Brody on the desks and in the hands of countless creatives,” said Tamye Riggs, a Type Network team member and FontShop alum who chronicled the early days of digital type for Adobe. “These big hardback books were well-thumbed and heavily sticky-noted, I can tell you that. How did a British designer have such an impact on impressionable young minds in the Lone Star State, before the web and social media was a thing? It’s a bit of a mystery to me, but Neville captured the zeitgeist in such a vibrant, typographically in-your-face way. He’s been so often imitated, but never really successfully. No one could ever hope to replicate what goes on in his head.”</span></span><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; font-weight: 400; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNaXlnytmTw0FZ__HJhjT-wK0X95xe8Q0KzL3QDGYq1aCD1P6rvkIyKJMT3s-BS3ifapykX0iZiM35w4HYYzkTDMpc3SL9oazFz2Q_S6ebnWQzTqZCBofR2wglUM6D6Sk5tECtiB3WyJQ/s1600/rockgarden.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: large;"><img border="0" data-original-height="1500" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNaXlnytmTw0FZ__HJhjT-wK0X95xe8Q0KzL3QDGYq1aCD1P6rvkIyKJMT3s-BS3ifapykX0iZiM35w4HYYzkTDMpc3SL9oazFz2Q_S6ebnWQzTqZCBofR2wglUM6D6Sk5tECtiB3WyJQ/s640/rockgarden.jpg" style="border: none; position: relative;" width="426" /></span></a></div>
<span style="font-size: large;"><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;"> “The Graphic Language of Neville Brody came out in my first year at the Royal Academy of Fine Arts. I immediately got a copy at the recommendation of my graphic design teacher, and Brody became a source of inspiration in my formative years,” said Peters. “Little did I know that, during my internship at Spiekermann’s MetaDesign in August 1991, my first FontShop assignment would be to design a FontWorks ad commissioned by Brody himself. We interacted many times during my tenure at FontShop BeNeLux in the early nineties. My personal highlight was inviting him as a speaker and jury member for the first FontShop BeNeLux Typography Award. Working with Neville again after all those years is like coming full circle.”</span></span><br /><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; font-weight: 400; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZXYFWodk_0uimmjQ3G_1VWH3o9Jx_m4fr9Z2GP4qWqJ55cok6h8MhvoB52VrsGyVj-zlLvhp6O3xbfLNCRUxH2t5N5SCTn_vAx33sgaEvghWDowKTxhOfIAmOujK-e_7NtTtPXAFeSr8/s1600/Sidegarden.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: large;"><img border="0" data-original-height="610" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZXYFWodk_0uimmjQ3G_1VWH3o9Jx_m4fr9Z2GP4qWqJ55cok6h8MhvoB52VrsGyVj-zlLvhp6O3xbfLNCRUxH2t5N5SCTn_vAx33sgaEvghWDowKTxhOfIAmOujK-e_7NtTtPXAFeSr8/s640/Sidegarden.jpg" style="border: none; position: relative;" width="502" /></span></a></div>
<span style="font-size: large;"><br /><br /><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-weight: 400;">“I’ve long admired Neville’s work from afar and am so thrilled to have him on Type Network,” said General Manager Paley Dreier. “His one-of-a-kind voice and unique typefaces are a welcome addition to our growing family.”</span></span></span></div>
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-50287642219242179432019-01-05T20:58:00.002-08:002019-01-17T14:47:16.965-08:00Chapter 95: A Brief History of Royal Decorations, Military Badges and Lapel Pins<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Franz Joseph Order, Officer's Cross breast badge, 'There are 5 classes of FJO – knight, officer (since 1901), commander, commander with star and grand cross. Badge for grand cross and commander/ commander with star is the same and has the size of 70mm/38mm. Grand cross was on sash and commanders were worn on neck ribbon. Grand cross is also having breast star which is larger than breast star of commander with star. </td></tr>
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Royal decorations, military badges and medals together with lapel pins are part of visual communication conveying various message of majesty, power , bravery and at times pure vanity. Detachable badges in metal or cloth are a key element of military uniforms. They can be worn on a cap, collar, shoulder, arm, or cuff. They can be stitched, or attached with brass pins or ‘sliders’. They can identify the rank of the serviceman, their particular regiment or ship, qualification or specialist trade, and distinguish those with gallantry awards, long service or who have been previously wounded. Servicemen may also wear badges of larger formations (such as Brigades, Divisions or Armies), within which their unit is currently serving. Lapel Pins are worn to show affiliation with an organization or cause, they have become a new collectible trend . Exceptionally cheap to produce, custom enamel pins are bringing individual flair to hats, jackets and lapels around the world, and giving artists the chance to make their work into an affordable and collectible commodity.</div>
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<tr><td class="tr-caption" style="text-align: center;">Order of the Black Eagle (Prussia). George V's star with garter, c.1901-10, given to King George V when Prince of Wales by Prince Henry of Prussia.</td></tr>
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<tr><td class="tr-caption"> Garter star, belonged to Leopold II, King of the Belgium .</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The Order of the Red Eagle (German: Roter Adlerorden) was an order of chivalry of the Kingdom of Prussia. It was awarded to both military personnel and civilians, to recognize valor in combat, excellence in military leadership, long and faithful service to the kingdom, or other achievements.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFgAy-6srXl2G3R0eZ6009IJPBqs72mmEjHmatpMrf02pKvsjoT9u5H0hZ1HMKNcwukvvhIsjOp9ijwTM2YnzovD6ke4zitgLCOohfU0p6xPK_PBwkoNwtPU7N6lTZ9TyRGN5t2PHVzm4/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="614" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFgAy-6srXl2G3R0eZ6009IJPBqs72mmEjHmatpMrf02pKvsjoT9u5H0hZ1HMKNcwukvvhIsjOp9ijwTM2YnzovD6ke4zitgLCOohfU0p6xPK_PBwkoNwtPU7N6lTZ9TyRGN5t2PHVzm4/s320/Capture1.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Royal Order of Holland 1807, Knight Grand Cross<br />
In 1806 Lodewijk Napoleon was appointed King of the Kingdom of the Netherlands by his brother Napoleon Bonaparte. One of his first actions was to institute two orders: The Grand Order of the Union and the Order of Merit. The Grand Order of the Union should hold 30 Knights Grand Cross. The Order of Merit should hold 50 Commanders and 300 Knights. On 1 January 1807 294 Knights were appointed. Bonaparte was very displeased by the actions of his brother and both orders were abolished on 14 of February 1807 and replaced by The Royal Order of Holland. Only very few medals were actually struck and issued.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix-32q0nIeQz_0RLfrSFBNl6eXs7UK2XII9F16Tp2V1MwYSDWxTDo1i5J5Cn4ZdySoZ9zry5sRCg_jmK96xP8bV3yy2mVk1m8G75EFEDdDkNVueo1at6hfylNbQWTcQyroi3elg6VQZ8s/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="901" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix-32q0nIeQz_0RLfrSFBNl6eXs7UK2XII9F16Tp2V1MwYSDWxTDo1i5J5Cn4ZdySoZ9zry5sRCg_jmK96xP8bV3yy2mVk1m8G75EFEDdDkNVueo1at6hfylNbQWTcQyroi3elg6VQZ8s/s640/Capture1.JPG" width="360" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Order of the Bath, K.C.B. (Military) Knight Commander's set of insignia neck badge and breast star, </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizQwIOlqtqyIc7um_gQVawdY0V_YpaiybHK-JB6dvsF5r8xsf29Fdvg_fgROlK_7iw2c35XCwdB1BaT9nDm69Joxh7OrIWUTw0RLovKiZTR7UZbl30ysPYuyHpRNVpJJaztzfjUp_V4rQ/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizQwIOlqtqyIc7um_gQVawdY0V_YpaiybHK-JB6dvsF5r8xsf29Fdvg_fgROlK_7iw2c35XCwdB1BaT9nDm69Joxh7OrIWUTw0RLovKiZTR7UZbl30ysPYuyHpRNVpJJaztzfjUp_V4rQ/s320/Capture1.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Established in 1888 by Queen Victoria, the Most Venerable Order of the Hospital of St. John of Jerusalem is a working order of charitably minded men and women whose philanthropy is expressed principally through its two foundations, the St. John Eye Hospital in Jerusalem and St. John Ambulance. The Order traces its origins to the Knights Hospitaller, of the Crusades, who served the Abbey of St. Mary’s small hospital for sick pilgrims in Jerusalem in the 12th century. </td></tr>
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The military decorations and badges have a long history. It is known that awards in ancient times were given solely for military achievements. Daggers of gold were once more common in Assyria and Persia. Sargon, who conquered and looted the Urartean city of Musasir, listed no fewer than six as being in the treasury of Urzana, the king of Urartu. And in the later times of the Achaemenian kings of Persia, as we learn from Xenophon in the Anabasis, Cyrus the Younger, shortly before he was slain at Cunaxa (40I B.C.) trying to take the throne from his brother Artaxerxes II, presented a golden dagger to Syennesis, the king of Tarsus, in Cilicia. The treatment of the lion heads on the dagger is entirely in the tradition of Achaemenian. During the period of the Achaemenian empire the stylized lions, featuring a slightly changed natural form by minor details, became almost standard practice so that it is composed into a neat and tidy decorative pattern.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtkE85Fs9jads1dRNLiS3vCnhtp80eN60vfUnZ8Ic-W7cZXYtk_e_MZvgZq1lqkf0w-FIoRYTUBvwGB_aJByioY_EogYYjmMD4nNvFW8NyHkyvUPcjdOVycgxCDiz8k29PpRUAB3XoG84/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="236" data-original-width="236" height="637" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtkE85Fs9jads1dRNLiS3vCnhtp80eN60vfUnZ8Ic-W7cZXYtk_e_MZvgZq1lqkf0w-FIoRYTUBvwGB_aJByioY_EogYYjmMD4nNvFW8NyHkyvUPcjdOVycgxCDiz8k29PpRUAB3XoG84/s640/Capture1.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Lion and Sun order of Persian Empire</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiehx_4HZ6ljksobaube_Twe2mpCcBXMazjN_CHhY6-2DFCOGSD8U1eS-nHXMP6aTcLmdEvVoMce53ir-r6XEArOxX9cvgUgyYugmtP2B4tRNhEE5AFcL7-dOqVc7pXa53a_m8ijQJBFfs/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="382" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiehx_4HZ6ljksobaube_Twe2mpCcBXMazjN_CHhY6-2DFCOGSD8U1eS-nHXMP6aTcLmdEvVoMce53ir-r6XEArOxX9cvgUgyYugmtP2B4tRNhEE5AFcL7-dOqVc7pXa53a_m8ijQJBFfs/s640/Capture1.JPG" width="508" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lion and Sun Order of Qajar dynasty of Persian Empire </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG40N-eLacQJGhm8qL_JMhz1AWADvHfnlVfC_ImR5VhEhBKmTtctLxDnG-tMgvGIY74X6r5-sAnShChxceBRVf1FbmoIViMfitt5tnQDmen4_GgRDc_GYFAEx60knBAocDDndIgLfLIL0/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="313" data-original-width="236" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG40N-eLacQJGhm8qL_JMhz1AWADvHfnlVfC_ImR5VhEhBKmTtctLxDnG-tMgvGIY74X6r5-sAnShChxceBRVf1FbmoIViMfitt5tnQDmen4_GgRDc_GYFAEx60knBAocDDndIgLfLIL0/s640/Capture1.JPG" width="482" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lion and Sun Order of Qajar dynasty of Persian Empire </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhynkis7yr6MH9DOOxuJlsCmhmzXMxOxAmpIOWuho4MNWUWZ7gJlvJQivUrr86BSIqbv0Vlu4VY6-lXq-8gF1bXQYTTrTwNoZBDFp21Xx1ejNxiK_OM-k5vjc_riQVnCuOsSqOJKfLHkyI/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="532" data-original-width="316" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhynkis7yr6MH9DOOxuJlsCmhmzXMxOxAmpIOWuho4MNWUWZ7gJlvJQivUrr86BSIqbv0Vlu4VY6-lXq-8gF1bXQYTTrTwNoZBDFp21Xx1ejNxiK_OM-k5vjc_riQVnCuOsSqOJKfLHkyI/s640/Capture1.JPG" width="380" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lion and Sun Order of Qajar dynasty of Persian Empire </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNxnZ-ABH1D57KcmwsHxAN4NeB0sNqJ-lm3OntIbEoOdIfBLfXcnNZP2z-9IPNVhiG-KvIQcdWVrlLtDYzna6imDRAMM2G4S9loFjQy9mdAVDbNEr0unYnewZJ66mD5ocZaZgowCQ1ejg/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="470" data-original-width="296" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNxnZ-ABH1D57KcmwsHxAN4NeB0sNqJ-lm3OntIbEoOdIfBLfXcnNZP2z-9IPNVhiG-KvIQcdWVrlLtDYzna6imDRAMM2G4S9loFjQy9mdAVDbNEr0unYnewZJ66mD5ocZaZgowCQ1ejg/s640/Capture1.JPG" width="402" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">After a coup with the help of British, against the newly established constitutional monarchy of Iran, Reza Palani, from the the Palan tribe of Savadkooh, who served as a petty officer in the Cossack army of the old tsarists Russia in Iran, became a dictator and soon after, in 1925, declared himself the king. Given a negative connotation of Palani in the Persian language, he changed his surname to Pahlavi, by forcing the historian <i>Mahmood Pahlavi </i>to abandon his surname. The historian afterward assumed the name<i> Mahmood Mahmood</i>. Reza founded the Order of Pahlavi in 1932. The ancient emblem of Sun and Lion in the center design was replaced with the summit of mount Damavand and sun. It was awarded in two classes, i.e.: 1st class (with collar) and 2nd class (without collar). </td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib98CDW3YaSB1rhCz3wG9XE-43zxnstcytZs7hV4DctiqcU5FRspcR1pKnaF8P5yizl5roBl_a0OPKDjxEvKOG4PdKb4qk0M8yOqrPleETtlsMaPPJX2u7I8e9Lhf3KfvlV8lfiSB-KR8/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="272" data-original-width="181" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib98CDW3YaSB1rhCz3wG9XE-43zxnstcytZs7hV4DctiqcU5FRspcR1pKnaF8P5yizl5roBl_a0OPKDjxEvKOG4PdKb4qk0M8yOqrPleETtlsMaPPJX2u7I8e9Lhf3KfvlV8lfiSB-KR8/s640/Capture1.JPG" width="425" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kingdom of Hanover: Guelphic-Order commanders cross</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The Order of the Netherlands Lion (Orde van de Nederlandse Leeuw) is an order of the Netherlands which was first created on 29 September 1815 by the first King of the Netherlands, King William I. The Order of the Netherlands Lion was until recently awarded upon eminent individuals from all walks of life, including generals, ministers of the crown, mayors of large towns, professors and leading scientists, industrialists, high ranking civil servants, presiding judges and renowned artists. It could therefore be considered the Dutch equivalent of the Order of the Bath. Since 1980 the Order has been primarily used to recognise merit in the arts, sport and literature; others have been awarded the Order of Orange Nassau instead. The Order of the Netherlands Lion ranks after the coveted Order of William. Every year on the Queen's official birthday, April 30, several appointments in the Order are made public. The second and third class of the Order are not awarded to foreigners; they are eligible for the Order of Orange Nassau or the Order of the Crown instead.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjattlW0nUOSDmyC7VYn-Nlfa26WM1XU2yMgsbhGzrzfr6EW37GK9ttxG9Q5qJplD-xX1CHFtXqAVp68aMMdfu4e_x2hRzgNufQGZoURFXZwK893yTv2JVWGSUG-DjZ8pahnZ4bj8qk878/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="608" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjattlW0nUOSDmyC7VYn-Nlfa26WM1XU2yMgsbhGzrzfr6EW37GK9ttxG9Q5qJplD-xX1CHFtXqAVp68aMMdfu4e_x2hRzgNufQGZoURFXZwK893yTv2JVWGSUG-DjZ8pahnZ4bj8qk878/s640/Capture1.JPG" width="242" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Austria, Golden Fleece Order, a commander's badge</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The Order of the Holy Trinity was established by Emperor Haile Selassie I in 1930 for his coronation. The Order was generally limited to the nobility, high clergy and a handful of courtiers.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJFsbYdy0S_dvhyoeE8m3ckqU8tHhPbEcqLL7RxdhQXtpp4PnljOCQb81OhX0R-_ePyprg0PKrm0FkX8baIeCecuEWrWq8_yApbuTswOjptCmugn0Dkl49rZhOOXf5vPcrlw93WGpWdG0/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="401" data-original-width="200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJFsbYdy0S_dvhyoeE8m3ckqU8tHhPbEcqLL7RxdhQXtpp4PnljOCQb81OhX0R-_ePyprg0PKrm0FkX8baIeCecuEWrWq8_yApbuTswOjptCmugn0Dkl49rZhOOXf5vPcrlw93WGpWdG0/s640/Capture1.JPG" width="318" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The sash, star and badge of The Duke of Edinburgh’s Order of the Queen of Sheba is made by Spink, the Queen’s medallists, of London, although Arthus-Bertrand has also made it. Significantly, however, new copies of the set have recently appeared at auctions, marked as having been made by the original manufacturer, B. A. Savadjian, in Addis Ababa. </td></tr>
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Order of Leopold (military), Grand Cross sash badge.<br />
<span style="font-size: 12.8px;">The Order of Leopold was established in 1832 by King Leopold I and is the senior order in Belgium. The Order is awarded in three divisions – Civil, Maritime, and Military (with each having 5 different classes) for contribution to the military, society or the Belgian State.</span></td></tr>
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Persians and their Parthian cousins wore the torques or neck-ring as a badge of honor or symbol of rank. Greeks and Romans in their wars with Persians and Parthians adopted the practice of giving the torques as a military decoration. A formal award was created in the form of the Persian necklace which must on many occasions have been striped as booty from the neck of a slain soldier. The Roman soldiers did not wear their torques in traditional Persian fashion around neck. They were usually, awarded in pairs and in the reliefs the torques are shown as though they are attached to the cuirass on either side just below the collar bones.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSm0rew7MrCzOrtnQaqwidwyzgTimyqIMjACFMzBUC36UGymwedraZYoVRWuwMRe03_DR45yImxpBf02tMJdXkB4pNNSrxDuWhYub0evsdzoHWhWMkHByMvgfpfFYpQEnP9RcsNR0HWUc/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="1041" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSm0rew7MrCzOrtnQaqwidwyzgTimyqIMjACFMzBUC36UGymwedraZYoVRWuwMRe03_DR45yImxpBf02tMJdXkB4pNNSrxDuWhYub0evsdzoHWhWMkHByMvgfpfFYpQEnP9RcsNR0HWUc/s320/Capture1.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A Parthian <span style="background-color: white; color: #1f1c1c; font-family: "calibri"; font-size: 16px; text-align: left;">phalarae</span> </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPe0VfsCEsFqR2iRbWg6LSe9cRfxlzgzyOn0t9SYs6-mXWKfueCnroTuIZ9w3vFoqrDOpqa4VT9co5AConcN_K6TWEt3N6wyWd_mdpFX-SnDnW2qOeWYVmB-HOMzMrjojnrnLYoLfTpNI/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="610" data-original-width="625" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPe0VfsCEsFqR2iRbWg6LSe9cRfxlzgzyOn0t9SYs6-mXWKfueCnroTuIZ9w3vFoqrDOpqa4VT9co5AConcN_K6TWEt3N6wyWd_mdpFX-SnDnW2qOeWYVmB-HOMzMrjojnrnLYoLfTpNI/s320/Capture1.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A Parthian <span style="background-color: white; color: #1f1c1c; font-family: "calibri"; font-size: 16px; text-align: left;">phalarae</span> </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIrM_H_ij5Rr9gFUGmgO7jhOnVq6lnBQ_S-wXA_fVGjDdNVgly9Ardd7eHo_1KHNoKR9H3Yjyh4jmNTk-DbDUdKKBvFNVVxYbrx4hiF2_7XMfZM5pWMrq7EZw-2F7nurzCOKZbCBmmsVQ/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="649" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIrM_H_ij5Rr9gFUGmgO7jhOnVq6lnBQ_S-wXA_fVGjDdNVgly9Ardd7eHo_1KHNoKR9H3Yjyh4jmNTk-DbDUdKKBvFNVVxYbrx4hiF2_7XMfZM5pWMrq7EZw-2F7nurzCOKZbCBmmsVQ/s640/Capture1.JPG" width="404" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Roman lion's head phalarae</td></tr>
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Romans called these decorations <span style="background-color: white; color: #1f1c1c; font-family: "calibri"; font-size: 16px;">phalarae</span> (φάλαρον) meaning Award. The word “phaleristic” is used to classify the science that studies orders, decorations, and their history. A <span style="background-color: white; color: #1f1c1c; font-family: "calibri"; font-size: 16px;">phalarae</span> was a circle or crescent shaped plaque worn by war horses, or mounted to soldiers armor, and are visible on Roman tombstones. Also the tiara of the king of Persia was thus adorned (Aeschyl. Pers. 668).<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #222222; font-family: sans-serif; font-size: 14px;">The Japanese Order of the Sacred Treasure</span><span style="background-color: white; color: #222222; font-family: sans-serif; font-size: 14px;"> (<span lang="ja">瑞宝章</span> <i>Zuihō-shō</i>)</span><span style="background-color: white; color: #222222; font-family: sans-serif; font-size: 14px;"> is </span><span style="background-color: white; color: #222222; font-family: sans-serif; font-size: 14px;"> established on 4 January 1888 by </span><a href="https://en.wikipedia.org/wiki/Emperor_Meiji" style="background: none rgb(255, 255, 255); color: #0b0080; font-family: sans-serif; font-size: 14px; text-align: start; text-decoration-line: none;" title="Emperor Meiji">Emperor Meiji</a><span style="background-color: white; color: #222222; font-family: sans-serif; font-size: 14px;"> as the </span><span style="background-color: white; color: #222222; font-family: sans-serif; font-size: 14px;">Order of Meiji</span><span style="background-color: white; color: #222222; font-family: sans-serif; font-size: 14px;">. Originally awarded in eight classes (from 8th to 1st, in ascending order of importance), since 2003 it has been awarded in six classes, the lowest two medals being abolished that year.</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">THE ORDER OF ST. STANISLAUS, third class badge (Civil), in gold and enamels</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Kingdom of Bavaria: military merit order,<br />
<span style="background-color: white; color: #002159; font-family: "arial"; font-size: xx-small;">cross 3rd class with swords</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Kingdom of Hanover: Guelphic-Order commanders cross</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL6qEvpQEDTG04TjAs_FBQIw16BGD326xWscPN74smGHeL3HE-_t2mlZzw17-iVGTNFGkPTe4h5CASJ0AiXzUViGwOhYQuo0mptqO2sQWiHgFV-CC7rkrz2RftGxYf6P9htNKgw2ArIjE/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="236" data-original-width="236" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjL6qEvpQEDTG04TjAs_FBQIw16BGD326xWscPN74smGHeL3HE-_t2mlZzw17-iVGTNFGkPTe4h5CASJ0AiXzUViGwOhYQuo0mptqO2sQWiHgFV-CC7rkrz2RftGxYf6P9htNKgw2ArIjE/s640/Capture1.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Russian Order of St. Andrew the Apostle the First-Called with motto band</td></tr>
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The first organized system of military medals was created by the Romans, who developed a complex hierarchy of military honors ranging from crowns that were presented to senior officers to mark victories in major campaigns, to phalarae or metal disks bearing the Emperor's image, which were awarded to centurions and soldiers for valour in battle. Decorations were usually worn by the soldiers on parades and were generally awarded at the end of a campaign or could be added to the eagle standards for entire units. These phalarae are the ancestors of modern military medals.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMlL6TOO9rMUe5XOzWcKxUm_VVBw6VEmK25LOSCbfDbZD8LZjgs0QuwbplbFsUmdeKVrp3bZz1LnQSEdtR-LCRiwRQHaGLZl6EQ_a-AEvWntCtXJyfywBQOBazWI_0B1ceWG8Q7SGAFoo/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="263" data-original-width="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMlL6TOO9rMUe5XOzWcKxUm_VVBw6VEmK25LOSCbfDbZD8LZjgs0QuwbplbFsUmdeKVrp3bZz1LnQSEdtR-LCRiwRQHaGLZl6EQ_a-AEvWntCtXJyfywBQOBazWI_0B1ceWG8Q7SGAFoo/s1600/Capture1.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kingdom of Prussia: Order of the crown<br />
<span style="background-color: white; color: #002159; font-family: "arial"; font-size: xx-small;">cross 3rd class with swords</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihwGmfePzpP_u00O8BjRxaVBfPxlcjBgO2ZFXsz9lvxGob_-hfu-lio_4K_8lWpAWetoFoM2tV83OjRRds1pCNfzSz6KUuWBc5G_jGoSzTTfJLOkeZr5r2NHJTTG9hX87RNtUpdGKQgzY/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="497" data-original-width="505" height="628" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihwGmfePzpP_u00O8BjRxaVBfPxlcjBgO2ZFXsz9lvxGob_-hfu-lio_4K_8lWpAWetoFoM2tV83OjRRds1pCNfzSz6KUuWBc5G_jGoSzTTfJLOkeZr5r2NHJTTG9hX87RNtUpdGKQgzY/s640/Capture1.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Star of the Grand Cross of the Iron Cross (German: Stern zum Großkreuz des Eisernen Kreuzes) was the highest military decoration of the Kingdom of Prussia and the German Empire. It was considered a senior decoration to the Grand Cross of the Iron Cross.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Badge of The Order of the Garter, 1775-1800,</td></tr>
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During the Crusades in the 11th century, knights formed into religiously organised military orders. The Order of the Holy Sepulcher was founded after storming Jerusalem in 1099 and united with the Order of St. John in 1291; the Order of St. John in 1118 was formed out of the monks’ Order of the Holy John of Jerusalem; the Order of the Templar was also founded in 1118, and merged in 1312 in the Order of St. John. And lastly, in 1170, the Marianer knights Order, which later became the German Order, was formed.<br />
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<tr><td class="tr-caption" style="text-align: center;"> The Order of the Zähringer Lion was founded by Grand Duke Carl Ludwig von Baden in 1810.</td></tr>
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<span style="font-family: "arial"; font-size: xx-small;">Order of the Zähringer Lion:</span></div>
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<span style="font-family: "arial"; font-size: xx-small;">Commander star</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8nxXECaxKYx7bEeUdrHtSLt3e7F_1geU1H_eJhzi-irnofmpaOVx-DqtKcTVfiScMEd1kpbybQ2UUYp3Mr4u3H3jQffUof7NIt6qjHyGVtnvoVZ38ZdFZHp5gg-j_PfF_Kxn5QuRmv6Y/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="348" data-original-width="191" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8nxXECaxKYx7bEeUdrHtSLt3e7F_1geU1H_eJhzi-irnofmpaOVx-DqtKcTVfiScMEd1kpbybQ2UUYp3Mr4u3H3jQffUof7NIt6qjHyGVtnvoVZ38ZdFZHp5gg-j_PfF_Kxn5QuRmv6Y/s320/Capture1.JPG" width="175" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Distinguished Service Cross</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPH7A5ehN_urfOvPU8nC3eYkh5FF5VyFLsKe1VQGWqTV_SIxHJDqPEIuYlpjnmkV4YbTv8e1Yr52EsJJq_8DKA3szFhtKeYPMecUz1FXd3w3WMiwOGdgupkjxm624822ntlvyI-tX0lkY/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="412" data-original-width="188" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPH7A5ehN_urfOvPU8nC3eYkh5FF5VyFLsKe1VQGWqTV_SIxHJDqPEIuYlpjnmkV4YbTv8e1Yr52EsJJq_8DKA3szFhtKeYPMecUz1FXd3w3WMiwOGdgupkjxm624822ntlvyI-tX0lkY/s320/Capture1.JPG" width="146" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The U.S. Army Distinguished Service Medal</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6sndVEAs3mpkoSYaSBEMtxJdQgxxZv8eTXgTb9We20JRQJcA0p2-tVJ46Ida-JHaU6XTuabfAT0anY-v6xElOCj2hUvYGMscneCS2EI1WlqASj5Q7jPvCknOrbb1XvwShbkkRoB8hf_4/s1600/Capture1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="661" data-original-width="1000" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6sndVEAs3mpkoSYaSBEMtxJdQgxxZv8eTXgTb9We20JRQJcA0p2-tVJ46Ida-JHaU6XTuabfAT0anY-v6xElOCj2hUvYGMscneCS2EI1WlqASj5Q7jPvCknOrbb1XvwShbkkRoB8hf_4/s320/Capture1.JPG" width="320" /></a></div>
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The cohesion among the orders’ members was determined by their rules, their congregation, the community and the orderliness (lat. ordo). The affiliation to an order was shown by their uniforms and insignia. In this regards, it should be said, all design of those insignias root in the pattern of the holy cross. Being a member of such a society had nothing to do with being awarded honors during those early days. Among the orders’ members, a ranking system was established and documented by different insignias.<br />
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The grand master of these orders founded multiple branches of their order societies before the downfall of Jerusalem and enhanced their political powers in all parts of Europe . Being reinforced through all their gains during the Crusades and their fast growth, the orders’ masters were coveted by almost all of the royals. This triggered the development of awarding memberships in orders.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsViDPi9S3Tg4olsmw1z-Im1QyVBEbwB0JrrfMw62o5XhTfpqWcWlyBWy8Vv3aORysdSDF2OHpxjRs696WQhFH7i4Y_6WuljW-k8cCXKXTLWr-GZBBsE0SOMo-p9QqYNDa4IbDNrt26PM/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="595" data-original-width="410" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsViDPi9S3Tg4olsmw1z-Im1QyVBEbwB0JrrfMw62o5XhTfpqWcWlyBWy8Vv3aORysdSDF2OHpxjRs696WQhFH7i4Y_6WuljW-k8cCXKXTLWr-GZBBsE0SOMo-p9QqYNDa4IbDNrt26PM/s640/Capture1.JPG" width="440" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Russian Order of the White Eagle </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEincgJjmtDjrVMmKGGrZ71ZwO6ydHkjdUzorMyeu2X7RhUkqhwmvfMIokjcdVtg0l9ildIR5AdvM6hHUvWlRPKPLQRcAjnzzIoKhkMJnRlHajt4oSrujuLy36hZp550pytivUhEtOAOV-c/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="763" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEincgJjmtDjrVMmKGGrZ71ZwO6ydHkjdUzorMyeu2X7RhUkqhwmvfMIokjcdVtg0l9ildIR5AdvM6hHUvWlRPKPLQRcAjnzzIoKhkMJnRlHajt4oSrujuLy36hZp550pytivUhEtOAOV-c/s640/Capture1.JPG" width="304" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Order of the Bath, G.C.B. (Civil) Knight Grand Cross set of insignia, sash badge, hallmarked London 1865, </td></tr>
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The Anglo-Saxon tradition of marking major military campaigns or victories with medals goes back to the reign of Elizabeth I. She issued commemorative medals to mark England's victory over the Spanish Armada in 1588. At that time and up until the 19th century, medals like these were only presented to the most senior officers engaged in a battle. The modern practice of issuing a campaign medal to participants of all ranks began during the time of Oliver Cromwell, when all members of the Parliamentary army who had participated in the Battle of Dunbar received a medal marking the occasion. The practise would not be repeated until 1815, when a medal was awarded to all members of the British forces who served during the Battle of Waterloo.<br />
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Medal design shows the talent and the skill of the most famous jewelers of their time in an impressing way. Many known names like Fabergé in Moscow or Le Maitrè in Paris are among those. Each order decoration is a mirror of the time it was made. Several processing steps led to extremely fine and intricately made jewelry consisting of several complex, joined individual parts. The cross bodies are usually made from red and yellow gold and sometimes feature silver foil underneath the colored glass arms to enhance light reflection. The center of the medals usually depict the family's heraldry crescent in finest enamel hand painting.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuTy2idcSz258bqLrN-Zxm_1YDau1yEKCSV30scly2w3SSTrMyKPiHPJdpyuWI_LYc15QFsazI_wpPgYXBfJH9XzURe2XbZJhnf-efFkZ4jq-eecQaFoNSHNQaW96yKe-AVDizP2Z0ApI/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="983" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuTy2idcSz258bqLrN-Zxm_1YDau1yEKCSV30scly2w3SSTrMyKPiHPJdpyuWI_LYc15QFsazI_wpPgYXBfJH9XzURe2XbZJhnf-efFkZ4jq-eecQaFoNSHNQaW96yKe-AVDizP2Z0ApI/s640/Capture1.JPG" width="392" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Order of the Bath, K.B., Georgian Knight's set of insignia, , comprising sash badge </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT5qFwHd4kWkF3HZUu2vJ4bztMF1qG5zKJhGggY0wNS2XU6NLd8E3H8H7BwuAO2dULvgBmFP39p_k0qPikpFOHrBc4RkzBnlAjVpH5zKONaJhkA2EEq9ZD3wuZo5mbORpfz6Z-UfE7WCs/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="994" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT5qFwHd4kWkF3HZUu2vJ4bztMF1qG5zKJhGggY0wNS2XU6NLd8E3H8H7BwuAO2dULvgBmFP39p_k0qPikpFOHrBc4RkzBnlAjVpH5zKONaJhkA2EEq9ZD3wuZo5mbORpfz6Z-UfE7WCs/s640/Capture1.JPG" width="396" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Badge of The Order of the Garter, centre enamelled en grisaille with St. George and the dragon, c.1780-85</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFBsNpbSEf-fS7lmbnrsKkCwvEe_WnjnQ2QMq7TBee2gsuXzqTi2wg901cPZZE5OkZQJJHH7sIltX1_3iSHupBfAEkZNbPRWqZ4sRXK6ReY-XGV26BRTza8b9pK6nrGRyq-U4Pt3wc5q4/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFBsNpbSEf-fS7lmbnrsKkCwvEe_WnjnQ2QMq7TBee2gsuXzqTi2wg901cPZZE5OkZQJJHH7sIltX1_3iSHupBfAEkZNbPRWqZ4sRXK6ReY-XGV26BRTza8b9pK6nrGRyq-U4Pt3wc5q4/s640/Capture1.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">France. A Legion D'Honneur, Grand Officer Breast Star, Third Republic (1870-1951)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_6r1N9Tx0mr3bmXJOTJVX1ROtcruAHnm3zg7zpbUkxxKMbjDpDgvZD1Q4z9Bbv1ak5jZs5-qHETuXmupSoZF-Raj0KYMLsFESVwTmM7GdYh8OSovh11SGX4ZHqhqxjIvhbt-0310Fq1k/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="311" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_6r1N9Tx0mr3bmXJOTJVX1ROtcruAHnm3zg7zpbUkxxKMbjDpDgvZD1Q4z9Bbv1ak5jZs5-qHETuXmupSoZF-Raj0KYMLsFESVwTmM7GdYh8OSovh11SGX4ZHqhqxjIvhbt-0310Fq1k/s640/Capture1.JPG" width="398" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">After the abolition by the Revolution of the ancient orders of chivalry in the name of égalité, the Légion d'honneur (Legion of Honour), instituted on 29 Floréal, An X (19 May, 1802), was created as an honour of a completely different type. By honouring personal merit, both civil and military, without distinction of birth, the award was “a start towards the organisation of the Nation”, as the First Consul put it. The law which created it did not provide for insignia or motto; a simple letter of notification, signed by the Grand Chancelier, was sent to new members. It was only two years later, by the decree of 22 Messidor, An XII (11 July, 1804), the famous decoration saw the light of day: </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoXl41AG3i_-5vzT3cq4P62b5kkqDamm1CO-1y3kBmHPAQX5_dj8HQy2nGlzz7MslWPkNZ-dlPQ0xG8xbxMixICeWq2ioS_Mc72tf26L1dIk5g6BJKUfz2DWhHQfIWT98BawAMBlUIA9Q/s1600/Capture1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="432" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoXl41AG3i_-5vzT3cq4P62b5kkqDamm1CO-1y3kBmHPAQX5_dj8HQy2nGlzz7MslWPkNZ-dlPQ0xG8xbxMixICeWq2ioS_Mc72tf26L1dIk5g6BJKUfz2DWhHQfIWT98BawAMBlUIA9Q/s640/Capture1.JPG" width="460" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The <i>Ordre de la Réunion </i>was an order of merit of the First French Empire, set up to be awarded to Frenchmen and foreigners to reward services in the civil service, magistracy and army, particularly those from areas newly annexed to France, such as the Kingdom of Holland.</td></tr>
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Since then enamel and lapel pins have been worn by soldiers during battle. The trend is thought to have started during the Revolutionary War and continued through to World War I. The use of enamel and lapel pins had also become very popular for politicians and political supporters during rallies and events. Whatever the process used to produce it, the heart of a lapel pin is in its design. Without the correct form, a lapel pin falls short of meeting its goal. After all, these are very small pieces. They must be designed with both preciseness and legibility in mind.<br />
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-69529923902144738862018-11-15T13:05:00.001-08:002019-01-08T11:11:13.075-08:00Chapter 94: A History of Judaic Art and Manuscripts <div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Detail of Darmstadt Haggadah, Scribe, Israel b. Meir of Heidelberg, Germany. Courtesy of Universitäts- und Landesbibliothek Darmstad (Cod. or 8, fol. 37v).</td></tr>
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<span style="background-color: white; color: #333333; font-family: "helvetica"; font-size: 13.3333px;">Throughout their long history Jews had always understood the importance of visual communications in preserving their cultural identity. According to 1 Kings 6:1
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<span style="background-color: white; color: #333333; font-family: "helvetica"; font-size: 13.3333px;">Now it came about in the four hundred and eightieth year after the sons of Israel came out of the land of Egypt, in the fourth year of Solomon's reign over Israel, in the month of Ziv which is the second month, that he began to build the house of the LORD.</span></blockquote>
<span style="background-color: white; color: #333333; font-family: "helvetica"; font-size: 13.3333px;"> The First Temple was built in the 10th century B.C. in Jerusalem and the Old Testament describes it as a magnificent piece of art in which Solomon spared no expense for its beautification. It is described as overlaid with gold and decorated with cherubim (I Kings 6). He ordered vast quantities of cedar wood from King Hiram of Tyre (I Kings 5:2025), had huge blocks of the choicest stone quarried, and commanded that the building's foundation be laid with hewn stone. To complete the massive project, he imposed forced labor on all his subjects, drafting people for work shifts that sometimes lasted a month at a time. He assumed such heavy debts in building the Temple that he is forced to pay off King Hiram by handing over twenty towns in the Galilee (I Kings 9:11). </span><br />
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<tr><td class="tr-caption" style="text-align: center;">An incised depiction of the Temple Menorah, found at the site of the Temple in the Old City of Jerusalem. <i>Israel Antiquities Authority</i></td></tr>
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In 597 BCE. King Nebuchadnezzar the Great of Babylon after plundering the gold and silver of the Jerusalem Temple and Royal Palace marched back to Babylon with several thousand Judean prisoners of war. Ten years later he would return to Jerusalem to avenge and to destroy First Temple, because Zedekiah had become king of Judah and he had not been the loyal vassal.
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The original structure of the Second Temple, before it was refurbished by the Hasmoneans, and later, more extensively by king Herod, was built at the decree of Cyrus the Great, King of Iran . Indeed, vessels from the First Temple, recovered by the Persians from the Babylonians whom they had conquered, were returned to the Jews to facilitate and encourage the rebuilding of the Temple.The Talmud describes the beauty of the Herod’s Second Temple, declaring, “He who has not seen the Temple in its full construction has never seen a glorious building in his life” (Tractate Succot 51b). After the destruction of the Second Temple by Roman emperor Titus in 70 A.D—an event commemorated on the Arch of Titus in Rome and in Jewish liturgy—images of the Temple’s furnishings, especially the celebrated gold menorah, or seven-branched lamp, became emblematic of Jewish religion.
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<tr><td class="tr-caption" style="text-align: center;">Judaic Vessels</td></tr>
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In the first centuries A.D., Jewish communities were spread in every corner of the Roman empire, from Sardis (Turkey) to Ostia (Italy), from Hamman Lif (Tunisia) to Intercisa (Hungary). The archaeological remnants and literary attestations of more than 150 synagogues throughout the empire make clear that Jews were integral to the urban landscape of late antiquity, well beyond the borders of Roman Palestine.
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For instance, with the discovery of the third-century archaeological site of a synagogue in the Roman garrison town of Dura-Europos, in Asia Minor we learn that a narrative form of Judaic art also existed, which depicted the figures from Bible stories as a way of sharing and teaching Torah to its prosperous community. Like its neighboring Christian meeting house and the Mithraic shrine, devoted to the Persian sun god, the Jewish narrative or ceremonial art, that was deeply rooted in its rich culture, were sumptuously adorned on the splendid murals and manuscripts with narrative scenes from their collective memories. On their synagogues painted tiles of zodiacal symbols ornamented the ceiling, and plaques with dedicatory inscriptions give some indication of the individuals and families who funded the building of such synagogues.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0TEMRVpAnA2tf4K6n4gJAQlaEtgdG50TqwAvdeVaSBabExKp-Yx5ZtxTCS-Isg0ie1q3H9IQ0SlsbZ8_OsL1EwnupuyNKtfe8S1yl4diPeP9CoDGKTXzfiPd_Kw7dPq5vDkihbeUIF6k/s1600/Capture.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="346" data-original-width="1564" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0TEMRVpAnA2tf4K6n4gJAQlaEtgdG50TqwAvdeVaSBabExKp-Yx5ZtxTCS-Isg0ie1q3H9IQ0SlsbZ8_OsL1EwnupuyNKtfe8S1yl4diPeP9CoDGKTXzfiPd_Kw7dPq5vDkihbeUIF6k/s640/Capture.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bowl Fragments with Menorah, Shofar, and Torah Ark</td></tr>
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The earliest Judaic illuminated manuscripts that are found belong to the 10th century, and were created in the Middle East . There are also later manuscripts from the early 13th century Iberia, France, Germany, and Italy. Some the colophons in certain manuscripts indicate that the illuminations and illustrations were done by renowned Jewish artists. As well, some Christian miniaturists have been commissioned to produce the art works for other manuscripts . Hence the definition of “Jewish Manuscript Art” in the Middle Ages does not necessarily implies creation by Jewish artists.<br />
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The first Hebrew illuminated manuscript to attract scholarly attention was the Sarajevo Haggadah, a Sefardi manuscript from the 1330s. It was eventually published in 1898, and from that time on scholars have utilized various methodological approaches to study and analyze medieval Jewish book art.
In 1950s Kurt Weitzmann’s recension theory replaced the bibliographical approach of the earlier decades. Weitzmann theorized that every narrative image cycle was necessarily emulated from an early predecessor, and that it is the aim of the art historian to reconstruct a prototypical version. According to this theory the earliest surviving example of a Hebrew illuminated manuscript is a Pentateuch fragment from Egypt, dated 929, and several Middle Eastern Bibles and other texts were produced during the subsequent centuries. The decoration of these books was rooted in the tradition of Middle Eastern manuscript illumination and did not include any figurative art.
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<tr><td class="tr-caption" style="text-align: center;">Detail of the 'Maror' page of the Sarajevo Haggadah (courtesy of the Foundation for Jewish Culture)</td></tr>
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The reality of the Jewish community under Islamic rule, during the Middle Ages and during the Renaissance,
explains much of the evidence of restrictions in Jewish art which focused on the construction of synagogues and the illustration of manuscripts, in those eras. Countries with strong Muslim influences, including Spain, featured much less physical representation of human forms in art than the Northern European communities, because Muslims shun such literal renderings of human forms.
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<tr><td class="tr-caption" style="text-align: center;">"Moses Receives the Ten Commandments." Machsor mechol hashana. Germany, ca. 1290, leaves 59b, 50a. Vellum (2)</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The Rothschild family commissioned this Persian-style Haggadah from Victor Bouton in the second half of the 19th century. The Braginsky Collection (Ardon Bar-Hama)</td></tr>
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A similar tradition of aniconic book decoration appeared later in post-reconquest Iberia. In parallel, beginning in the 1230s, a rich figurative and narrative art began to develop in Christian Europe, including Bibles, prayer books, haggadot (the liturgical text for the Passover ceremony), compilations of the ritual law, and miscellanies. Hardly any Hebrew illuminated manuscripts from the Byzantine world have survived, the only extant works being a few haggadot from the 16th century, which have not yet been studied in any depth. It should however be noted that unlike Christian Hellenist and Latin communities the Jewish culture was quite familiar with their own Biblical stories that made it unnecessary for visual communication of those narratives to the illiterate pagan masses. As the Encyclopedia Judaica states, “For the Jews, with their high degree of literacy due to their almost universal system of education and their familiarity with the scripture story, this was superfluous.”<br />
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<tr><td class="tr-caption" style="text-align: left;">This Haggadah is illustrated throughout with depictions of Passover rites and biblical episodes related to the Exodus as well as to the lives of Moses, the Patriarchs, and other figures. The numerous scenes, which are mostly based on midrashic sources, are accompanied by rhymed inscriptions, usually set within scrolls. The same artist, whose identity has not yet been discovered, decorated another similar Haggadah, and both are filled with outstanding illustrations.</td></tr>
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By the 20th century, Jewish artists of the Diaspora while moving away from Judaism were among the vanguard of the modern artistic liberation. Artists like Camille Pissarro, Marc Chagall, Amedeo Modigliani, Chaim Soutine, Jacques Lipchitz, Moïse Kisling, Ossip Zadkine, Joseph Csáky , Jacques Chapiro, El Lissitzky, were able to incorporate their Jewish cultural heritage into the grammar of their modernist art. In their book <i>Peintres juifs à Paris-- (Paris: Denoel, 2000)</i> the authors; Nadine Nieszawer, Marie Boye, and Paul Fogel, estimate that over five hundred Jewish artists were working in Paris in the interwar era. Many of these artist were part of the<i> École de Paris</i> movement, who arrived in Paris in the decade before the First World War.
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-21423287430643126312018-09-11T15:38:00.000-07:002018-09-11T23:27:20.369-07:00Chapter 93: Posters commemorating 9.11 <div dir="ltr" style="text-align: left;" trbidi="on">
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-83938037670655286142018-09-01T11:51:00.002-07:002019-02-21T12:26:17.947-08:00Chapter 36 - Art of Posters for Films - the Cuban School<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td><br />Table of Contents:<br /><ul style="line-height: 1.4; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2011/05/art-of-posters-in-cuba.html#One" style="color: #7f8866; text-decoration-line: none;">Introduction:</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2011/05/art-of-posters-in-cuba.html#Two" style="color: #7f8866; text-decoration-line: none;">Eduardo Muñoz Bachs</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2011/05/art-of-posters-in-cuba.html#Three" style="color: #7f8866; text-decoration-line: none;">Antonio Perez -- Ñiko</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2011/05/art-of-posters-in-cuba.html#Four" style="color: #7f8866; text-decoration-line: none;">Antonio Fernández Reiboro</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2011/05/art-of-posters-in-cuba.html#Five" style="color: #7f8866; text-decoration-line: none;">René Azcuy Cardenas</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2011/05/art-of-posters-in-cuba.html#Six" style="color: #7f8866; text-decoration-line: none;">Raúl Martínez González</a></li>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="One" style="color: #7f8866; text-decoration-line: none;"></a><span style="font-size: large;"><span style="font-size: medium;"><span style="color: #b45f06;">Introduction:</span></span></span></div>
<br /><span style="font-size: medium;"><span style="color: red;">T</span></span>he Cuban school of Film posters started after the Cuban Revolution of 1959, with the pioneering works of gaphic designers such as, Eduardo Muñoz Bachs, Antonio Perez known as Ñiko, Antonio Fernández Reiboro, René Azcuy Cardenas, and Raul Martinez Gonzales among others. The most important impetus came from the establishment of<i>El Instituto Cubano de Arte e Industria Cinematográficos</i> (ICAIC), the Cuban Art Institute of cinematography, by the Cuban revolutionary leadership in 1960. The bold, aesthetically powerful, stunningly balanced compositions, and thought provoking posters are the main features of the Cuban school.</div>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Two" style="color: #7f8866; text-decoration-line: none;"></a><span style="font-size: large;"><span style="font-size: medium;"><span style="color: #b45f06;">Eduardo Muñoz Bachs</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3b_nqmr3GWPYokGUosH9vSH9zVxEymgouwFOiZxPy5Y7QwqwV6wM8IHrjtHrZPywq9Rq685_v6QsZBVCoweMXk27Bro9EbRq51h9oGXjRWswkiHom3cMd9NaOsj6FeX1h7KdVqdykiHo/s1600/Bachs.jpg" imageanchor="1" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3b_nqmr3GWPYokGUosH9vSH9zVxEymgouwFOiZxPy5Y7QwqwV6wM8IHrjtHrZPywq9Rq685_v6QsZBVCoweMXk27Bro9EbRq51h9oGXjRWswkiHom3cMd9NaOsj6FeX1h7KdVqdykiHo/s320/Bachs.jpg" style="border: none; position: relative;" width="217" /></a></div>
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<span class="long_text" id="result_box"><span title="Eduardo Muñoz Bachs est né à Valencia, Espagne, en 1937."><span style="font-size: medium;"><span style="color: red;">E</span></span>duardo Muñoz Bachs was born in Valencia, Spain in 1937.</span><span title="La famille a d'abord passé une année en France avant de se fixer à La Havane, en 1941."> </span><span title="Son père qui était journaliste et professeur fut l'un des premiers artisans de la télévision cubaine au début des années '50.">The family moved to France when Eduardo was two years old and after a year relocated to Cuba. His father was a journalist, a teacher and one of the first television producers in Cuban in the early 1950s. </span><span title="Bachs, naturellement attiré par le dessin, a commencé à vivre de sa production dès l'âge de 16 ans mais sans jamais suivre de cours dans une école d'art ou de design.">Bachs, a naturally gifted artist, began to work as a graphic designer at the age of 16, without ever attending any art school. </span><span title="À l'âge de 21 ans, l'année précédant la Révolution, il est engagé à plein temps à la télévision dans la section de dessin animé (84).">In 1958, one year before the Cuban Revolution, he was hired as a full time animation artist for the Cuban television.</span></span><br /><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHkmnP3Cs_BMoDUvLvvRVmX0zazAT_XGI6puKZzmaPfRclLr7UBSfew0uelSIT77BfGamR1azFmG0EAV5VqKCa2WQk1aywN6nlZBRsMhXHtlr2vTmmz_LGpOn0fYiLfVKZiRnt0-8ULkM/s1600/zorro-bachs.jpg" imageanchor="1" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHkmnP3Cs_BMoDUvLvvRVmX0zazAT_XGI6puKZzmaPfRclLr7UBSfew0uelSIT77BfGamR1azFmG0EAV5VqKCa2WQk1aywN6nlZBRsMhXHtlr2vTmmz_LGpOn0fYiLfVKZiRnt0-8ULkM/s640/zorro-bachs.jpg" style="border: none; position: relative;" width="414" /></a></div>
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<span class="long_text" id="result_box">Zoro, 1976</span></div>
<span class="long_text" id="result_box"><span title="À l'âge de 21 ans, l'année précédant la Révolution, il est engagé à plein temps à la télévision dans la section de dessin animé (84)."></span><span style="color: black; font-size: x-small;" title="Dès la création de l'ICAIC, âgé de 23 ans, il est engagé dans la section dessin animé."> </span></span><br /><br /><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM93rXLiZjZUphwarMX3uqR-NBZdGrz7YC-gKmfrQuuzp9pmxkXsFLSwGJspe9gT-URH78EOWIlI9I6brbTKsdwfqO715vj3GqAHRqaq-GYqQN3vngOiWeMQUXyshvV-qZiyuR8Y5JleI/s1600/zatoichi_challenged_misumi_bachs_ar.jpg" imageanchor="1" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM93rXLiZjZUphwarMX3uqR-NBZdGrz7YC-gKmfrQuuzp9pmxkXsFLSwGJspe9gT-URH78EOWIlI9I6brbTKsdwfqO715vj3GqAHRqaq-GYqQN3vngOiWeMQUXyshvV-qZiyuR8Y5JleI/s320/zatoichi_challenged_misumi_bachs_ar.jpg" style="border: none; position: relative;" width="210" /></a></div>
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<span class="long_text" id="result_box"><span style="color: black; font-size: x-small;" title="Dès la création de l'ICAIC, âgé de 23 ans, il est engagé dans la section dessin animé."> </span></span>Zatoichi challenged! , 1967 </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNOQWg0c9HBnp7mxYvFBPS40w0XnPA2qqGh08FlQrEZj2rk1mVmKWNeYdRmnEyNe5IRdfc3p4cxnGrkaGnZjVjit86P4E1z64nZSxjuWiaID1xMfohLmM0FBufnhduYwjlu22PzEUVxHE/s1600/criacuervos_saura_bachs_art.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNOQWg0c9HBnp7mxYvFBPS40w0XnPA2qqGh08FlQrEZj2rk1mVmKWNeYdRmnEyNe5IRdfc3p4cxnGrkaGnZjVjit86P4E1z64nZSxjuWiaID1xMfohLmM0FBufnhduYwjlu22PzEUVxHE/s320/criacuervos_saura_bachs_art.jpg" style="border: none; position: relative;" width="213" /></a><span class="long_text" id="result_box"><span style="color: black; font-size: x-small;" title="Dès la création de l'ICAIC, âgé de 23 ans, il est engagé dans la section dessin animé."></span></span></div>
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Cría cuervos , 1976<span class="long_text" id="result_box"><span style="color: black; font-size: x-small;" title="Dès la création de l'ICAIC, âgé de 23 ans, il est engagé dans la section dessin animé."><br /></span></span></div>
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<span class="long_text" id="result_box"><span style="font-size: medium;"><span style="color: red;">B</span></span>ach joined </span><span class="long_text" id="result_box">the animation department of </span><span class="long_text" id="result_box">ICAIC, upon its inception in 1960. </span><span class="long_text" id="result_box"><span title="Dès la création de l'ICAIC, âgé de 23 ans, il est engagé dans la section dessin animé.">His distinguished</span><span title="Commence ensuite sa brillante carrière d'affichiste, maintenant reconnu comme le plus prolifique de l'ICAIC."> career as </span></span><span class="long_text" id="result_box">the most prolific ICAIC</span><span class="long_text" id="result_box"> poster designer was</span><span class="long_text" id="result_box"> launched by his creation of </span><span class="long_text" id="result_box">the first </span><span class="long_text" id="result_box">ICAIC</span><span class="long_text" id="result_box"><span title="Commence ensuite sa brillante carrière d'affichiste, maintenant reconnu comme le plus prolifique de l'ICAIC."> </span></span><span class="long_text" id="result_box">poster</span><span class="long_text" id="result_box"><span title="Il aurait fait, en 1960, la première affiche de l'ICAIC: Historias de la Revolución (85).">: <i>Historias de la Revolución</i></span></span><span class="long_text" id="result_box"> in 1960.</span><span class="long_text" id="result_box">Bach spent his entire career at the ICAIC</span><span class="long_text" id="result_box"><span title="Sauf un bref intermède (1962-1965) dans le Département de publicité de la Agencia intercomunicaciones (COR, DOR et Editora Política par la suite), Bachs a consacré toute sa carrière à l'ICAIC.">, except for a brief period between 1962 to 65, when he joined the advertising department of Agencia intercomunicaciones, while continuing to make</span><span title="Même pendant les années passées à la Agencia intercomunicaciones, il faisait occasionnellement des affiches pour l'ICAIC."> occasional posters for the ICAIC. </span></span><br /><span class="long_text" id="result_box"><span title="Après cette date et jusqu'à aujourd'hui, tous les graphistes ont été employés à la pige."></span><span title="Combien d'affiches Bachs a-t-il produites?">Having a friendly </span><span title="Doué d'un caractère agréable, capable de répondre rapidement à des contrats nombreux, il a fait imprimer plus d'affiches que les autres graphistes bien qu'il soit impossible de suggérer même un nombre approximatif, le catalogue de sa production n'ayant jamais">attitude, and eager to accept and respond rapidly to various projects he created a large body of work, that has never been cataloged</span><span title="été établi (86).">. </span></span><br /><br /><span class="long_text" id="result_box"><span title="été établi (86)."></span></span><br /><span class="long_text" id="result_box"><span title="été établi (86)."></span></span><br /><span class="long_text" id="result_box"><span title="été établi (86)."></span></span><br /><div class="separator" style="clear: both; text-align: center;">
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Vampiros en la Habana, 1985</div>
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The Enigma of Kaspar Hauser, 1974</div>
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<span class="long_text" id="result_box"><span title="été établi (86)."> </span><span style="color: black; font-size: x-small;" title="Une part importante de son succès vient de sa façon de traiter la maquette d'une affiche."></span></span>Gigi, 1958 </div>
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<span class="long_text" id="result_box"><span style="color: black; font-size: x-small;" title="Une part importante de son succès vient de sa façon de traiter la maquette d'une affiche."> </span></span>The Lovers of Hiroshima/A Record of Love and Death, 1966</div>
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<span class="long_text" id="result_box"><span title="Une part importante de son succès vient de sa façon de traiter la maquette d'une affiche."><span style="font-size: medium;"><span style="color: red;">U</span></span>sing </span><span title="Réalisées le plus souvent à la gouache, ses maquettes sont vives, hautes en couleurs et pleines d'allégresse.">powerful compositions enhanced by a rich and vibrant pallet of five to six colors together with</span><span title="Bachs crée généralement une typographie manuscrite dont les formes et les couleurs rehaussent la richesse de l'ensemble."> an elegant handwritten typography his </span></span><span class="long_text" id="result_box">silkscreen </span><span class="long_text" id="result_box"><span title="Bachs crée généralement une typographie manuscrite dont les formes et les couleurs rehaussent la richesse de l'ensemble.">posters are archetype of an aesthetically potent visual communication. </span><span title="Il estime que plus des deux tiers de ses affiches comportent une typographie manuscrite, ce qui lui permettait de soumettre très rapidement une maquette finie lorsque venaient les commandes notamment lors des cas urgents.">It is estimated that over two thirds of his posters include a handwritten typography, which allowed him to quickly submit a finished model when orders came especially during emergencies. He also worked as graphic designer of</span></span><span class="long_text" id="result_box"><span title="Il estime que plus des deux tiers de ses affiches comportent une typographie manuscrite, ce qui lui permettait de soumettre très rapidement une maquette finie lorsque venaient les commandes notamment lors des cas urgents."> </span><span title="Son activité ayant été la plus soutenue dans le domaine de l'affiche, il est logique de le considérer d'abord comme affichiste, et en second lieu comme illustrateur de livres pour la jeunesse.">children's books</span><span title="Indices de son goût pour ce type de création, de grandes illustrations, soigneusement encadrées sur les murs de son appartement, montrent des figures tératologiques où dominent les poissons et toutes sortes d'animaux diversement humanisés.">. </span><span title="Bachs possède un style bien particulier qui fait de lui le plus humoristique des affichistes cubains.">Bachs</span><span title="Il est vrai que son travail d'illustrateur a été reconnu sur la scène internationale par au moins deux prix: 1968, médaille de bronze pour le Concours de livres pour enfants, Varna, Bulgarie; 1986, second prix aussi pour le Concours international d'">' work has been recognized internationally. In 1968, he won the bronze medal in a children books' </span></span><span class="long_text" id="result_box">competition in</span><span class="long_text" id="result_box"><span title="Il est vrai que son travail d'illustrateur a été reconnu sur la scène internationale par au moins deux prix: 1968, médaille de bronze pour le Concours de livres pour enfants, Varna, Bulgarie; 1986, second prix aussi pour le Concours international d'"> Varna, Bulgaria, as well, in 1986, he won the second prize in an International Competition of </span><span title="illustrations de livre pour la jeunesse, Japon.">book illustrations for Youth, in Japan. </span><span title="Mais il est également vrai qu'un grand nombre de ses affiches possèdent un caractère monumental, qualité première de l'affiche.">But it is also true that many of his posters have a monumental character, quality first showing. </span><span title="Au cours de sa carrière, il a participé à de nombreuse expositions nationales et internationales comme l'Exposición International d'arts graphiques (Brno, Tchescoslovaquie), la Biennale internationale de l'affiche (Varsovie, Pologne) et la Biennale internationale de l'">During his career, Bachs has participated in numerous national and international exhibitions such as Exposición International Graphic Arts (Brno, Tchescoslovaquie), the International Poster Biennale (Warsaw, Poland) and the International Biennial of </span><span title="affiche (Lahti, Finlande).">Lineup (Lahti, Finland). </span><span title="Plusieurs prix de prestige lui ont été décernés, les plus importants étant le Premier Prix international de Filmexpo Ottawa en 1972; le Premier Prix lors du Concours international d'affiches de cinéma à Paris; le Premier Prix au Concours international d'affiches de cinéma organisé">He also won several prestigious awards for his movie posters including, the First International Prize Filmexpo Ottawa in 1972, the First Prize at the International Competition in Paris movie posters and the First Prize at the international film posters in the US, in </span><span title="en 1978, aux États-Unis, par le Hollywood Reporter; le Grand Prix Corail pour ses meilleures affiches par le Festival Internacional del Nuevo Cine Latinoamericano, à La Havane, en 1983."> 1978</span><span title="D'autres Prix Corail lui ont été décernés par le même organisme notamment en 1985, 1986 et 1988.">. 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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Three" style="color: #7f8866; text-decoration-line: none;"></a><span style="font-size: large;"><span style="font-size: medium;"><span style="color: #b45f06;">Antonio Perez -- Ñiko</span></span></span></div>
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<span style="font-size: medium;"><span style="color: red;">A</span></span>ntonio Perez -- <span style="font-size: x-small;"><span class="long-title" dir="ltr" id="eow-title" title="Entrevista con Antonio Perez Ñiko -Amarillo Media- 1/3">Ñ</span></span>iko, was born in Havana, Cuba in 1941. He studied History of Art at University of Havana, and has taught at Universidad Veracruzanas' José Antonio Echeverría Politechnical Institute, Instituto Superior de Arte de la Habana, Instituto Superior de Diseno Industrial, and Gestault School of Design in Xalapa. Closely associated with <span class="long_text" id="result_box"><i></i>ICAIC, since</span> 1968, he has made posters for Cuban and foreign films as well as revolutionary political posters during the 1960- 70 era. He is currently living in Mexico.<br /><br /><br /><div class="separator" style="clear: both; text-align: center;">
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Che, 1983</div>
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Pablo,</div>
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De algún tiempo a esta parte</div>
<span style="color: red; font-size: medium;"><span class="long-title" dir="ltr" id="eow-title" title="Entrevista con Antonio Perez Ñiko -Amarillo Media- 1/3">Ñ</span></span>iko is mainly interested in social posters, but he has also created a number of memorable posters for films. He participated in the International Film Poster Exhibition, at Ottawa, in 1972, where he won an Award of Merit. Five years later his works were exhibited in Paris at Centre national d'art et de culture Georuges Pompido. As well, he has exhibited at Bienal Internacional del Cartel en Mexico (1989, 1992, 1994, 1996, 1998), International Poster Biennale, Warsaw (1994) and Lahti Poster Biennale (1995).<br /><br /><div class="separator" style="clear: both; text-align: center;">
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Frenesi, Poster for Alfred Hitchcock's Frenzy,1972.</div>
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el oscaso de los cheyennes, Poster for John Ford's Cheyenne Autumn, 1964.</div>
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Poster for James Whale's Frankenstein</div>
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Contratenor</div>
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<span style="font-size: medium;"><span style="color: red;">I</span></span>n 1983 <span style="font-size: x-small;"><span class="long-title" dir="ltr" id="eow-title" title="Entrevista con Antonio Perez Ñiko -Amarillo Media- 1/3">Ñ</span></span>iko won National Culture Award of Cuba, and in 1992, he won the second prize, Bienal Internacional del Cartel en Mexico. Other prizes include Special Prize (group) First Contest of Movie Posters, Cannes, 1973; Special Prize (group) Contest of Movie Posters, 1974; Prize of Second International Biennial of Movie Posters, Cannes, 1974; Prize at Second International Biennial of Posters, Mexico, 1974; First Grand Prize Paris International Festival II, 1976. He has published the Book of Catalog (Ñico Carteles, 1998), Expo Jiráfica Catalog, 1999. Expo France Catalog, 1999 and essays about the culture of Veracruz Plastic, 2000. <br /><br /><div style="color: red;">
<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Four" style="color: #7f8866; text-decoration-line: none;"></a><span style="font-size: large;"><span style="font-size: medium;"><span style="color: #b45f06;">Antonio Fernández Reiboro</span></span></span></div>
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<span style="font-size: medium;"><span style="color: red;">A</span></span>ntonio Fernández Reiboro was born in Nuevitas, in Camagüey, Cuba in 1935. His parents Antonio Fernández de la Fuente, the owner of "La Francia", a department store, and Julia Robiro Varquez were Spanish emigrants to Cuba. Antonio began to work as a graphic designer at La Francia, while studying architecture and design at the University of Havana. He worked a as a designer for Flogal Department store an Olivetti in Havana, and during 1960-63, joined as an assistant to the architect Ricardo Porro in the construction of National School of Art in Havana, and in 1963 designs the poster for for the 7th International Congress of Architecture. In 1964 he joined <span class="long_text" id="result_box"><i>the </i>ICAIC</span> as poster designer. He designed the Cuban pavilions in the Leipzig Trade Show in 1965, and in Tokyo in 1067. <br /><br /><div class="separator" style="clear: both; text-align: center;">
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<br /><span style="font-size: medium;"><span style="color: red;">R</span></span>eiboro has been a prolific poster designer, who was among the first artists abandoning Socialist Realism. <span class="long_text" id="result_box">He has won numerous awards such as Prix Special Prize at Ottawa international Film Festival in 1972, Merit Prize, at Cannes' XXVII International Film Festival in 1974, Grand prize for poster exhibition at Cannes' XXVIII Internatinal Film Festival, and Grand Prize at Paris Internatinal Poster Exhibition in 1975. In 1982, Reiboro migrated to Spain and began to work at the Ministry of culture. </span><span class="long_text" id="result_box">He has also directed several films.</span><br /><br /><br /><br /><div style="color: red;">
<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Five" style="color: #7f8866; text-decoration-line: none;"></a><span style="font-size: large;"><span style="font-size: medium;"><span style="color: #b45f06;">René Azcuy Cardenas</span></span></span></div>
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<span class="long_text" id="result_box"><span style="color: red;"><span style="font-size: medium;">P</span><span style="color: black;">aul</span></span> René Azcuy Cardenas was born in Havana, Cuba, in 1939. In 1955, he entered the National School of Fine Arts (</span><span class="long_text" id="result_box">Escuela Nacional de Bellas Artes</span><span class="long_text" id="result_box">), at </span><span class="long_text" id="result_box">San Alejandro, Havana -- </span>the oldest and most prestigious fine arts school in Cuba<span class="long_text" id="result_box">and at the very same year, 1955 he entered for a two years course </span>at <span class="long_text" id="result_box">the College of Arts and Crafts in Havana</span>. He also studied at <span class="long_text" id="result_box"><span title="la Escuela Superior de artes y Oficios y en la Escuela de">the School of </span><span title="Psicología de la Universidad de La Habana.">Psychology at the University of Havana. Over </span></span><span class="long_text" id="result_box"><span title="A partir de 1955 cursó estudios en la Escuela Nacional de Bellas Artes “San Alejandro”, La Habana y desde mismo año 1955 hasta 1957 en la Escuela Superior de Artes y Oficios, La Habana, Cuba."></span></span><span class="long_text" id="result_box"><span title="''Pablo René Azcuy Cárdenas'', nació en La Habana, Cuba, 28 de abril de 1939."></span><span title="A partir de 1955 cursó estudios en la Escuela Nacional de Bellas Artes “San Alejandro”, La Habana y desde mismo año 1955 hasta 1957 en la Escuela Superior de Artes y Oficios, La Habana, Cuba."></span></span><span class="long_text" id="result_box"><span title="A partir de 1955 cursó estudios en la Escuela Nacional de Bellas Artes “San Alejandro”, La Habana y desde mismo año 1955 hasta 1957 en la Escuela Superior de Artes y Oficios, La Habana, Cuba."></span><span title="En el período 1964-1983 se desempeñó como Diseñador Gráfico.">the period 1964-83 </span></span><span class="long_text" id="result_box">Cardenas</span><span class="long_text" id="result_box"><span title="En el período 1964-1983 se desempeñó como Diseñador Gráfico."> worked as a Graphic Designer for the </span><span title="Instituto Cubano del Arte e Industria Cinematográficos ([[ICAIC]]) y desde 1971 1978 como profesor de Diseño.">ICAIC. He has taught </span></span><span class="long_text" id="result_box"><span title="Asimismo, como profesor de la Escuela de Arquitectura de la">at the School of Architecture </span><span title="Universidad Metropolitana Unidad Xochimilco y la">at Universidad Metropolitana Xochimilco, Benemérita</span><span title="Benemérita Universidad de Puebla."> University of Puebla</span><span title="Se ha caracterizado como conferencista de la"></span><span title="Universidad del Pacífico de Chile, el Instituto Superior de Artes Aplicadas">. Pacific University of Chile, the Higher Institute of Applied Arts<br /> </span><span title="de Hungría, el Instituto Universitario Oriental de Nápoles de Italia,">Hungary, the Oriental Institute of Naples in Italy, </span><span title="la Escuela Superior de Diseño Gráfico de Rosario en Argentina,">Escuela Superior of Graphic Design in Rosario in Argentina, </span><span title="la Universidad de Québec en Montreal-Canadá y el">University of Quebec in Montreal, Canada and </span><span title="Colegio Universitario de Segovia en España.">Colegio Universitario de Segovia in Spain. </span></span><span class="long_text" id="result_box"><span title="Instituto Cubano del Arte e Industria Cinematográficos ([[ICAIC]]) y desde 1971 1978 como profesor de Diseño."></span><span title="Escuela de Arquitectura, Instituto Superior Politécnico “[[José Antonio Echeverría]]”, La Habana, Cuba."></span><span title="En 1992 fungió como jurado de la Segunda [[Bienal Internacional del Cartel]] de México.">In 1992 he served as a judge of the Second International </span></span><span class="long_text" id="result_box"> Poster </span><span class="long_text" id="result_box">Biennale </span><span class="long_text" id="result_box"><span title="En 1992 fungió como jurado de la Segunda [[Bienal Internacional del Cartel]] de México."> at Mexico, and i</span><span title="En 1996 fue miembro del Comité Organizador de la Cuarta Bienal Internacional del Cartel de México.">n 1996 acted as a member of the Organizing Committee for the Fourth International Poster Biennale at Mexico.</span></span></div>
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<span class="long_text" id="result_box"><span title="En 1996 fue miembro del Comité Organizador de la Cuarta Bienal Internacional del Cartel de México."><br /></span><span title="== Exposiciones Personales =="></span></span><span class="long_text" id="result_box"><span style="color: red; font-size: medium;">C</span>ardenas' </span><span class="long_text" id="result_box">Solo Exhibitions include his 1977 exhibition </span><span class="long_text" id="result_box">''The hands of Azcuy " at Sala Rubén Martínez Villena,UNEAC </span><span class="long_text" id="result_box">Gallery </span><span class="long_text" id="result_box">, in Havana, and his </span><span class="long_text" id="result_box"><span title="== Exposiciones Personales =="></span><span title="* En el año 1988 muestra ''"Affiches de René Azcuy"'' Maison de L'Amérique Latine, París, Francia.">1988,''show "René Azcuy Affiches" at the <i>Maison de L'Amerique Latine</i>, in Paris, France. He has also participated in a number of group shows.</span><span title="Entre los premios y distinciones que ha obtenido se destacan:"> Among the awards and honors he has received are: </span><span title="* En 1966 Premio Cartel.">Poster Prize in 1966. </span><span title="Olimpiada Mundial de Ajedrez, La Habana, CUBA,">World Chess Olympiad, Havana,</span><span title="* En 1968 Premio Cartel y Logotipo Impreso."> 1968 Poster </span></span><span class="long_text" id="result_box">and logo </span><span class="long_text" id="result_box"><span title="* En 1968 Premio Cartel y Logotipo Impreso.">Prize of </span><span title="Congreso Cultural de La Habana,">Cultural Congress in Havana, </span><span title="* En 1974 Premio.">1974 Award from </span><span title="International Film Poster Exhibition.">International Film Poster Exhibition in </span><span title="[[FILMEXPO]]."> </span><span title="Ottawa, Canadá.">Ottawa, the </span></span><span class="long_text" id="result_box">1974 </span><span class="long_text" id="result_box"><span title="Ottawa, Canadá."></span><span title="* Primer Premio.">First Prize of the </span><span title="Concurso Internacional de Carteles de Cine “The [[Hollywood]] Report”, Los Angeles, California, EE.">International </span></span><span class="long_text" id="result_box">Film</span><span class="long_text" id="result_box"><span title="Concurso Internacional de Carteles de Cine “The [[Hollywood]] Report”, Los Angeles, California, EE."> Poster Competition from the Hollywood Report, Los Angeles, the </span><span title="* En 1984 Distinción por la Cultura Nacional, Consejo de Estado, República de Cuba.">1984 </span><span title="* Primer Premio Coral.">First Prize Coral of the </span><span title="VI Concurso Latinoamericano de Carteles de Cine.">Sixth Latin American </span></span><span class="long_text" id="result_box">Competition</span><span class="long_text" id="result_box"><span title="VI Concurso Latinoamericano de Carteles de Cine."> for Film Posters at the Sixth </span><span title="VI Festival Internacional del Nuevo Cine Latinoamericano, La Habana">International Festival of New Latin American Cinema, Havana. C</span></span><span class="long_text" id="result_box">ardenas </span><span class="long_text" id="result_box"><span title="VI Festival Internacional del Nuevo Cine Latinoamericano, La Habana"> works are at many international galleries including </span><span title="* En 1992 Tercer Premio."></span><span title="Bienal Internacional del Cartel México 92, Galería AP, Facultad de Artes Plásticas, Universidad Veracruzana, Xalapa, Veracruz, México."></span><span title="* El [[Center for Cuban Studies]], Nueva York.">the Center for Cuban Studies in New York, the</span><span title="* El Centre [[George Pompidou]], París."> George Pompidou </span></span><span class="long_text" id="result_box">Centre</span><span class="long_text" id="result_box"><span title="* El Centre [[George Pompidou]], París."> in Paris, </span><span title="* Library of Congress, Washington">Library of Congress in Washington </span><span title="* El Museo del Cartel, Wilanow, Varsovia.">and the Poster Museum, at Wilanow, Warsaw. </span></span></div>
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<span class="long_text" id="result_box"><span title="A lo largo de sus años de práctica constante René Azcuy ha ido ciñendo sus recursos formales hasta centrarse fundamentalmente en la gama del blanco y el negro, y el en el empleo creador de la fotografía."><span style="font-size: medium;"><span style="color: red;">T</span></span>hroughout his career René Azcuy has focued primarily in black and white compositions. </span><span title="Esta es el punto de partida para su concepción del cartel, no a la manera del encuadre mecánico de la toma publicitaria, sino como elemento expresivo que el artista utiliza dentro de su particular idioma gráfico.">In fact, this has been the hallmark of his artistic expression in a visual communication paradigm. </span><span title="En los carteles René Azcuy tiene especial relevancia la multiplicidad de significados que adquiere la temática de las manos como elemento central ya menudo único en la composición.">In his posters René Azcuy is particularly interested in the expression conveyed by hands as well as the exaggerated facial expression as the main feature of his main thematic compositions, which may include; </span><span title="La mano abierta, las manos entrelazadas, el puño cerrado, el gesto implorante o crispado, provocan asociaciones que sugieren una amplia gama de experiencias humanas.">the open hand, holding hands, fist, and various hand gestures associated with imploring, quarreling, threatening, rage, fear and a wide range of other human experiences or various expression of silence, suspicion, sadness and so on, which reveal his deep understanding of human drama. <br /> </span><span title="El ansia perversa anima una sujeción implacable llena de animadversión."></span></span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Six" style="color: #7f8866; text-decoration-line: none;"></a><span style="font-size: large;"><span style="font-size: medium;"><span style="color: #b45f06;">Raúl Martínez González</span></span></span></div>
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<span style="font-size: medium;"><span style="color: red;">R</span></span>aúl Martínez González, was born in Ciego de Ávila and studied in Havana and at the Art Institute of Chicago. His early works were abstract, but he moved towards figurative design later in his career. After the Cuban Revolution of 1959, Martínez participated in the establishment of the ICAIC. He was influenced by the growing pop-art movement, and used this style in a number of his magazine, book and poster designs. Many of his works carried the themes and iconography of the Cuban revolution, using vibrant colors and comic book themes. In 1966 Martínez began the first of many designs based around the image of national hero José Martí. Works by Raúl Martínez are on exhibit in museums throughout the world. He had a large number of solo and group exhibitions, including an exhibition of his drawings and designs at the Center of Cuban Studies in New York in 1975. He won the Silver Medal in the Cuban Painting Exhibition at Tampa University, Florida. Cuba’s National Museum of Fine Arts dedicates a large space in the permanent collections halls to Raúl Martínez.</div>
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<span class="long_text" id="result_box"><br /><span style="font-size: medium;"><span style="color: red;">I</span></span>n the early 1950s, Martínez—along with such artists as Guido Llinás and Tomas Oliva—established the group Los Once (The Eleven), whose members adapted New York School-style Abstract Expressionism in the context of Cuban art. After the success of the Cuban revolution in 1959, Martínez moved to advertisement, and his success provided him the opportunity to assume the art direction of the literary magazine, Lunes de Revolución. Meanwhile, he continued to produce large abstract paintings. However, with his 1964 "Homage" series, Martínez began to use collage with a wide array of images, including; furniture, magazine covers, family photos, and everyday objects, fused with the spontaneous aesthetic of the revolutionary graffiti and street art of Havana. </span></div>
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<span class="long_text" id="result_box"><span title="[[Categoría:Pintores de Cuba|Pablo René Azcuy Cárdenas]]"></span></span></div>
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<span class="long_text" id="result_box"><br /><br /><span style="font-size: medium;"><span style="color: red;">M</span></span>artínez’s </span><span class="long_text" id="result_box">1968 film </span><span class="long_text" id="result_box">poster design for “Lucia;” was reproduced in the 1970 book The Art of the Revolution, with a preface by Susan Sontag. As an artistic photographer, he participated in the influential Foto-Mentira exhibition of 1965 and for the Venice Biennale of 1984, he participated with a </span><span class="long_text" id="result_box">mural design</span><span class="long_text" id="result_box">. With his 1978 “La Gran Familia,” he began to integrate photography into his art, in which he juxtaposed </span><span class="long_text" id="result_box"> the faces of Cuban youth along with their leaders, the mural is now at </span><span class="long_text" id="result_box">the permanent collection, of El Museo Nacional de Bellas Artes, in Havana</span>.<span class="long_text" id="result_box"> He died in 1995. </span><div class="separator" style="clear: both;">
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<span style="color: black;"></span><br /><br /><br /><br /> <a href="http://guity-novin.blogspot.com/2011/06/chapter-37-polish-school-and-polish-art.html" style="color: #7f8866; text-decoration-line: none;">Go to the next chapter; Chapter 37 - the Polish School and the Polish Art of Opera, Film and Circus Posters </a><br /><br /> ------------------------------------------------------------------------------------<br /><div style="text-align: center;">
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com1tag:blogger.com,1999:blog-6727023006027071783.post-73759555334098536792018-09-01T11:39:00.000-07:002019-02-21T12:25:54.597-08:00Chapter 32 - Pioneers of Advertisement Posters<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td><br />Table of Contents:<br /><ul style="line-height: 1.4; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html#One" style="color: #7f8866; text-decoration-line: none;">Introduction:</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html#Two" style="color: #7f8866; text-decoration-line: none;">Emergence of 'mass production', and 'homogeneous consumer'</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html#Three" style="color: #7f8866; text-decoration-line: none;">Advertisement for a 'segmented society'</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html#Four" style="color: #7f8866; text-decoration-line: none;">Modern Layouts, and Alexey Brodovitch</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html#Five" style="color: #7f8866; text-decoration-line: none;">Dr. Mehemed Fehmy Agha: Redefining the role of 'Art Director' in advertisement</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html#Six" style="color: #7f8866; text-decoration-line: none;">Henry Wolf; a thought provoking sense of style</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html#Seven" style="color: #7f8866; text-decoration-line: none;">Otto Storch: Inventing Visual Distortions</a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html#Eight" style="color: #7f8866; text-decoration-line: none;">Quentin Fiore: The Medium is the Message (or the Massage?)</a></li>
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<a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html" name="One" style="color: #7f8866; text-decoration-line: none;"></a><span style="font-size: large;"><span style="font-size: medium;"><span style="color: #b45f06;">Introduction:</span></span></span></div>
<br /><br /><span style="font-size: medium;"><span style="color: #e69138;">I</span></span>t is generally agreed that advertising in its modern form has appeared in tandem with the emergence of newspapers, in the seventeenth century. Frenchman Théophraste Renaudot (1586-1653), Louis XIII's official physician, is credited with a early version of the supermarket noticeboard, a '<i>bureau des addresses et des rencontres</i>'. Born in Loudon to a wealthy protestant family, Renaudot's reflections on the Parisian poor led him to create, on the Île de la Cité, what he called a ‘<i>bureau des addresses et des rencontres</i>’ – an employment office for the jobless, which soon became the information center of not only for the labour market but also for those buying and selling goods, as well as a news agency for public affairs. To broadcast this information more widely, he created in 1631 the first French newspaper, which he called <i>La Gazette</i>, which was publishing the very first of the modern personal ads.<br /><br />In England, line advertisements in newspapers were very popular in the second half of the seventeenth century, often announcing the publication of a new book, or the opening of a new play. The first English advertising agent was probably a man named William Tayler, who opened an office in London’s Warwick Square in 1786. The firm later became known as Tayler & Newton, and it acted as an advertising sales representative for printers – several of whom had launched newspapers to promote their trade. The Great Fire of London in 1666 was a boost to this type of advertisement, as people used newspapers in the aftermath of the fire to advertise lost & found, and changes of address. These early line ads were predominantly informative, containing descriptive, rather than persuasive language.<br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV_qr2K3eDCkRaxY-s0WPESqQw87oDwAP8G9aHPBBGdeRPoTVknzhX6lfCYQcWNeYJxJcFle2v3zBmYQfDMiDjSvJb7fNtpKImWNBbow3F8vPG2qSxnJhkIUN7nYJIxCcm4fvkZqHbrgc/s1600/a3.jpg" imageanchor="1" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV_qr2K3eDCkRaxY-s0WPESqQw87oDwAP8G9aHPBBGdeRPoTVknzhX6lfCYQcWNeYJxJcFle2v3zBmYQfDMiDjSvJb7fNtpKImWNBbow3F8vPG2qSxnJhkIUN7nYJIxCcm4fvkZqHbrgc/s640/a3.jpg" style="border: none; position: relative;" width="640" /></a></div>
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From its early start, advertisement was about creating new tastes and new demand. Coffee is a good example, as it was first brewed into a drink in the Middle East, in the fifteenth century. The advertising of coffee's benefits in the European newspapers helped to its rapid acceptance and the development of European taste. Starting from Italy, the demand for coffee spread to throughout Europe. The first coffee advertisement in London in 1657, reads:<blockquote>
In Bartholomew Lane on the back side of the Old Exchange, the drink called Coffee (which is a very wholesome and Physical drink, having many excellent virtues, closes the Orifice of the Stomach, fortifies the heat within, helpeth Digestion, quickenth the Spirits, maketh the heart lightform, is good against Eye-sores, Coughs, or Colds, Rheums, Consumptions, Head-ach, Dropsy, Gout, Scurvy, Kings Evil and many others) is to be sold both in the morning and at three o'clock in the afternoon.</blockquote>
<br />Thus, advertising from the start resorted to mixing pure hyperbole, curing complicated health issues like dropsy, gout and Kings Evil (scrofula - swollen abscesses in the neck), with some exaggerated truths, 'a very wholesome and Physical drink'.<br /><div class="separator" style="clear: both; text-align: center;">
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<span style="color: red; font-size: 28.8px;">A</span>fter the invention of lithographic techniques advertising by posters for circus, cabaret shows, alcoholic beverages, tobacco products and some manufactured consumer goods, like bicycles, became very common by the late 19th century.<br /></div>
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<tr><td><a href="http://farm3.static.flickr.com/2447/3626526707_2d8a859f5e_b.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img alt="" border="0" height="640" src="http://farm3.static.flickr.com/2447/3626526707_2d8a859f5e_b.jpg" style="border: none; position: relative;" width="422" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-style: italic;">Fukunai dokusō-gan</span> - Internal poison cleansing pills (if taken for a month, cleans various poison sicknesses such as syphilis and gonorrhea). (late 19th century)</td></tr>
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<tr><td><a href="http://farm4.static.flickr.com/3403/3627340010_ce66314fbb_b.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img alt="" border="0" height="640" src="http://farm4.static.flickr.com/3403/3627340010_ce66314fbb_b.jpg" style="border: none; position: relative;" width="437" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-style: italic;">Shinyaku Sonota</span> - Divine Medicine and others, with portraits of Jun Matsumoto, Shochu Sato, and Ki Hayashi. (Hashimoto Chikanobu, 1878)</td></tr>
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<tr><td><a href="http://farm4.static.flickr.com/3620/3627339148_3d8a024c43_o.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img alt="" border="0" height="325" src="http://farm4.static.flickr.com/3620/3627339148_3d8a024c43_o.jpg" style="border: none; position: relative;" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-style: italic;">Shōni-yaku-ō Kindoru-san</span> - King of children's drug: Kinder-Puwder (Morikawa Chikashige, 1880)</td></tr>
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<tr><td><a href="http://farm4.static.flickr.com/3540/3627381053_cca2fe0fc0_b.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img alt="" border="0" height="640" src="http://farm4.static.flickr.com/3540/3627381053_cca2fe0fc0_b.jpg" style="border: none; position: relative;" width="427" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-style: italic;">Rakuzen-dō sanyaku: Hoyō-gan, Chinryūin, Ontsū-gan, Megusuri Seiki-sui</span> - Three drugs from Rakuzendō for low energy, heart-burn, and constipation (Eitaku, late 19th century)</td></tr>
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<tr><td class="tr-caption" style="font-size: 12.8px;">Benri ohaguro tokiwa no tsuya - Easy to use teeth-blackening oxide, Tokiwa no tsuya means "everlasting luster" and is also the name of the woman pictured (Hasegawa Sadanobu II, late 19th century)</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjbfXI_-9S48IyXqbVOFpZUIBzQoCFnFlTWB7zlpKQxeFuzyUhvQnQmF6IxoL2ffPO3HadrOO7actKah5RblkC2rQqVBlyeOsgPNhzpDva8cdoeORoGraV-lIX6ZRc7ceiytuZd3GRyxY/s1600/Capture10.JPG" imageanchor="1" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjbfXI_-9S48IyXqbVOFpZUIBzQoCFnFlTWB7zlpKQxeFuzyUhvQnQmF6IxoL2ffPO3HadrOO7actKah5RblkC2rQqVBlyeOsgPNhzpDva8cdoeORoGraV-lIX6ZRc7ceiytuZd3GRyxY/s640/Capture10.JPG" style="border: none; position: relative;" width="435" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz0zKIO0eqwrlRZnDP8wKbr7ezsIbGzk6fM-YPFSDrjVSKeVJ_gwgQqGn84-5ifysf7axWnZWqTImt3ZF38RumedI0wAMZQNe8FcMAxOr-zBNDgPFSOCv1iqnwdXqVRgN7svm9GZpYxlY/s1600/Capture+4.JPG" imageanchor="1" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz0zKIO0eqwrlRZnDP8wKbr7ezsIbGzk6fM-YPFSDrjVSKeVJ_gwgQqGn84-5ifysf7axWnZWqTImt3ZF38RumedI0wAMZQNe8FcMAxOr-zBNDgPFSOCv1iqnwdXqVRgN7svm9GZpYxlY/s640/Capture+4.JPG" style="border: none; position: relative;" width="436" /></a></div>
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<span style="color: #e06666; font-size: large;">I</span>nspired by the Japanese prints, European artists; such as Toulouse-Lautrec, Eugene Grasset, Paul Berthon, Jules Cheret, Theophile Alexandre Steinlen, Pierre Bonnard, Georges Ripart, and others created artistic posters that solidified the foundations for contemporary graphic artists. The American graphic artists, such as Louis Rheade, William Schumacher, Frank Hazenplug, George Wharton Edwards, and a host of others, were also publishing their works in various periodicals and books, such as "The Century Magazine" and the "Lothrop Publishing Company." The positive impact of the colourful and eye-catching posters which represented various products and created demand encouraged corporations to invest heavily in advertisement. They spared no expense competing against each other and increase their market share through their advertising posters.</div>
<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCHlWv51M8i7v6mvctiBPHMpzCOqIkIyenQ7IJ8E1NR-YKWtcov1zUSsBBWK9rB35cUaOS8apSc796NmuHdeAv_1VlSMnrVYIrbvNmMrK8mOX2gYKcuFCErNcnt0HP9MZVShV5qZ__WGE/s1600/6a00d8341c10fd53ef00e54f4587008834-640wi.jpg" style="color: #7f8866; text-decoration-line: none;"><img alt="" border="0" height="303" id="BLOGGER_PHOTO_ID_5474326970332763650" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCHlWv51M8i7v6mvctiBPHMpzCOqIkIyenQ7IJ8E1NR-YKWtcov1zUSsBBWK9rB35cUaOS8apSc796NmuHdeAv_1VlSMnrVYIrbvNmMrK8mOX2gYKcuFCErNcnt0HP9MZVShV5qZ__WGE/s640/6a00d8341c10fd53ef00e54f4587008834-640wi.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative;" width="640" /></a><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUL6TdgOo7i2GnlDjX_5a22RZWT89IsuyzXCUMS8UF8SDWPvmn1yK67lntJpYmgby7K8ovxTxXPX4j1rMT-ZycXNs8jZ_Dpu7zM79njdU_jxN-l14JHuKriagl98pkQJ-xe1qUBmZHgqM/s1600/Bowl,+Egypt,+12th+century,+Earthenware,+overglaze++luster+painted.jpg" style="color: #7f8866; text-decoration-line: none;"><img alt="" border="0" height="309" id="BLOGGER_PHOTO_ID_5474329449252646850" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUL6TdgOo7i2GnlDjX_5a22RZWT89IsuyzXCUMS8UF8SDWPvmn1yK67lntJpYmgby7K8ovxTxXPX4j1rMT-ZycXNs8jZ_Dpu7zM79njdU_jxN-l14JHuKriagl98pkQJ-xe1qUBmZHgqM/s640/Bowl,+Egypt,+12th+century,+Earthenware,+overglaze++luster+painted.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative;" width="640" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3jfmNzFSnhWHQ23WLwmnlp1qRsCfyK1Y6CSs50ow7aAgBbdF2_gmw8hhfrtXqimIViRCOWCZYFlARnon45hmrwQmuUXtD6XbKgOzUcdnErNkJvlOuCbzLd6mze6xVFznRDBJJwJCYzMU/s1600/Chesm-I+Ali,+c.4500+BC.+A+choice+small+red+buff+bowl+with+black+linear+additions+in+paint.+A+fine+example+and+in+perfect+condition+for+such+and+ancient+item..jpg" style="color: #7f8866; text-decoration-line: none;"><img alt="" border="0" height="311" id="BLOGGER_PHOTO_ID_5474334455162757170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3jfmNzFSnhWHQ23WLwmnlp1qRsCfyK1Y6CSs50ow7aAgBbdF2_gmw8hhfrtXqimIViRCOWCZYFlARnon45hmrwQmuUXtD6XbKgOzUcdnErNkJvlOuCbzLd6mze6xVFznRDBJJwJCYzMU/s640/Chesm-I+Ali,+c.4500+BC.+A+choice+small+red+buff+bowl+with+black+linear+additions+in+paint.+A+fine+example+and+in+perfect+condition+for+such+and+ancient+item..jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative;" width="640" /></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6FMowRhxQLWdBJxP5uLZ6SIDx0KRHPKniQygTTzhuqnVPSVib-JeeoNsi8nURVj5MH_IsA3klZ3UjXuBIWENb2AhoIkjap2DSJkUhiY6xq9Tszq-MHP3uCNhWRS1fiJSqSjyV7SoTih4/s1600/Fritware++13-14+century+-+overglaze+painted+and+gilded+%28lajvardina%29.jpg" style="color: #7f8866; text-decoration-line: none;"><img alt="" border="0" height="320" id="BLOGGER_PHOTO_ID_5474332508476366242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6FMowRhxQLWdBJxP5uLZ6SIDx0KRHPKniQygTTzhuqnVPSVib-JeeoNsi8nURVj5MH_IsA3klZ3UjXuBIWENb2AhoIkjap2DSJkUhiY6xq9Tszq-MHP3uCNhWRS1fiJSqSjyV7SoTih4/s640/Fritware++13-14+century+-+overglaze+painted+and+gilded+(lajvardina).jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative;" width="640" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSgIdwoHY6nOqOLgcq6aOvbCNcRjP6P4YiJTGqtOkm-kUzX2WWHem1RAG5dJcRpoUbZxmczh-rsxDVCRBYIwvoWX547chLlkcvXae6UKc-p_7BxAJxBXbtiZCH6VW9D0ifVeXm7zfJuYA/s1600/trans.JPG" style="color: #7f8866; text-decoration-line: none;"><img alt="" border="0" height="301" id="BLOGGER_PHOTO_ID_5474341779795105922" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSgIdwoHY6nOqOLgcq6aOvbCNcRjP6P4YiJTGqtOkm-kUzX2WWHem1RAG5dJcRpoUbZxmczh-rsxDVCRBYIwvoWX547chLlkcvXae6UKc-p_7BxAJxBXbtiZCH6VW9D0ifVeXm7zfJuYA/s640/trans.JPG" style="border: none; display: block; margin: 0px auto 10px; position: relative;" width="640" /></a><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjivrmBEzw2w1tw-d3X4U2Jw27GKMbxkGf8Q04Vhw6GozxUNTFohTLx6mYqghUNXabPoMDtuwu1B5HD_rb7YCasxcqa8_qZMhC72a4h9Uabr3o9J2suye-ijs2ddu7qCHmROgu-WVl5P1ft/s1600/A1.JPG" imageanchor="1" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjivrmBEzw2w1tw-d3X4U2Jw27GKMbxkGf8Q04Vhw6GozxUNTFohTLx6mYqghUNXabPoMDtuwu1B5HD_rb7YCasxcqa8_qZMhC72a4h9Uabr3o9J2suye-ijs2ddu7qCHmROgu-WVl5P1ft/s640/A1.JPG" style="border: none; position: relative;" width="464" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">Poster from the play "Darkest Russia" from Library of Congress. In January 1894 the play "Darkest Russia" by Henry Grattan Donnelly began playing in New York. The play featured scenes in a St. Petersburg palace, Nihilists headquarters, and a Siberian exile station. The plot of the play revolved around the arrest and transportation to Siberia of innocent persons present at a revolutionary gathering. A reviewer for the New York Times described it as a "fine old melodrama of the blood-curdling sort"</td></tr>
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<a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html" name="Two" style="color: #7f8866; text-decoration-line: none;"></a><span style="font-size: large;"><span style="color: #b45f06;">Emergence of 'mass production', and 'homogeneous consumer'</span></span></div>
<br /><br /><span style="font-size: 28.8px;"><span style="color: red;">A</span></span>dvertising got into its stride with the industrial revolution of the late 19th century. Advances in technology made the 'mass production' of consumer goods a reality. This unprecedented availability of packaged food, ready-to-wear clothing, hygienic products, and so on, encouraged manufacturers to to seek new markets, by establishing chains of retail outlets, or distributing their products through wholesalers and intermediary retailers. The competition forced the manufacturers to seek ways to create specific demand by searing the names of their brand in the collective memories of consumers. Thus, they began to advertise heavily. In his 1984 book <i>A Complete Guide to Advertising,</i>Torin Douglas states:<blockquote>
‘Firms such as Cadbury and Fry started packaging their products, not simply to protect them and preserve their quality, but also to establish their quality by the use of the company’s own name. Instead of leaving it to the retailer to determine which company’s products a customer would buy, they began to build their own relationship withthe customer.’</blockquote>
With the development of a consumer society and mass production, the role of advertisement exploded in the 20th century - particularly in the United States. The impact of the advertisement was so immense and significant that in the 1920s Albert Lasker, an ad agency executive claimed that “We are making a homogeneous” people out of a nation of immigrants .<br /><br /><span style="color: red; font-size: 28.8px;">T</span>he technological developments in printing created new possibilities for layout; defined as the art or process of arranging printed or graphic matter on a page. The organization of content is probably one of the most important and influential aspects of any good magazine, poster, and web design. A clean and efficient layout would help the message of the advertisement to be conveyed more effectively and more forcefully.<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqcqyV32hMXMC-nTxzP-AvgaiQb1UHycL0iBPD_RVTzPncdmPXiX65pTN3OOSIWi12ChHDSVu6oZUeP17M1d0qWsSans1sUdXAf9SBOjYULnQIc6Y_6Jx9P_usRHbCa_M3I2C0nRdBHQo/s1600/Hitler_One_Empire_One_People_One_Leader.jpg" style="color: #7f8866; text-decoration-line: none;"><img alt="" border="0" height="257" id="BLOGGER_PHOTO_ID_5474654975480477394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqcqyV32hMXMC-nTxzP-AvgaiQb1UHycL0iBPD_RVTzPncdmPXiX65pTN3OOSIWi12ChHDSVu6oZUeP17M1d0qWsSans1sUdXAf9SBOjYULnQIc6Y_6Jx9P_usRHbCa_M3I2C0nRdBHQo/s640/Hitler_One_Empire_One_People_One_Leader.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative;" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNBHuM2L7AI1LKSS432LMjntWkkAy3V4EXlVdm0c4DUNljFAY6tFPP-QtYEOWpqsMQUK3vATZ3VDusAj7_3nAuRRmDsz8VwIJle9mpFXkDIz7RRLGeOAcroBWVw8aVJZbWR4pTylvZX-E/s1600/Hilary+copy.jpg" style="color: #7f8866; text-decoration-line: none;"><img alt="" border="0" height="249" id="BLOGGER_PHOTO_ID_5474658738372349090" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNBHuM2L7AI1LKSS432LMjntWkkAy3V4EXlVdm0c4DUNljFAY6tFPP-QtYEOWpqsMQUK3vATZ3VDusAj7_3nAuRRmDsz8VwIJle9mpFXkDIz7RRLGeOAcroBWVw8aVJZbWR4pTylvZX-E/s640/Hilary+copy.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative;" width="640" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqcqyV32hMXMC-nTxzP-AvgaiQb1UHycL0iBPD_RVTzPncdmPXiX65pTN3OOSIWi12ChHDSVu6oZUeP17M1d0qWsSans1sUdXAf9SBOjYULnQIc6Y_6Jx9P_usRHbCa_M3I2C0nRdBHQo/s1600/Hitler_One_Empire_One_People_One_Leader.jpg" style="color: #7f8866; text-decoration-line: none;"><br /></a>Different approaches to page layout for advertising radio (first row of images) and television sets (second row) in the early 20th century<br /></div>
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<div style="color: red;">
<a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html" name="Three" style="color: #7f8866; text-decoration-line: none;"></a><span style="font-size: large;"><span style="color: #b45f06;">Advertisement for a 'segmented society'</span></span></div>
<br /><br /><span style="color: red; font-size: 28.8px;">H</span>owever, marketing’s emphasis has been on targeting their consumers - so much so that advertisements started to show segmentation. For instance, compare the above ads for radio and television sets with the following for various food products. It is clear that the marketing strategy tries to fit a particular product to a specific group and its needs. The historian Robert Wiebe has even suggested that the divisions in advertisement —by economic, social, cultural and even psychological characteristics—now mark the United States as a “segmented society.”<br /><br /><div style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4-v6aUwGvjmfIdVq9-r2c6wziTc1gKp-YjTuCB1CsBDHH_pc_89AdUkS5USc9qAkkfJbljrzYfHYmPCpGJX6hhSlNrfNlw0l2afl1GS7jJua10qfTfqgXBWsY0cHQPKd9SGcxEDS3IRg/s1600/Hirondelle.JPG" style="color: #7f8866; text-decoration-line: none;"><img alt="" border="0" height="280" id="BLOGGER_PHOTO_ID_5474663630149359026" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4-v6aUwGvjmfIdVq9-r2c6wziTc1gKp-YjTuCB1CsBDHH_pc_89AdUkS5USc9qAkkfJbljrzYfHYmPCpGJX6hhSlNrfNlw0l2afl1GS7jJua10qfTfqgXBWsY0cHQPKd9SGcxEDS3IRg/s640/Hirondelle.JPG" style="border: none; display: block; margin: 0px auto 10px; position: relative;" width="640" /></a>Food advertising in the mid 1920s</div>
<br /><span style="color: red; font-size: 28.8px;">D</span>oyle Dane Bernbach was an ad agency started in 1949 by Ned Doyle, Mac Dane, and Bill Bernbach. Starting with only 13 employees this small agency became an advertising powerhouse in the 1950s, and is now known as DDB Worldwide and continues to be a key player in the global realm of advertising. In the 1950s, the automobile industry was a stronghold of companies that mass produced large and luxurious cars. They relied on “show-off” and " keep up with the Joneses" marketing. Volkswagen, a brand that Adolf Hitler had touted during the 1930s as the “people’s car," was small and austere.<br /><br /><span style="color: red; font-size: 28.8px;">T</span>he DDB decided to represent the modest Volkswagen with advertisements that emphasized their economical practicality. Perhaps counter-intuitively. the agency boasted that their clients' cars were ugly, small and had barely changed in years. The campaign targeted devotee followers who, in the eyes of marketers, shunned ostentation and took pride in their modesty. One famous ad invited buyers to “Live Below Your Means,” presenting a car for people who could afford to spend more but chose restraint. With this in mind the layout of the Volkswagon ads was represented by minimalist and monochrome images. Pictured below the stark contrast between the Volkswagon and the typical automobile advertisements is obvious. It's interesting to note that the typical automobile ads usually contain a prosperous family in a colourful setting.<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil-zMRQ8e1-j2yYK-4Ywz62itnOq7dFF1X0p1FWVPLOkxldq_XA7wlav3_z1k_xv5Xl4HzsaA_5m08hzCO8wHop0qh1eFGYBRN6zniMNGUUDhVpel9ePwjutH8__30pTsd92zsg6ytoKE/s1600/RussiaWWI.jpg" style="color: #7f8866; text-decoration-line: none;"><img alt="" border="0" height="267" id="BLOGGER_PHOTO_ID_5474678656532008386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil-zMRQ8e1-j2yYK-4Ywz62itnOq7dFF1X0p1FWVPLOkxldq_XA7wlav3_z1k_xv5Xl4HzsaA_5m08hzCO8wHop0qh1eFGYBRN6zniMNGUUDhVpel9ePwjutH8__30pTsd92zsg6ytoKE/s640/RussiaWWI.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative;" width="640" /></a><br />1950's DDB Volkswagon advertisements</div>
<br /><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEwz9HTovQ1L_Ma9lShHTrZAVNP-BF-wDc7p187GH6Gi-sukKtEwxr4-q_Zn3v8JkrBgkkADnXWPxqUn97QZ1GN500gj7CA0ltzvffrHSPr7zrGgZhU5p8FncfLlPzumd7j00p9kRYrqO9/s1600/a1.jpg" imageanchor="1" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" height="518" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEwz9HTovQ1L_Ma9lShHTrZAVNP-BF-wDc7p187GH6Gi-sukKtEwxr4-q_Zn3v8JkrBgkkADnXWPxqUn97QZ1GN500gj7CA0ltzvffrHSPr7zrGgZhU5p8FncfLlPzumd7j00p9kRYrqO9/s640/a1.jpg" style="border: none; position: relative;" width="640" /></a></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmLl6OcOcN_Q42LeRwZZQW5au4Kl2nP-XEBSMsr2Cia5ZTtttnXY__zV5fozoWXjEZwPXQOhXPfghExb_H413MifN8fS7_pzpsMgdziMo2tag5W0NbM-Gw2DQOH4Ik84GzrErOtHGaaQ8Q/s1600/a1.jpg" imageanchor="1" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmLl6OcOcN_Q42LeRwZZQW5au4Kl2nP-XEBSMsr2Cia5ZTtttnXY__zV5fozoWXjEZwPXQOhXPfghExb_H413MifN8fS7_pzpsMgdziMo2tag5W0NbM-Gw2DQOH4Ik84GzrErOtHGaaQ8Q/s640/a1.jpg" style="border: none; position: relative;" width="640" /></a></td></tr>
<tr align="left"><td class="tr-caption" style="font-size: 12.8px;">During the early 20th century , GM's car ads transformed a simple problem of cheap transportation into a question of social status, and prestige. Advertising agencies created catchy slogans and jingles, and celebrities endorsed their favorite brands. General Motors turned market segmentation and the annual model year changeovers into national events. As the press speculated about new features, the company's added to the mystique by guarding the new designs with military secrecy. Consumers counted the days until the new models were "unveiled" at their dealers.</td></tr>
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Modern artistic car posters</div>
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<a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html" name="Four" style="color: #7f8866; text-decoration-line: none;"></a><span style="font-size: large;"><span style="color: #b45f06;">Modern Layouts, and Alexey Brodovitch</span></span></div>
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<span style="font-size: medium;"><span style="color: red;">A</span></span>lexey Brodovitch is known today for his work as the art director of <i>Harper’s Bazaar</i>. He was born in Ogolitchi, Russia in 1898 in an aristocratic family. He was only nineteen years old when the Bolshevik revolution flared up, forcing him to defer his goal of attending the Imperial Art Academy in order to fight in the Czarist army. When Bolsheviks won , he fled Russia with his family and future wife and, in 1920, settled in Paris. Like many other Russian emigrés of his status, he had to face both poverty and unemployment.<br /><br /><div class="separator" style="clear: both; text-align: center;">
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<br /><span style="font-size: medium;"><span style="color: red;">F</span></span>ortunately Diaghilev's Ballets Russes offered him a job to paint the stage sets. Diaghilev's philosophy of the lack of boundaries between different arts influenced him, and soon he entered a poster competition which searched for the most innovatory design to announce an upcoming ball. He won the first prize, beating Picasso who was also in the competition. This was the start his career as a graphic designer.<br /><div class="separator" style="clear: both; text-align: center;">
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<br /><br /><span style="font-size: medium;"><span style="color: red;">B</span></span>rodovitch also won medals for fabric, jewelry and display design at the International “Art Deco” Exhibition of Decorative Arts. Soon he was in great demand, designing restaurant décor, posters and department store advertisements. His designs was becoming noted because of their bold and refreshing sense of adventure. For instance when he was asked by Maximilien Vox, an ad agency, to design for Martini Vermouth, he did not hesitate to employ an avant-garde idea, inspired by constructivist style of El Lissitsky, using geometric forms and basic colors. He migrated to the US in 1930 to instruct design classes at Philadelphia College of Art, where he trained students in the fundamentals of European design, while working as a freelance illustrator in Philadelphia and New York. When Carmel Snow, who had been recently appointed as the editor of <i>Harper’s Bazaar,</i> saw his graphic design portfolio in 1934, he immediately offered him the post of Harper's art director. Brodovitch accepted the offer and by acting as the ambassador of European modernist ideas he revolutionized magazine design.<br /><br /><br /><br /><div class="separator" style="clear: both; text-align: center;">
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<span style="color: red; font-size: medium;">C</span>orporations in the US, particularly after the economic crisis of 1929, were reluctant to experiment with radically new ideas. In spite of their reluctance B<span style="font-size: medium;"><span style="color: red;"></span></span>rodovitch experimented with a radically simplified, European “modern” graphic design. Understanding the value of visual communications, he gave photography the central role in the magazine layout. His approach to layouts was characterized by emphasizing on large areas of white space, in conjunction with elegant compositions of type and imagery, while creating an overall sense of rhythmic dynamism. Brodovitch believed that type and photographs are equal in their power. A single letter magnified to the size of a page is just as provocative and inspiring as a photo of a model wearing the latest fashions.<br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlBuUgqUyK0M795Wgbv0EfdBp-Wq8GfdgxU1oe8sdoPrh81rfjJegeOFu2FjjqQvn32P7iTvQlIvrG0nRTzRlIcsNy-jpl_45GpYFh2JtrELv_v62pl-PjxiSrb1N35nMUKZGv16HFtNw/s1600/220px-Heinrich_Lefler_around_1900.jpg" imageanchor="1" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlBuUgqUyK0M795Wgbv0EfdBp-Wq8GfdgxU1oe8sdoPrh81rfjJegeOFu2FjjqQvn32P7iTvQlIvrG0nRTzRlIcsNy-jpl_45GpYFh2JtrELv_v62pl-PjxiSrb1N35nMUKZGv16HFtNw/s320/220px-Heinrich_Lefler_around_1900.jpg" style="border: none; position: relative;" width="320" /></a><br /><div class="separator" style="clear: both; text-align: center;">
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<br /><span style="font-size: medium;"><span style="color: red;">H</span></span>e cropped his photographs, often off-center, brought them to the edge of the page, integrated them in the whole. He used his images as a frozen moment in time and often worked with succeeding pages to create a nice flow trough the entire magazine. This brought a new dynamism in fashion layouts.This was something very new and created an artistic flair to the published media. Brodovitch redefined the role of art director in a publication. Not only he supervised and designed the layout of photographs, illustrations and type on the page; but also actively searched for new talents, suggested various artistic concepts, and commissioned all forms of graphic designs. Among his proteges in New York were Irving Penn, Leslie Gill, Richard Avedon and Hiro.<br /><br /><br /><div class="separator" style="clear: both; text-align: center;">
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<br /><span style="color: red; font-size: medium;">I</span>n 1949 Brodovitch became director of Portfolio. He used only type on the cover, which was unusual for American magazines at that time. He wanted to create a magazine unlike any other. The first issue of the magazine was filled with a range of design influences that formed Brodovitch's creative vision. But as the high cost magazine with a small advertising revenue Portfolio ended up folding after just three issues.<br /><br /><div style="text-align: center;">
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<br /><br /><span style="font-size: medium;"><span style="color: red;">B</span></span>rodovitch’s personal life was an unhappy one. Because of his heavy drinking and frequent absents Harper's fired him in 1958. His wife Nina died in the same period. A series of house fires in the 1950s destroyed not only his country retreat but also his paintings, archives and library. He died in 1971 in a small village in southern France where he had spent the last three years of his life. Brodovitch’s innovative style was continued by art directors including Henry Wolf (at Esquire and Harper’s Bazaar) and Otto Storch (at McCall’s) .<br /><br /><br /><div style="color: red;">
<a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html" name="Five" style="color: #7f8866; text-decoration-line: none;"></a><span style="font-size: large;"><span style="color: #b45f06;">Dr. Mehemed Fehmy Agha: Redefining the role of 'Art Director' in advertisement</span></span></div>
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<span style="font-size: large;"><span style="color: red;"></span></span><span style="color: red; font-size: medium;">M</span>ehemed Fehmy Agha Agha (1896- 1978) was born in Russia into a Turkish family. He studied arts at the Academy of Fine Arts in Kiev, and then entered the Emperor Peter the Great Polytechnic Institute in Czarist Russia and graduated in economics. He left Russia after the October Revolution and enrolled in the National School of Modern Oriental Languages in Paris, and received a special degree in 1923. He was a truly Renaissance man, was fluent in Russian, Turkish, German, French, Greek and English, had a strong technical and scientific aptitude, was an accomplished artist, photographer, and typographer.<br /><br /><div class="separator" style="clear: both; text-align: center;">
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<br /><span style="font-size: medium;"><span style="color: red;">I</span></span>n the mid- 1920s, Agha found a job as the studio chief of the Vogue headquarters at Paris, and soon was sent to Berlin as the designer of the German Vogue. Early in 1929, Conde Nast, the publisher of Vogue, whose art director Heyworth Campbell had resigned, was searching for a ; replacement. Casting out his net wide open into London, Paris and Berlin, eventually he interviewed Agha in Berlin. Nast was impressed by the "order, taste and invention" of what he had seen in Agha's work. According to Nast, he had numerous discussions with his staff and others in which he analyzed scores of back issues of Vogue, rival publications and foreign periodicals, in order to expound his theories, convictions and prejudices in the matter of makeup; "And I had invariably in such séances—and perhaps with too great an assurance—assumed the role of teacher." However, facing Agha in the interview Nast could not assume the role of a teacher anymore; "since (Agha) had at our extended interview, assumed that role himself—after relegating me politely to the dunce's corner where apparently, he thought, I really belonged." Agha migrated to the US to assume the art direction at Vogue, and it did not take long for him to distinguish himself as an extraordinary art director, and he became known as Dr. Agha.<br /><br /><div class="separator" style="clear: both; text-align: center;">
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<br /><span style="font-size: medium;"><span style="color: red;">A</span></span>gha radically redefined the role of the art director at every level. He fully integrated the layout process of the Vogue with the editorial process, in which design was playing a key and fundamental role. He drastically reformed the concepts of page layout, photography and illustration, with the help of many talented and influential artists such as Edward Steichen, Cecil Beaton, Hoyningen-Huene, Horst, Carl Van Vechten, and Charles Sheeler. Furthermore, he allowed artists like Willaumez, Pages and Carl Ericsonto to experiment with their wildest imagination and creativity. He reformed typographic style and introduced the sans serif type styles of Europe, and designed and conducted complicated engineering experiments to improve the color printing techniques. He brought the full force of European avant garde experimentation to the pages of <i>Vogue</i>, <i>Vanity Fair</i>, and <i>House & Garden</i>, the Condé Nast publishing company's flagship magazines in the United States. He is described as a man of penetrating insight, unequaled wit, and at times, like the brilliant chess player he is, of dazzling intellectual wizardry.<br /><br /><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn8R3V_dcbtaJMFI8t6fvKeQFfaTjaH1zZ31JAxun6TW4GbZhqHfx4P2DA4iwIm1Uu0snERL86UDp8Fdr5NxdZWMoSPomKAQzucAlbJvc_3PMlxTdGiYKgsQfu53qzlpiwrAWoScJAhQk/s1600/Avenue-in-the-Park-of-Krammer-Castle.jpg" imageanchor="1" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn8R3V_dcbtaJMFI8t6fvKeQFfaTjaH1zZ31JAxun6TW4GbZhqHfx4P2DA4iwIm1Uu0snERL86UDp8Fdr5NxdZWMoSPomKAQzucAlbJvc_3PMlxTdGiYKgsQfu53qzlpiwrAWoScJAhQk/s320/Avenue-in-the-Park-of-Krammer-Castle.jpg" style="border: none; position: relative;" width="241" /></a></div>
<br /><br /><span style="font-size: large;"><span style="color: red;">A</span></span>gha left Conde Nast in 1943 and became an active graphic and directorial consultant for numerous corporations, department stores and large publishing companies. He was deeply affected by the death of his wife in 1950. He became president of both the Art Directors Club (1935) and AIGA (1953-55). In a tribute published by PM Magazine in August 1939, William Golden wrote :<br /><br /><blockquote>
"Agha's demands seem so simple. Make something legible, present it logically and make it look somehow luxurious... in a way that he will like. So they devise not merely one version of how they think a page should look, but ten, or twenty, or forty... And for sheer productivity this method is unequalled. As for those bales of rejected layouts that have never seen the light of day; I don't think they are completely wasted. Some day, a less jaded scholar of the Graphic Arts will unearth them and discover again the amazing amount of original and exciting work that was stimulated by the man who knew too much to like anything."</blockquote>
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A 1936 Vanity Fair double-page spread layout by Agha with photographs by Edward Steichen. This was a whole new way to use photography and layout.<br /><br /><br /><br /><br /><br /><br /><div style="color: red;">
<a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html" name="Six" style="color: #7f8866; text-decoration-line: none;"></a><span style="font-size: large;"><span style="color: #b45f06;">Henry Wolf; a thought provoking sense of style</span></span></div>
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<br /><span style="font-size: medium;"><span style="color: red;">H</span></span>enry Wolf (1925- 2005) was born into a Jewish family in Vienna . He and his family fled the advancing Nazis in 1938, traveled to Paris where he began to study art. However, they had to leave for the United States in 1941. He entered at New York City's School of Industrial Arts, while also working in type and printing shops. After serving with an intelligence unit of the Army over the 1943-46 period he studied design and photography, with the legendary art director Alexey Brodovitch, when he he also working in a commercial art studio.<br /><br /><br /><div class="separator" style="clear: both; text-align: center;">
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<br /><span style="font-size: medium;"><span style="color: red;">I</span></span>n 1951, Wolf became an art director for the State Department, designing publications and posters for overseas use, and a year later, accepted an offer from Esquire to became its art director. Using his artistic talent as a graphic designer he radically changed the image of the magazine and introduced a sense of elegance and sophistication that lasted even after his departure. He introduced thought-provoking photographic covers, combined with aesthetically pleasing typography; and a stable of modern artists, including Ben Shahn and Richard Lindner. After Harper's firing of Alexey Brodovitch as the art director in 1958, his job was offered to Wolf . After three years at Harper's Bazaar, and working with Richard Avedon, Man Ray and Melvin Sokolsky Wolf departed to start Show for A&P Heir Huntington Hartford.<br /><br /><div class="separator" style="clear: both; text-align: center;">
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<br /><span style="font-size: medium;"><span style="color: red;">H</span></span>e joined the leading global marketing communications company of McCann Erickson in 1965 , where he directed ad projects like Alka Seltzer, Buick, Gillette and Coca-Cola. Soon after he and ad executive Jane Trahey founded Trahey/Wolf, where Wolf assumed the role of the vice president and creative director directing ad campaigns for companies such as Xerox, IBM, Revlon, De Beers, Blackgama Mink, Charles of the Ritz, Elizabeth Arden, and Union Carbide. Finally, he launched Henry Wolf Productions, in 1971. He devoted himself to photography, film and design, for the next three decades. Wolf worked as both a photographer and a designer, creating numerous television commercials for companies like RCA, Revlon, Borghese, Olivetti and so on. He also taught graphic design at Parsons School of Designmarker in New York, as well as the School of Visual Arts and Cooper Unionmarker. He was an influential graphic designer and art director who believed; "A magazine should not only reflect a trend; it should help start it."<br /><br /><div class="separator" style="clear: both; text-align: center;">
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Henry Wolf Collection, Spread from <i>Harper’s Bazaar,</i> featuring photographs by Richard Avedon, undated</div>
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<a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html" name="Seven" style="color: #7f8866; text-decoration-line: none;"></a><span style="font-size: large;"><span style="color: #b45f06;">Otto Storch: Inventing Visual Distortions</span></span></div>
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<span style="font-size: medium;"><span style="color: red;">O</span></span>tto Storch (1913 -1999) was born in Brooklyn. He studied at New York University, the Art Students League and the New School for Social Research and graduated from Pratt Institute. He started working as a photo editor for Dell Publishing, and eventually became its art director, designing book covers, magazines and comics. He took night courses with Alexy Brodovich, who challenged Storch to quit his job at Dell and look for more challenging work. Storch began a seven year period of freelancing as a designer and photographer. Finally, in 1952. he was offered the post of assistant art director to Better Living, a magazine published by the McCall Corporation. Three years later, discovering the wide range of his artistic talents, McCall appointed him as the art director for its main publication; McCall's magazine.<br /><div style="text-align: center;">
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<span style="font-size: medium;"><span style="color: red;">I</span></span>n the days before computers editing, he invented a variety of photographic techniques to distort type and produce various special effects. For instance, to create the impression of words in the eye of an illiterate person, he placed type under a pair of glasses and photographed it to appear warped and bent. He also experimented with various typefaces including the 19th-century Victorian wood typefaces, which had been abandoned for decades. Under Storch, McCall’s transformed into a vibrant fashion pictorials designed for younger and perhaps more stylish women. Often the pictorials were photographed outdoors for a modern, more realistic look. In an interview that was reprinted in William Owen’s 1991 book Modern Magazine Design, he identified two “moments” in the preparation of a magazine which he considered “of supreme importance” to an art director: The first, Storch said, is the editorial conference that outlines the material to be presented and “the thinking behind it.” The second is the designer’s instructions to the photographer, illustrator and layout artists. “They want, just as I want, to have a clear visualization of what they are going to accomplish before they start.”<br /><br /><br /><div class="separator" style="clear: both; text-align: center;">
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<br /><span style="font-size: medium;"><span style="color: red;">U</span></span>nfortunately, his insistence on innovation, experiment and new artistic approach gave rise to the conservative McCall’s discomfort and eventually led to Storch's resignation from McCall’s in 1967 after nearly 15 years. He returned to a successful freelance career focusing on editorial and advertising photography which included the design of an impressive booklet for the Cinerama premiere of Stanley Kubrick’s 2001: A Space Odyssey in 1968.<br /><br /><div class="separator" style="clear: both; text-align: center;">
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<a href="http://guity-novin.blogspot.com/2010/05/chapter-32-advertisment-posters.html" name="Eight" style="color: #7f8866; text-decoration-line: none;"></a><span style="font-size: large;"><span style="color: #b45f06;">Quentin Fiore: The Medium is the Message (or the Massage?)</span></span></div>
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<br /><br /><br /><span style="color: red; font-size: medium;">Q</span>uentin Fiore was born in 1920. He is a graphic designer, who has studied at the "New Bauhaus" in Chicago. Fiore has been bold and highly creative in his art. He coauthored two books with Marshall McLuhan; the most insightful and provocative book of the 1960s; The Medium is the Massage and War and Peace in the Global Village. Fiore's typography, layout and accompanying images were superbly executed to convey McLuhan's ideas. Particularly, in the first book Fiore's images show that the characteristics of a medium in fact renders it non-neutral, and the technological means through which the information is conveyed has an effect on the human perception independent of the information content. The word 'Massage' in the title of the book was actually a typo by the print-setter, but when McLuhan and Fiore saw the typo they liked it since it conveyed the exact message of the book. The medium is massaging the message, and produce something which is different from its content -- perhaps very much like the way statisticians are said to massage their data to produce the results they want to show. McLuhan asserts that the media are an extension of the physical and psychic faculties of man, and outlines the effect that each medium “in itself” has on the senses. From the beginning of the book, Fiore adopted an innovative pattern for the time in which an image demonstrating a media effect was presented with a textual synopsis on the facing page. The reader experiences a repeated shifting of analytic registers—from "reading" typographic print to "scanning" photographic facsimiles—reinforcing McLuhan's overarching argument that each medium produces a different "massage" or "effect" on the human sensorium. McLuhan writes;<br /><br /><br /><blockquote>
“How much do you make? Have you ever contemplated suicide? Are you now or have you ever been…? I have here before me…Electrical information devices for universal, tyrannical womb-to-tomb surveillance are causing a very serious dilemma between our claim to privacy and the community’s need to know. The older, traditional ideas of private, isolated thoughts and actions–the patterns of mechanistic technologies–are very seriously threatened by new methods of instantaneous electric information retrieval by the electrically computerized dossier bank–that one big gossip column that is unforgiving, unforgetful and from which there is no redemption, no erasure of early ‘mistakes.’ We have already reached a point where remedial control, born out of knowledge of media and their total effects on all of us, must be exerted. How shall the new environment be programmed now that we have become so involved with each other, now that all of us have become the unwitting work force for social change? What’s that buzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzing?”</blockquote>
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<br /><br /><br /><a href="http://guity-novin.blogspot.com/2010/06/chapter-33-pop-art.html" style="color: #7f8866; text-decoration-line: none;">Go to the next chapter, Chapter 33 Pop Art</a><br /><br /><br /><b>References</b><br /><ul style="line-height: 1.2; margin: 0px; padding: 0px 0px 0px 1.25em;">
<li style="margin: 0px; padding: 0.25em 0px;">"The Man Who Knew Too Much," by William Golden. <i>PM Magazine</i>. Vol. 5, no. 2 (Aug./Sept. 1939).</li>
<li style="margin: 0px; padding: 0.25em 0px;">Kerry William Purcell, Alexey Brodovitch, Phaidon Press (2002).</li>
<li style="margin: 0px; padding: 0.25em 0px;">Gabriel Bauret, Alexey Brodo-Vitch, Assouline (2005).</li>
<li style="margin: 0px; padding: 0.25em 0px;">Alexey Brodovitch, Portfolio #2: A Magazine for the Graphic Arts, Zebra Press (1950).</li>
<li style="margin: 0px; padding: 0.25em 0px;">Roger Remington and Barbara Hodik, Nine Pioneers in American Graphic Design, The MIT Press (1992).</li>
<li style="margin: 0px; padding: 0.25em 0px;">Andy Grundberg , Brodovitch (Masters of American Design), Harry N Abrams (1989).</li>
<li style="margin: 0px; padding: 0.25em 0px;">Brodovitch: Bazaar and Beyond</li>
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-36167797982459549242018-07-22T00:31:00.001-07:002021-01-20T23:44:41.900-08:00Chapter 92 - A history of Paisley or Boteh Jegheh Design<div dir="ltr" style="text-align: left;" trbidi="on">
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Boteh-Jegheh (a.k.a Paisley), is an asymmetrical geometric floral pattern that signifies royal sovereignty, and nobility. It was the focal design in the headgears of the Iranian kings since Shah Abbas the great <span style="text-align: center;">(1642-1666)</span><span style="text-align: center;"> </span>of the Safavid Empire of Iran . </span> </div>
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Boteh Jegheh on the crown of Shah Abbas II of Iran </span></div>
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Nader Shah Afshar ( 1688 – 1747) one of the most powerful Iranian kings, adorned his royal Jegheh with diamonds and emeralds after his conquest of India. </span></div>
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Boteh_Jegheh on the Crown of Nader Shah Afshar Emperor of Iran ( 1688-1747)</span></div><div style="margin: 0px;"><span style="font-size: medium;"><br /></span></div><div style="margin: 0px;"><span style="font-size: medium;"> </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvyALMHAsCsmPXy37OdRjuoIEMh4pLZasoRlVa3TDYW4MHJeirBNTsvaq-K-_vcBFzl14AMt6c8YgDG3rxnyZ2UHo0Oi0K_zQQrmK1jjOWeiIjjqu-gXtWC7OYV1XTUP_VOTVrcvO469M/s1600/f.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="515" data-original-width="355" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvyALMHAsCsmPXy37OdRjuoIEMh4pLZasoRlVa3TDYW4MHJeirBNTsvaq-K-_vcBFzl14AMt6c8YgDG3rxnyZ2UHo0Oi0K_zQQrmK1jjOWeiIjjqu-gXtWC7OYV1XTUP_VOTVrcvO469M/s640/f.jpg" width="440" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Jegheh-e-Naderi in Iran's National Jewelry Museum</span><br />
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Fath-Ali Shah of Qajar (1797-1834) had a number of different Jeghehs depicted in his numerous portraits.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG0NjHMeq4CsL7pCFu8lKbMlu7m-XI3n55TG1GnZxq2se-womQ_5yjkfyxgGfsvMXUEbQX1Vw4tWs5XvN17tzEI__yh_yT8zrS-6P5cJFzIJsE2Qcd7_Bf1eH04VRkACSzzljc4nwng-Y/s1600/f.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="727" data-original-width="367" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG0NjHMeq4CsL7pCFu8lKbMlu7m-XI3n55TG1GnZxq2se-womQ_5yjkfyxgGfsvMXUEbQX1Vw4tWs5XvN17tzEI__yh_yT8zrS-6P5cJFzIJsE2Qcd7_Bf1eH04VRkACSzzljc4nwng-Y/s640/f.jpg" width="322" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Fath-Ali Shah of Qajar,</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19b6oCfaKBYTeUNM7Uy1NpOOQ6rGdWEpMRZ0s7QdU5QvS0rDnHA8lDBE7vt32-YTTZ6rA_U27O0qOkv3A3Ps2Q6F0y0bcPUbPdTnwJhMrgBhTOpaBbd84mUgLK7MfBc4171lf6SopsCY/s1600/C+.JPG" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="295" data-original-width="183" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19b6oCfaKBYTeUNM7Uy1NpOOQ6rGdWEpMRZ0s7QdU5QvS0rDnHA8lDBE7vt32-YTTZ6rA_U27O0qOkv3A3Ps2Q6F0y0bcPUbPdTnwJhMrgBhTOpaBbd84mUgLK7MfBc4171lf6SopsCY/s640/C+.JPG" width="397" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Boteh -Jegheh of Crown of Fath-Ali Shah </span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpAMxlfvkBDEPoWR4n-QbBotqEmJ0gDy5GqXOwCKC55QumDqwdNxCJN8I8o1LSkj0Gl759mOTvAfabpyauBGrunw5ltkYgqb4uEfGy6P3SJTd8t88NqCn2WhC7gosFd6C0TMbjB8mv7zo/s1600/AmirKabir.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="643" data-original-width="308" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpAMxlfvkBDEPoWR4n-QbBotqEmJ0gDy5GqXOwCKC55QumDqwdNxCJN8I8o1LSkj0Gl759mOTvAfabpyauBGrunw5ltkYgqb4uEfGy6P3SJTd8t88NqCn2WhC7gosFd6C0TMbjB8mv7zo/s640/AmirKabir.jpg" width="306" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"> A Safavid period helmet. Kolah Khood</td></tr>
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Some authors have speculated about the origin of the Paisley pattern, theorizing, without offering any evidence, that it has originated in ancient Babylon , possibly dating back to 1700 BC. An alternative speculation, also without any evidence suggests that it is derived from a Zoroastrian symbol of fire. Some have related it to <span style="background-color: white; color: #3d3e40; font-family: "droid serif" , serif;">cypress tree, as a Zoroastrian symbol of eternity and life! It is argued that its floral motif originates from the Sassanid dynasty (200-650 AD)- the last Persian Empire before the rise of Islam, and its peculiar shape emanates from the impact of the Arab invasion, which is reflected in the tree being bent, symbolising the sorrow the nation!</span><br />
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<span style="font-size: large;"><span style="background-color: white;"><span style="color: #3d3e40; font-family: "droid" serif , serif;"><span>However, one does not see this pattern in any of Zoroastrian fire temples. In contrast, the pattern is clearly visible in </span></span></span><span face=""helvetica neue" , "verdana" , "arial" , "helvetica" , sans-serif" style="background-color: white;">one of the oldest mosques called </span><span face=""helvetica neue" , "verdana" , "arial" , "helvetica" , sans-serif" style="background-color: white;">the Noh Gumbad Mosque, to the southwest of city of Balkh, in Afghanistan, </span><span face=""helvetica neue" , "verdana" , "arial" , "helvetica" , sans-serif" style="background-color: white;">b</span><span face=""helvetica neue" , "verdana" , "arial" , "helvetica" , sans-serif" style="background-color: white;">uilt in the first half of the ninth century.</span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmGqYE8krKVvinGRGfjOSrf-9pk3yGYQiqdu4sS_iyILGIkP86edl-xsCVxTK38AcrgoZqGpuY_h1zfkWVpMHv_wRx5FehRXjkXMohkH1KnCoDPJEkwH_W7M8-a8qtS5UnbqVXUX4wuHs/s1600/f.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="420" data-original-width="640" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmGqYE8krKVvinGRGfjOSrf-9pk3yGYQiqdu4sS_iyILGIkP86edl-xsCVxTK38AcrgoZqGpuY_h1zfkWVpMHv_wRx5FehRXjkXMohkH1KnCoDPJEkwH_W7M8-a8qtS5UnbqVXUX4wuHs/s640/f.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Noh Gumbad Mosque</span><br />
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<span face=""helvetica neue" , "verdana" , "arial" , "helvetica" , sans-serif" style="background-color: white; font-size: large;">Noh Gumbad, refers to the nine vaults or domes that covered the original structure. These domes have since fallen, and the walls and columns of the mosque are buried in a more than a meter of mud-brick fragments.</span></div>
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<span face=""helvetica neue" , "verdana" , "arial" , "helvetica" , sans-serif" style="background-color: white; font-size: large;">Built of mud bricks and covered with plaster, the mosque was richly decorated on the interior with deeply carved arabesques covering the capitals, imposts, spandrels and soffits of the arcades. This stucco decoration, although weather-worn, has largely remained. The surfaces of the columns feature a crisscross pattern made of headers above a base -- largely buried -- of arabesque carvings. Floral medallions clearly depict Boteh Jegheh patterns. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEaOoNQKjZb5-GERSx263gICgwAV4YEKNwge49zKt6-2szT_aZu0uIGasmfNpY9Tj2sv-kGEWQkFNMwUBdizyj8ITgegTdem6BMIZU6rFhHtCmMelRS_h15hwPJfWtl2_5MLXxX-VgMpw/s1600/f.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="632" data-original-width="640" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEaOoNQKjZb5-GERSx263gICgwAV4YEKNwge49zKt6-2szT_aZu0uIGasmfNpY9Tj2sv-kGEWQkFNMwUBdizyj8ITgegTdem6BMIZU6rFhHtCmMelRS_h15hwPJfWtl2_5MLXxX-VgMpw/s320/f.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Masjid-i Noh Gunbad - Interior detail showing carved paisley motifs on capital</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-ugskdGZ1uiXRxTERE5sRYxTNyld-HsGghcjD3UGM00NpkCwjzNi8Yj5RH4_qRk4rPcCXCOGvC2oj6lmCnuhuU8lnbmZwGD8OkXq7on-AwXlo3AATm2Cx3DuqgpR9dhWITthmWGEyRwU/s1600/f.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="612" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-ugskdGZ1uiXRxTERE5sRYxTNyld-HsGghcjD3UGM00NpkCwjzNi8Yj5RH4_qRk4rPcCXCOGvC2oj6lmCnuhuU8lnbmZwGD8OkXq7on-AwXlo3AATm2Cx3DuqgpR9dhWITthmWGEyRwU/s640/f.jpg" width="612" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;"><span>Masjid-i Noh Gunbad - </span>Interior detail showing decoration on northeast face of column, capital, impost and arch soffit<br />
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The use of Boteh Jegheh pattern have continued through time in other mosques such as the early 19th century mosque of Nasir-ol-Molk in Shiraz.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0P7ZCyBQTA2Y0nSWxRJxJ8o0dD53UhNMnQs4R5Uzao9rfntWUg5NZJO2adLWfqpqDOa6pqA1Oud_uCP3z2iyAy7UCQKDxgJTGELMjEwBx32jJk29TDKfd_gtGLt3KDvDa3Z_kVP9gftY/s1600/C+.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="599" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0P7ZCyBQTA2Y0nSWxRJxJ8o0dD53UhNMnQs4R5Uzao9rfntWUg5NZJO2adLWfqpqDOa6pqA1Oud_uCP3z2iyAy7UCQKDxgJTGELMjEwBx32jJk29TDKfd_gtGLt3KDvDa3Z_kVP9gftY/s640/C+.JPG" width="426" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Mosaic circa early 19 century, from the mosque of Nasir-ol-Molk in Shiraz</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAOZoWtmOiqUFn_-vZ_mWZu-JqKMArbp9SR208uuo8BKppNpEIwIKIFOeb2I-Y5drPJ6Wu7YlrKg97zp7GOWj0jrWBJrghyrBmAbMC_gNGq-Qy7aGgQMuzc1qDieQG1dHNfImQPzPgPdQ/s1600/g.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="380" data-original-width="707" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAOZoWtmOiqUFn_-vZ_mWZu-JqKMArbp9SR208uuo8BKppNpEIwIKIFOeb2I-Y5drPJ6Wu7YlrKg97zp7GOWj0jrWBJrghyrBmAbMC_gNGq-Qy7aGgQMuzc1qDieQG1dHNfImQPzPgPdQ/s640/g.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Dome of mosque of Nasir-ol-Molk in Shiraz</span></td></tr>
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<span style="font-size: large;">Traditionally, Boteh Jegheh patterns was also used in the design of an Iranian high-quality hand-woven cloth called Termeh, that was used in the high officials and courtiers costumes called Khalaat.<br /></span>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEu6pkzaREVXc7H-N3V8YJdWAcw1vEDxPYv7bdMzSSZYY_6rt4vevv8ojeiekmv7K9a6MOMqnImGAzCuKfgv2yyKtVg0HcCVm6f_cV7BbGdlAcgMxOeDLOD0puhTNvuxlUhaQDu0k35u8/s1600/f.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="364" data-original-width="650" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEu6pkzaREVXc7H-N3V8YJdWAcw1vEDxPYv7bdMzSSZYY_6rt4vevv8ojeiekmv7K9a6MOMqnImGAzCuKfgv2yyKtVg0HcCVm6f_cV7BbGdlAcgMxOeDLOD0puhTNvuxlUhaQDu0k35u8/s640/f.jpg" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Termeh is a handicraft, which is woven with silk and wool and sometimes with gold and silver. Today it is mainly used for decorative purposes in important ceremonies</span><br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPYuyU5G191V_NrUTRVGsuZ_mAg9ZxNJWxuqoqoGEmaXYdEWSPwYNMrDI0br4-tAmztQxQH0qcaDE2NDSpVhtWQWBUzx3sXqhjN6NehMeRKg2teiqnaeK8HUyOXmsv-uHXVVeVQQCOVXI/s1600/AmirKabir.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1056" data-original-width="750" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPYuyU5G191V_NrUTRVGsuZ_mAg9ZxNJWxuqoqoGEmaXYdEWSPwYNMrDI0br4-tAmztQxQH0qcaDE2NDSpVhtWQWBUzx3sXqhjN6NehMeRKg2teiqnaeK8HUyOXmsv-uHXVVeVQQCOVXI/s320/AmirKabir.jpg" width="227" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Mohannad Shah Qajar, Emperor of Iran (1808-1848)</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHmVjsRII9qH7C0QG_yWpO5OflcSgRHJok8Qt2k0hqxxAUB3xhYLRy89v6WXoJf-YCeNhAWOjj_u8aBM-eRya7417AFep3-9ZuuMfb-UAlJHV0JfBZvNafV5BMjCS5amEA3gazl1NVAw4/s1600/AmirKabir1.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="1350" data-original-width="900" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHmVjsRII9qH7C0QG_yWpO5OflcSgRHJok8Qt2k0hqxxAUB3xhYLRy89v6WXoJf-YCeNhAWOjj_u8aBM-eRya7417AFep3-9ZuuMfb-UAlJHV0JfBZvNafV5BMjCS5amEA3gazl1NVAw4/s400/AmirKabir1.jpg" width="266" /></span></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-size: medium;">Mirza Taghi Khan Farahani, Amirkabir (1807 -1852)</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiakQ7dLszgOBBauVUQkVSKCdQu1FS13GSQGMQkejPhJ5aPXbWCDLL6weS30itkfmhOkXycVkO5S4k8tYucUyyqgCVcuTr6YqSN46qdyRwAKhUkHRZFX4A_MIUgSBqmwjSNKLgURNLyZ2g/s1600/AmirKabir.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="999" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiakQ7dLszgOBBauVUQkVSKCdQu1FS13GSQGMQkejPhJ5aPXbWCDLL6weS30itkfmhOkXycVkO5S4k8tYucUyyqgCVcuTr6YqSN46qdyRwAKhUkHRZFX4A_MIUgSBqmwjSNKLgURNLyZ2g/s320/AmirKabir.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">A Qajar Nobleman</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkBTcWF1KRHnYPnLwhDJ5J3pSRQurJavHtG_zE3_w9BhlCGjwlFgjyJsxGva3FHOzvLwnO-q8cHqctmno8bRlZsVpUKbT-mHrQtMYtsgyhRJbqTtvf4AXXNl-SaPzmrEJKceoJ1FjCfCM/s1600/C+.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="480" data-original-width="604" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkBTcWF1KRHnYPnLwhDJ5J3pSRQurJavHtG_zE3_w9BhlCGjwlFgjyJsxGva3FHOzvLwnO-q8cHqctmno8bRlZsVpUKbT-mHrQtMYtsgyhRJbqTtvf4AXXNl-SaPzmrEJKceoJ1FjCfCM/s640/C+.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">Religious and political advisers of Nasser-ed-Din shah, (1848-96) Emperor of Iran, ceramic featuring paisley printed robes from Isfahan, Iran<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdSuXMsFKD8pm-n8FNG7fHTqf863KcfqXMzWR055EhqDgRp7FMgW9Zm2unF_2CE8dHeKQLk05-gsSlzLv9S29hB8caUWhJ76YwavREcV3jxg6sWrk_RW4bbFqKoLRjUcVaDca35iC-gpY/s1600/AmirKabir.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1055" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdSuXMsFKD8pm-n8FNG7fHTqf863KcfqXMzWR055EhqDgRp7FMgW9Zm2unF_2CE8dHeKQLk05-gsSlzLv9S29hB8caUWhJ76YwavREcV3jxg6sWrk_RW4bbFqKoLRjUcVaDca35iC-gpY/s640/AmirKabir.jpg" width="422" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Boteh-Jegheh on the headgear of princes - 16th century Safavid miniature </td></tr>
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The Iranian cities of Yazd and Kerman have the reputation of producing high-quality termeh. Yazdi and Kermani termeh were traded along the Silk Roads. Marco Polo, passed through Yazd in 1272 AD and wrote:<br />
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Yazd also is properly in Persia; it is a good and noble city, and has a great amount of trade. They weave there quantities of a certain silk tissue known as Yazdi, which merchants carry into many quarters to dispose of. </span></blockquote>
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Termeh were also manufacturing in Kashmir in the northern India and in the Fergana valley (presently in Tajikistan and Uzbekistan). Yazdi silk designs do share some similarities with Fergana silks and Kermani shaals competed with Kashmiri shawls.<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaRKXGPNbln4FntewPOS_eJF4_lf7umqeqPEUaKBV7NriSyvha3DJHQOCyK0k9dxEXfr7xmYxqz6FQN2-hT_AEk8bZJJLFGu_NQykOYq9i9NrnAD5PEcSCFof5fFzm5qDfybzSPJhxAe4/s1600/f.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="470" data-original-width="239" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaRKXGPNbln4FntewPOS_eJF4_lf7umqeqPEUaKBV7NriSyvha3DJHQOCyK0k9dxEXfr7xmYxqz6FQN2-hT_AEk8bZJJLFGu_NQykOYq9i9NrnAD5PEcSCFof5fFzm5qDfybzSPJhxAe4/s640/f.jpg" width="324" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">A noble Qajar woman in Termeh skirt</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWOI0_71FbWc0k9FkOR0gKWjL2rFe9W6Ube9cJg-PKrgKxobpeBtrC9ss2IFmD_SLzt40bmVTkJk4MSv2eYD8-256V-_RBNHX-h6EqW0xvHuSyp83DjIMDB6c_iVubM9DugJ5A6TPtmq0/s1600/AmirKabir.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="710" data-original-width="451" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWOI0_71FbWc0k9FkOR0gKWjL2rFe9W6Ube9cJg-PKrgKxobpeBtrC9ss2IFmD_SLzt40bmVTkJk4MSv2eYD8-256V-_RBNHX-h6EqW0xvHuSyp83DjIMDB6c_iVubM9DugJ5A6TPtmq0/s640/AmirKabir.jpg" width="404" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">A Persian female gymnast performing a handstand on a knife Qajar period painting. Boteh-Jegheh design on her pantalon id noticeable. </span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_fRofHfUZAE7yO9W1ZcbZYaRgr5iAnCF8bpn9-Ddn5-4nnnuXbu8s1n337Q2Ff2vXDHi0y9C1iep4FeFg1EQxbZud_fTiGkdL2dZPsNqb3Kt_L20UImLLc8g_2etYjxV735itW-QIotE/s1600/C+.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="525" data-original-width="700" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_fRofHfUZAE7yO9W1ZcbZYaRgr5iAnCF8bpn9-Ddn5-4nnnuXbu8s1n337Q2Ff2vXDHi0y9C1iep4FeFg1EQxbZud_fTiGkdL2dZPsNqb3Kt_L20UImLLc8g_2etYjxV735itW-QIotE/s640/C+.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Boteh-Jegheh Pattern on Traditional Termeh. Termeh is a luxurious and durable cloth in which permanent natural colours are used . Today termeh is mostly used as a collectable item. Most of the Persian Termeh are elaborately embroidered using a technique, called “Sermeh Doozi”. This is an embroidery technique that was used in ancient Persia.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh12LabYqkbZepqSGu19ple09HrEh9gzk0j_KeETb_f2o_TAGpShWU8hNClqA1yApUhL2ET2Il5O-4QLvTAn3WAPa_YPjsXqnrlLVQwI8fRXm8yMcoKZmcSbpJmH9iDzoNyVqvLjQs_lKw/s1600/C+.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="540" data-original-width="600" height="576" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh12LabYqkbZepqSGu19ple09HrEh9gzk0j_KeETb_f2o_TAGpShWU8hNClqA1yApUhL2ET2Il5O-4QLvTAn3WAPa_YPjsXqnrlLVQwI8fRXm8yMcoKZmcSbpJmH9iDzoNyVqvLjQs_lKw/s640/C+.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Boteh-Jegheh design on Termeh-- Yazd, Iran</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH17Nfr8pyQDhc22f6It08LYl4fSB_YBgK3FETyTNRGLS5UaXKNRCeQ-3mah2i2QIPDhdRKZuYDl1f7_UTu7buo3tKNgdMGM_g4PPbzHa28OKteHw3jqNsA4rRYdlvl5O68hRNCzVUPJ4/s1600/C+.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="352" data-original-width="709" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH17Nfr8pyQDhc22f6It08LYl4fSB_YBgK3FETyTNRGLS5UaXKNRCeQ-3mah2i2QIPDhdRKZuYDl1f7_UTu7buo3tKNgdMGM_g4PPbzHa28OKteHw3jqNsA4rRYdlvl5O68hRNCzVUPJ4/s640/C+.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">A Boteh-Jegheh design on Sofreh Ghalamkar - a less expensive cotton cloth </span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHww2A2N9VbUs7cEp0xn6sYqX3oY9mkJfxvPoq0CXAM6Rz07yVgxKE6GTy8JKsDvk7F7gxN6kUZH4hgrPpIaeTw2orJubJ2eYDWBMxsbEwtV4RjL_-HZeN5U76jyDfdvyt5-mUD9UxbJg/s1600/C+.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="461" data-original-width="526" height="560" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHww2A2N9VbUs7cEp0xn6sYqX3oY9mkJfxvPoq0CXAM6Rz07yVgxKE6GTy8JKsDvk7F7gxN6kUZH4hgrPpIaeTw2orJubJ2eYDWBMxsbEwtV4RjL_-HZeN5U76jyDfdvyt5-mUD9UxbJg/s640/C+.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Another Boteh-Jegheh design on Sofreh Ghalamkar </span><br /><br /><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKPDtQO15dkF-L2kaaDLVpRUppitAkefD0ijrInWBe8C86vx2bqzH0FtNIa-s65d4wg5pSc-cTA-DSMXTyUo1p_sMQp3GFn-SHsB0wbCZYA_jT9WovYaZWT46klxzi05H5uuQTjxaoDzg/s1600/C+.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="800" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKPDtQO15dkF-L2kaaDLVpRUppitAkefD0ijrInWBe8C86vx2bqzH0FtNIa-s65d4wg5pSc-cTA-DSMXTyUo1p_sMQp3GFn-SHsB0wbCZYA_jT9WovYaZWT46klxzi05H5uuQTjxaoDzg/s640/C+.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Sofreh Ghalamkar with Boteh-Jegheh design</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzS70efQ7WlLJ0wILnuMtyKn7dvWGCTyCwEzds2FFNXCf5e7sOPpS9-VYEosFXjFSee6BfiRRfsEMFACWPqoQqaTfsdRqG0v1DbvSdFbqL7nwo_2UjbDwmRPfH3XJa_YJf49aREY2Wa_w/s1600/+boteh.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="566" data-original-width="960" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzS70efQ7WlLJ0wILnuMtyKn7dvWGCTyCwEzds2FFNXCf5e7sOPpS9-VYEosFXjFSee6BfiRRfsEMFACWPqoQqaTfsdRqG0v1DbvSdFbqL7nwo_2UjbDwmRPfH3XJa_YJf49aREY2Wa_w/s640/+boteh.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Sofreh Ghalamkar with Boteh-Jegheh design - Esfahan</span><br /><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBmcaaHNMqnirPM0gvAzuWucv0EoFGT0ItlWskw6pHV56AGY9xm31Tl8GdJ0w9Jv_E4kZKJOMMHEheLTpNNTnewoHKq2wgznLtRmralt08nB4-1QJ9ISzaUIQqB08ZrOc1slFEZObIylI/s1600/f.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="562" data-original-width="475" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBmcaaHNMqnirPM0gvAzuWucv0EoFGT0ItlWskw6pHV56AGY9xm31Tl8GdJ0w9Jv_E4kZKJOMMHEheLTpNNTnewoHKq2wgznLtRmralt08nB4-1QJ9ISzaUIQqB08ZrOc1slFEZObIylI/s640/f.jpg" width="540" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;"> Print Stamp used for the traditional hand made shawl craft of Isfahan, Iran.</span><br />
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<tr><td style="text-align: center;"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj6dMMYj9n8A3-apkXiz9czmkTL7RpHk1e6MSTGu9yGdPJuGzUMez7S5nHKn8gHQOTnMffB86RC468g6JIxCrYWRtLyFG6WXvOejSBIN5IP-XWRzXD4SccaJ2RmJwhn6NmMEdwP2lTiG4/s1600/AmirKabir.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="683" data-original-width="1024" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj6dMMYj9n8A3-apkXiz9czmkTL7RpHk1e6MSTGu9yGdPJuGzUMez7S5nHKn8gHQOTnMffB86RC468g6JIxCrYWRtLyFG6WXvOejSBIN5IP-XWRzXD4SccaJ2RmJwhn6NmMEdwP2lTiG4/s640/AmirKabir.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Very fine Senneh rug with boteh-Jegheh design, with very lustrous wool. Sennehs of this size and age with a boteh design are relatively rare.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV8b5cXu7HivJtzSdii6ZSN2e1FkX8BRf_lSG-hV_yoWyUXXyGMjcTDLvMEUz5Yq8tBQNIOZjxM0RastwZl98YTQ4YNnQGeCPVY3vopeiTARCpoNDmHm1NBoKIkErt3jhvZM_07Cwn9Dw/s1600/Capture.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="629" data-original-width="412" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV8b5cXu7HivJtzSdii6ZSN2e1FkX8BRf_lSG-hV_yoWyUXXyGMjcTDLvMEUz5Yq8tBQNIOZjxM0RastwZl98YTQ4YNnQGeCPVY3vopeiTARCpoNDmHm1NBoKIkErt3jhvZM_07Cwn9Dw/s640/Capture.JPG" width="418" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Persian silk rug with traditional Boteh-Jegheh design</span><br /><br /><br /><br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhieuBj-sCZCTjkbUeQX8ZWZ43mnuRs4bfEZmJff96UxTkrQO9dUO_rc4BlYESJr9tCq_Mw5-d3BKBpLfupFWehlmBuYB2cOnw_x-cR-ZOA4Caza6gVUHYqB6mPdTVbJiwrHXYqingx9m4/s1600/g.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1155" data-original-width="736" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhieuBj-sCZCTjkbUeQX8ZWZ43mnuRs4bfEZmJff96UxTkrQO9dUO_rc4BlYESJr9tCq_Mw5-d3BKBpLfupFWehlmBuYB2cOnw_x-cR-ZOA4Caza6gVUHYqB6mPdTVbJiwrHXYqingx9m4/s640/g.jpg" width="406" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><br />Another Persian rug with symmetric Boteh_jegheh Design</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9xM6AmxliS_mt9uBT5Cn4EooWWBCfswoJo84uiI7ZOB6bg68gObxKPXjgVGu7zq1h2ns_HUGI6h_0ytOjpLzM1MVQszSaeIF_3p1LmdiKfCromDXELAcbeC2PhEp9LE5atkqf_5_Ae5U/s1600/g.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="604" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9xM6AmxliS_mt9uBT5Cn4EooWWBCfswoJo84uiI7ZOB6bg68gObxKPXjgVGu7zq1h2ns_HUGI6h_0ytOjpLzM1MVQszSaeIF_3p1LmdiKfCromDXELAcbeC2PhEp9LE5atkqf_5_Ae5U/s640/g.jpg" width="401" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Boteh-Jegheh design on a Persian carpet </td></tr>
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In Britain Paisley is named for the shawls manufactured at the town of Paisley, Scotland. When, around the early 19th century, patterned shawls made from the soft fleece of the Kashmir goat began to be imported to Britain from India, machine-woven equivalents were made at that town to supply the growing demand that had been created for “cashmere” shawls. Paisley shawls, in silk and cotton and later in wool, with sober colouring, were beautiful in their own right. </span></div>
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Woven paisley shawls were mainly worn by men for ceremonies. These early shawls did not display the paisley shape as we know it today but a curving flower with leaves and a stem, the roots of which have striking similarities to Chinese calligraphy. The way in which symbols from different cultures appear in the development of the paisley pattern show how weavers translated artistic influences from imported ceramics, documents, fabrics into their own designs. The East India Company imported paisley shawls (adapted from the Persian word shal) from Kashmir and Persia to Europe in large quantities from around 1800. The designs were specifically tailored to cater for each regions particular tastes. In Europe the shawls were worn mainly by women not men. The designs might depict exotic scenes of people on elephants riding past palm trees. From roughly 1800 to 1850, using Jacquard looms, the women of Paisley adapted the traditional design primarily by weaving woollen shawls. Changes in fashion led to the demise of the popularity of the shawl in the late 1800s.<br />
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The decline of the paisley shawl in the early 1870s happened for a number of reasons. Fashions changed, of course, and the Franco-Prussian war of 1870-1871 put a stop to exports of shawls from Kashmir, and by 1870 a woven Jacquard shawl cost as much as £1, while an identical patterned cotton shawl could be bought for a few shillings. Like any other luxury good, once the shawls were inexpensive enough that every woman could afford to own at least one, no one wanted to wear them.</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;"><br /></span>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgINwPfG_bQ1atGZEQLPKenrAjFPyBpah59iajzXL_eqw_gbcBIPmrxd8Gl5eHTBgvgwDcAx3W54KPjirntjD3fPsX8084JtCukf-TtsNzQZysUU7nNEglc8qpyyrnzZ4mBAvgYwFt5_io/s1600/Capture.JPG" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="573" data-original-width="400" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgINwPfG_bQ1atGZEQLPKenrAjFPyBpah59iajzXL_eqw_gbcBIPmrxd8Gl5eHTBgvgwDcAx3W54KPjirntjD3fPsX8084JtCukf-TtsNzQZysUU7nNEglc8qpyyrnzZ4mBAvgYwFt5_io/s400/Capture.JPG" width="278" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">An English Paisley shawl Circa 19th century </span></td></tr>
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1808 Empress Joséphine by Baron Antoine-Jean Gros (Musée d'Art et d'Histoire at Palais Massena, Nice France)</span></div>
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<div style="text-align: left;"><span style="text-align: center;"><span style="color: #333333; font-family: "source" serif "pro" , serif;"><span style="font-size: large;">William Morris copied the pattern for his textiles and William Holman Hunt, in his Portrait of Fanny Holman Hunt employed it .</span></span></span></div>
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<tr><td class="tr-caption"><span style="font-size: medium;">William Holman Hunt, Portrait of Fanny Holman Hunt detail, ca. 1866-7</span></td></tr>
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<span style="background-color: white;"><span style="color: #333333; font-family: "source" serif "pro" , serif;"><span style="font-size: large;">This intriguing form of design has withstood the test of time and still from time to time designers in New York, Milan and Paris use it in their catwalks. </span></span></span></div>
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com2tag:blogger.com,1999:blog-6727023006027071783.post-84812056326361666512018-04-20T19:39:00.000-07:002019-02-21T12:25:32.547-08:00Chapter 91: Visual Communications in Branding of Airlines<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: 18px;">Air transport has radically evolved over the last two decades. Liberalisation and deregulation of the sector have facilitated the entry of new firms, which in turn has had a positive impact on competition and innovation. Deregulation and liberalisation also significantly altered market structure, giving rise to mergers of flag airline carriers and diverse forms of collaboration. </span><br />
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<span style="font-size: 18px;">From the demand side, there are three factors passengers are looking for; safety affordability and quality of service. While it is true that according to statistics from the United States government, flying on a plane on average is overwhelmingly safer than driving a car, it is also true that there have been a number of dramatic air travel incidents in recent times, from the downing of Malaysia Airlines Flight MH17 over the Ukraine, which killed 298 people, to a crash in Taiwan that killed at least 48 and the disappearance and likely crash of an Air Algerie plane carrying 116 people, and so on. For that reason, an aviation company must above all concentrate on the safety of its flight. But that is not enough, the quality of services in the long run is also a key determining factor for the survival of a company. </span><br />
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<span style="font-size: 18px;">It’s, of course. rational to expect that one has to pay extra for higher-quality products or services. But this fact cannot be abused. While it’s reasonable for clients to expect to pay the lowest possible price for whatever they want or need to buy, it is also reasonable for producers to satisfy those expectations by trying to minimize their costs -- by adopting technological advances and better management techniques. However, some shortsighted airlines have tried to face these expectations in a different way. They use “calculated misery” to make their baseline products and services so low-quality and unpleasant that many passengers will be willing to pay more to avoid them. Obviously this may be a good strategy only in a very short terms, but as soon as competitors find a way to produce the same services at lower costs the game for those kinds of strategy would be over. </span><br />
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<span style="font-size: 18px;">The role of visual communications and logo in the airline industry is to communicate a company's vision and efforts in maximizing flight safety and comfort. </span><span style="font-size: 18px;">Like banks, airlines are generally conservative and as far as their branding strategy is concerned they follow a kind of herd mentality. That is why one sees a general tendency to symbolize flying with stylized birds or the use of seemingly aerodynamic curves that resemble wings or </span><span style="font-size: 18px;">swishing movements</span><span style="font-size: 18px;">. The fonts are usually various variations of sans serif and a clear preference towards reds and blues.</span><span style="font-size: 18px;"> However, it is clear that the elegance of a logo in terms of its artistic quality and its tasteful composition as well as its balance constitute the starting point of the effective communications. </span><span style="font-size: 18px;">With so many airlines to choose from, branding is extremely important and at its core lies logo design. </span><span style="font-size: 18px;">An airline that is sloppy with its choice of logo cannot be trusted, no matter if it employs the strongest </span><span style="font-size: 18px;">tag line about its safety and comfort. </span><br />
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<span style="font-size: 18px;">It has been argued by some that the two most common colours used in airline logos are blue and red, because blue is supposed to convey a sense of calm and trustworthiness and red a sense of bold strength. This is, of course, a highly questionable assertion. Blue may convey a sense of calm, but also it my provoke a sense of fear or sadness. Red can also covey various types of feelings such as anger, happiness, or cruelty depending on observer's conditions and artists intentions. Lufthansa's logo, for example, up to 2018, was a dark blue flying crane encircled in a yellow background, Alitalia's logo is in the colours of Italy's flag, while the Irish airline, Aer Lingus, is green. All these airlines have excellent reputations in safety and comfort. The idea that "the two colors red and blue balance each other well" is also somewhat inaccurate. The interactions of the two colours are highly associated with the quality of design. </span><br />
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<img alt="alaskaairlines3" class="alignnone size-full wp-image-5969" height="123" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/alaskaairlines3.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/alaskaairlines3.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/alaskaairlines3-300x60.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="alaskaairlines3" width="615" /></div>
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<span style="font-size: 12.8px;">Four liveries adorned Alaska’s jets from 1972 until 1976 – a totem pole, to represent the native culture of Southeast Alaska; a gold miner, to represent the booming gold rush days in Alaska; Russian spires, to represent early Russian heritage in the state of Alaska; and a native Alaskan adorned in a traditional qulittaq (parka with ruff) to represent the Arctic region and its people. Indigenous Alaskans in the Arctic, traditionally of Inupiat or Yupik descent, commonly refer to themselves as Eskimo. In 1976, the company adopted the Eskimo tail fleet-wide, and updated the face to be less stern. The adoption of the four-logo scheme was a bold move for an airline in 1972, and a drastically different look for the 50-year old company.</span></div>
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<span style="font-size: 18px;">AeroMexico's logo Eagle Knight emblem, inspired by the ancient culture of the country symbolizing courage, leadership, and fearlessness . The Eagle Knights were an elite class of Aztec warriors, known for their fearlessness and heroism. The logo has been rebranded and modernized.</span></div>
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Air Canada, founded in 1937 as Trans-Canada Air Lines (TCA), a name it kept using until about fifty years ago when the current name was adopted. Air Canada was originally the French name for the airline, used in conjunction with the TCA moniker for several years until the latter was dropped in 1964. Air Canada contracted Stewart Morrison Roberts (later known as Stewart & Morrison), to develop a modern identity draped in the national colours, red and white. The logo, an encircled maple leaf was designed by Hans Kleefeld, a German-born graphic designer who was creative director at SMR at the time. The logo has been redesigned couple of times, first in 1993 by Diefenbach Elkins who would later become part of Futurebrand who created the current version in 2004.<br />
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Russian national carrier Aeroflot founded in Soviet era in 1923, and it has kept its distinctive hammer and sickle logo from that era . Its current livery of red, blue and white however is replaced for blue, orange and silver, with a stylish Russian flag draped across the tail. The company is reluctant to rebrand its 70-year old hammer and sickle symbol. "This is an old Russian brand, which everyone associates with Aeroflot. This logo is so harmonious that is has proved difficult to replace," Aeroflot's deputy director general, Lev Koshlyakov, told the French news agency AFP. </div>
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<span style="font-size: 18px;">Established in 1946 Alitalia is the flag carrier and national airline of Italy. Alitalia introduced a new logo and livery in 2015 designed by Landor, the same company that designed its identity in 1969. In its press release Landor stated: </span></div>
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<span style="font-size: 18px;">By increasing the number of primary colour tones used on the logo’s palette, the modernised livery now portrays greater depth and richness. Inspired in part by the striking lines on Formula 1 racing cars, striations have been added to the red triangular interior of the Alitalia “A,” creating a pinstripe effect which reflects exclusivity, attention to detail, and a strong focus on design.</span></blockquote>
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<img alt="american airlines" class="alignnone size-full wp-image-5964" height="440" sizes="(max-width: 590px) 100vw, 590px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/aa2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/aa2.gif 590w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/aa2-300x223.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="american airlines" width="590" /><br />
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<span style="font-size: 18px;">In 2013 American Airlines rebranded after 40 years. The previous logo, designed by Massimo Vignelli , was replaced by the Flight Symbol, a red and blue eagle crossed with a wing. And every plane will be tagged with a high-velocity abstraction of the American flag on its tail. The reason for rebranding was that AA had ordered 550 new planes, many of which had composite bodies that could not be polished with the mirror shine of the airline's previous fleet. </span><br />
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<span style="font-size: 18px;">“What are the things that are relevant from all over the world about America?” Rob Friedman, VP of marketing asked the design team. The old identity was slightly skewed to a more powerful American image. “Technology. Entertainment. Progress. These things people really feel are American attributes,” Futurebrand’s Chief Creative Officer Sven Seger later answers. “We didn’t make this up. It’s from people all over the world. (...) The old identity was slightly skewed to a more powerful American image. We needed to move it to, we call it ‘American spirit.’ What’s the side of America people really, really love,” According to Seger: “People have huge love for the eagle, but not necessarily the eagle in the downward position potentially attacking someone.” So AA kept the eagle, but it ditched the talons and transformed it into the Flight Symbol. It’s both a bird and a wing. But instead of being focused on the hunt, it’s focused on the fligh.</span></blockquote>
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<span style="font-size: 18px;">KLM (Koninklijke Luchtvaart Maatschappij N.V. or Royal Dutch Airlines), is founded in 1919. At its establishment, KLM adopted the so-called “finch logo” designed by architect Dirk Roosenburg. It was a winged shield that bore the intertwined letters K, L and M, as well as a crown, reflecting KLM’s royal designation. In 1958, a growing insight prompted the KLM Design Department to research how a greater recognisability could be achieved. This resulted in a recommendation to design a new logo that was more easily readable and could be incorporated into a house style.Their current logo is designed in 1961 and was slightly updated in 1991 by F.H.K. Henrion, a renowned German graphic designer, who turned the image of the crown “inside-out”, with an underlined four dots beneath a cross replacing the old mage of a traditional crown.</span></div>
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<span style="font-size: 18px;">After the Iran National Airline was registered as a national company, it officially started under the acronym "HOMA," made by combining initial letters of the Persian phrase. For both brevity and clarity, Iran National Airline changed to IranAir. To choose the logo, a logo competition announcement appeared in Kayhan and Ettelaat newspapers in 1961. Judges came from the College of Fine Arts. </span></div>
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<span style="font-size: 18px;">Inspired by an image atop one of the columns at Persepolis, a young Iranian's sketched the competition's winning image. Edward Zohrabian was only 22 when he drew the well enduring logo of the Airline of the Islamic Republic of Iran by drawing upon a series of ancient Iranian motifs. His most significant inspiration was Homa, the Persian mythological griffin, which can be found in prosperous Persepolis and described in the books of R. Grishman, the famous French archeologist who specialized in ancient Iran. </span></div>
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<span style="font-size: 18px;">The griffin atop the Persepolis column has three distinct characteristics: an eagle's head, a cow's ears and a horse's mane. Without legs, according to some accounts, the griffin never rests, living its entire life flying invisibly high above the earth, and never alighting on the ground. The color offered by the designer was turquoise.</span></div>
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<span style="font-size: 18px;">The French national carrier, Air France was formed in 1933 from the merger of various airlines. The company adopted the logo of Air Orient, a hippocampe ailé (winged sea-horse), which has served as the icon for Air France and its parent company on and off through the years. Since then, Air France has become one of the biggest and most recognized airlines in the world. Air France launched a new, updated logo in 2009. The new logo shows the airline’s name written as one word in navy blue, with light and elegant typography with a read flourish to the right. The new identity, replacing its last update since 1975, was designed by Brandimage.</span></div>
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<img alt="air india" class="size-full wp-image-6131" height="225" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/airindia2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/airindia2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/airindia2-300x109.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="airindia" width="615" /></div>
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The Air India logo designed by Arnab Roy for DMA Branding is a red coloured flying swan with the 'Konark Chakra' in orange, placed inside it. The flying swan has been morphed from Air India's characteristic logo, 'The Centaur', whereas the 'Konark Chakra' is reminiscent of Indian's emblem. The new logo features prominently on the tail of the aircraft. While the aircraft is ivory in colour, the base retains the red streak of Air India. Running parallel to each other are the orange and red speed lines from front door to the rear door, subtly signifying the individual identities merged into one. The brand name 'Air India' runs across the tail of the aircraft </div>
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<img alt="swiss" class="alignnone size-full wp-image-6002" height="250" sizes="(max-width: 570px) 100vw, 570px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/swiss.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/swiss.gif 570w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/swiss-300x131.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="swiss" width="570" /></div>
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<img alt="swissair3" class="alignnone size-full wp-image-5962" height="150" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/swissair3.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/swissair3.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/swissair3-300x73.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="swissair3" width="615" /></div>
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<span style="font-size: 18px;">In 1930s Swissair did not have standardised Logos, but rather many different ones. They also were not always swissair, but wore different titles such as Swiss air Lines, Switzerland etc. In the 1940's it started having a standard logo of Swiss Air Lines on its Airoplanes. In the early 1950s Ruedi Bircher designed the Swissair Arrow with a new font. In the mid 1950's Swissair changed it's Arrow logo. The Word 'Swissair' was no longer in the arrow but separate and the arrow was all-red. In 1981 Swissair turned 50 and gave itself an new, more modern logo and livery, but the company was not so strict about the logo and many different variants appeared. With the formation of the SAirGroup a new logo was created in 1997. However, in 2001 the SAirGroup logo and the Name of the company were formally changed back to Swissair Group.</span></div>
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<img alt="qantas2" class="alignnone size-full wp-image-5989" height="603" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/qantas2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/qantas2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/qantas2-300x294.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; text-align: center; vertical-align: bottom; white-space: nowrap;" title="qantas2" width="615" /></div>
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The original Kangaroo symbol appearing on Qantas aircraft was adapted from the Australian one penny coin. This design was used subsequently by Trans Australia Airlines (later Australian Airlines) as part of its emblem and now features as the centrepiece of the roundel adopted by the Royal Australian Air Force in 1956. It later became part of the insignia of all Australia's Armed Services. The winged kangaroo symbol was created by Sydney designer Gert Sellheim, and first appeared in January 1947 which was later placed in a circle. In June 1984 Qantas unveiled an updated logo conceived by Tony Lunn of the Lunn Design Group, Sydney. </div>
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The Flying Kangaroo lost its wings once again and was refined to a more slender, stylised presentation. A logo created for the airline's 75th anniversary year was added to all Qantas jet aircraft in 1995. Designed by Ken Cato, it brought together the Flying Kangaroo symbol and the words '75 years' to mark Qantas' contribution to civil aviation. In July 2007, Qantas unveiled a new interpretation of its iconic logo, designed to reflect the changing structure of the airline's new generation aircraft, and keeping with Qantas' increasing focus on contemporary design for its in-flight and on-the-ground products. Designed by Hans Hulsbosch of Hulsbosch Communications, the new Flying Kangaroo is sleeker and more contoured than previous versions.</div>
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<img alt="garudaindonesia" class="size-full wp-image-6001 aligncenter" height="312" sizes="(max-width: 563px) 100vw, 563px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/garudaindonesia.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/garudaindonesia.gif 563w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/garudaindonesia-300x166.gif 300w" style="background: transparent; border: none; box-sizing: inherit; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="garudaindonesia" width="563" /></div>
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<span style="font-size: 18px;">A new corporate identity for Garuda Indonesia was revealed on 23 July 2009. The rebrand was done by Landor Associates, who had also created the previous 1985 identity. The key design element is a revitalized rendering of the country's national emblem, the Garuda eagle, represented by a stylized feather or “nature's wing.”</span></div>
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<span style="font-size: 18px;">Designed in 2006, the logo of Qatar Airways features a burgundy oryx on a grey background. Oryx is the national animal of Qatar, and its color in the logo matches the color of Qatar’s flag. The name of the airline is written in English, while the Arabic letters spell out the word “Al Qataria”</span><br />
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<img alt="lufthansa4" class="alignnone size-full wp-image-5988" height="180" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/lufthansa4.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/lufthansa4.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/lufthansa4-300x87.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; text-align: center; vertical-align: bottom; white-space: nowrap;" title="lufthansa4" width="615" /></div>
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The original Lufthansa logo – a flying stylized crane in a circle was created by Otto Firle in 1918. It was officially adopted as the Lufthansa logo in 1954, when Otto "Otl" Aicher and students from his Gruppe E5 at the influential Hochschule für Gestaltung Ulm (Ulm design school), which he co-founded, redrew the crane logo, added the yellow, and introduced the use of lowercase Helvetica Bold as the airline's font. Aicher's design is widely regarded as one of the great airline graphic identities. Disegno magazine described it as "one of the 20th century's most successful and long-lasting corporate rebranding exercises." The blue flying crane on a yellow background made for a stark and dramatic contrast invoking the feeling “free as a bird”. </blockquote>
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As part of its rebranding project on 7th February 2018, Lufthansa overhauled its livery, and changed the background of its iconic 100-year-old logo from yellow to blue . The redesign, spearheaded by Lufthansa in-house designer Ronald Wild, and it was the first major change to the world's oldest airline logo in over 50 years. The new image was not well received. Aviation writer Enrique Perrella described it as "bland and pointless", while industrial designer Clemens Weisshaar speaking to Dezeen, described the new livery as "a design belly flop of epic dimensions". "The new Lufthansa identity seems to ignore [Aicher's] legacy," said Weisshaar, "It opts for a corporate blue that comes straight out of a late capitalist nightmare." Weisshaar compared the new livery to that of a "dodgy insurance company" or "a failed bank". "What we'll miss most is one of the most beautiful liveries in the skies, with this unbelievably elegant grey underbody," he added.</blockquote>
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<span style="font-size: 18px;">EgyptAir’s logo is inspired by the ancient Egyptian mythology, from which it draws the image of Horus, or rather his head. Usually depicted as a man’s body with a falcon’s head, Horus was known as the god of sun, or “Sky god”, so it makes sense that he’s part of an airline logo. EgyptAir has been using this logo since July 2008.</span><br />
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<img alt="jal2" class="alignnone size-full wp-image-5984" height="294" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/jal2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/jal2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/jal2-300x143.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; text-align: center; vertical-align: bottom; white-space: nowrap;" title="jal2" width="615" /></div>
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<span style="font-size: 18px;">The logo of Japan Airlines (JAL) was designed in 1958 by Jerry Huff. Called “tsurumaru” (“crane circle”), the logo represents a Japanese crane with extended wings. The red color of the logo symbolizes happiness. The idea for the logo came from Japanese tradition, which views the crane as a symbol of long life, prosperity and good health. In the myth of the crane, it is said that the bird can fly high and very long without getting tired, which makes it a perfect symbol for an airline company. However, in 2002 a new, completely different logo was revealed, and it wasn’t very popular nor well-received. Japan Airlines decided to revert to the old design in 2011, and it’s still in use today.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFGJIKYkLo4MbQj2WEhgwmSkbZ8XESxqX8IXt2XZHPfvLJvkOs3devWGCQmn9zwFoMSSEN1nnFJqpYgVNE3cdm-vfF3oF_lNgJ0vffgXmox_yE21U0RJUF6NVdiOnIRqtC-O6LeP8xNjY/s1600/a3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="329" data-original-width="1020" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFGJIKYkLo4MbQj2WEhgwmSkbZ8XESxqX8IXt2XZHPfvLJvkOs3devWGCQmn9zwFoMSSEN1nnFJqpYgVNE3cdm-vfF3oF_lNgJ0vffgXmox_yE21U0RJUF6NVdiOnIRqtC-O6LeP8xNjY/s640/a3.jpg" width="640" /></a></div>
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<img alt="hawaiian2" class="alignnone size-full wp-image-5981" height="161" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/hawaiian2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/hawaiian2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/hawaiian2-300x78.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="hawaiian2" width="615" /></div>
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<span style="font-size: 18px;">Created by Lindon Leader in 2001, the Hawaiian logo depicts the “island girl” Pualani, also called “Flower of the Sky”. It represents Hawaiian island heritage and the strength, spirit and confidence of its peopl.</span><br />
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<img alt="varig" class="size-full wp-image-6077" height="327" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/varig.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/varig.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/varig-300x159.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; text-align: center; vertical-align: bottom; white-space: nowrap;" title="varig" width="615" /></div>
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<span style="font-size: 18px;">The star that 80 years ago was the symbol of Brazil's Varig airline changed color. The almost golden yellow gave way to the orange of its new parent, Gol, that in March 2007 acquired the company. "It was an appropriate change that translates a bit of Gol's management. The star's gold was a bit of extravagance, which does not fit into Gol's policy, "said Fred Gelli, creative director at Tátil Design, a specialist in brands.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCsYjPquxmzboVKt-AwLA3jM2gM8VEEpXQxoUfMObua_jK4yDoGaNYZcaoK8gCZ2VBc1bhmRRaVxgKz4LPBtUVE1GWklC9kCeXzQYNlNof2lDKQAIJx2MjnpiI-IEBqTVr2ba0II4oqZM/s1600/a3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="368" data-original-width="654" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCsYjPquxmzboVKt-AwLA3jM2gM8VEEpXQxoUfMObua_jK4yDoGaNYZcaoK8gCZ2VBc1bhmRRaVxgKz4LPBtUVE1GWklC9kCeXzQYNlNof2lDKQAIJx2MjnpiI-IEBqTVr2ba0II4oqZM/s640/a3.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimy4OsN7Y__PH6IJROGEE9w7qv0C6WrMiz5-X-LiYxPbG7Rn5lcDmXgRYvfVFg_Pg9HthFVVMZnEZFTuJsh85OlVTixrazoEtQohzjaoopWnPp5fbEKnByG82bdJya2B7GbTwmNK25LI0/s1600/a3.jpg" imageanchor="1"><img border="0" data-original-height="427" data-original-width="1600" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimy4OsN7Y__PH6IJROGEE9w7qv0C6WrMiz5-X-LiYxPbG7Rn5lcDmXgRYvfVFg_Pg9HthFVVMZnEZFTuJsh85OlVTixrazoEtQohzjaoopWnPp5fbEKnByG82bdJya2B7GbTwmNK25LI0/s640/a3.jpg" width="640" /></a></div>
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<span style="font-size: 18px;">Azul Linhas Aéreas Brasileiras S/A is a Brazilian carrier based in Barueri, a suburb of São Paulo. After the merger with TRIP Linhas Aéreas, Azul tweaked its logo, making the "u" a lighter shade of blue, in a nod to the TRIP logo, which had a differently-colored "i".</span></div>
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<img alt="ba2" class="alignnone size-full wp-image-5971" height="119" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/ba2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/ba2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/ba2-300x58.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="ba2" width="615" /></div>
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British Overseas Airways Corporation (BOAC), the new state airline, was formed in April 1940 and operated wartime services under the control of the Air Ministry. In 1946, London Airport was opened officially. A new corporate identity, designed by Landor Associates, was unveiled in December 1984 and in 1986 the airline’s longhaul services moved into the newly-built Terminal 4 at Heathrow. The privatisation of British Airways was completed in 1987 under the leadership of Chairman Lord King. In 1988 BA was merged with Gatwick-based British Caledonian Airways. Designed by Newell & Sorell, 1997 (since merged with Interbrand). “The BA ribbon is a distant echo of the Speedbird symbol first used by Imperial Airways in 1932 and then by BOAC.” Quoted from Logo, by Michael Evamy,</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbWblYq2anH-ZWvnD8SarQT5mmAqrCI7DjsPBfpiT-ox9k9BLDaGL4xEpM8Plsn-VUh8JVBopd3LNjU1yNL5x1n01Gzzo75D9I3I6yay1mKGh9nixO4Pqrvu7ZdgnYgYBCgpCkAJ012F0/s1600/a3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="505" data-original-width="1600" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbWblYq2anH-ZWvnD8SarQT5mmAqrCI7DjsPBfpiT-ox9k9BLDaGL4xEpM8Plsn-VUh8JVBopd3LNjU1yNL5x1n01Gzzo75D9I3I6yay1mKGh9nixO4Pqrvu7ZdgnYgYBCgpCkAJ012F0/s640/a3.jpg" width="640" /></a></div>
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<img alt="emirates_logo2" class="alignnone size-full wp-image-5978" height="440" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/emirates_logo2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/emirates_logo2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/emirates_logo2-300x214.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="emirates_logo2" width="615" /></div>
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<span style="font-size: 18px;">The current Emirates logo (above) is actually a subtle revision of the original, created by Negus & Negus, which consists of the name written in sacred Arabic calligraphic lettering. The word mark in English is a bespoke type, aiming to suggest a personal, yet corporate image.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEIgFfrOIpXdwms2dr8_4e1fLgk6e90j_NTmuIpPMrVwau9dPXFLhDOnTh8-LDeOTQXBg609kylbllIK6Xks0j9DeQPEG0GnO5VDJJh_YzMrWQAm3U7ZIb3mb4xOa6v1_JratUXLnWOVM/s1600/a3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="267" data-original-width="578" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEIgFfrOIpXdwms2dr8_4e1fLgk6e90j_NTmuIpPMrVwau9dPXFLhDOnTh8-LDeOTQXBg609kylbllIK6Xks0j9DeQPEG0GnO5VDJJh_YzMrWQAm3U7ZIb3mb4xOa6v1_JratUXLnWOVM/s640/a3.jpg" width="640" /></a></div>
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<img alt="ethiopianairlines4" class="alignnone size-full wp-image-5980" height="268" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/ethiopianairlines4.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/ethiopianairlines4.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/ethiopianairlines4-300x130.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="ethiopianairlines4" width="615" /></div>
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The Ethiopian Airlines has had this logo since the branding campaign called “Vision 2010”, when they also introduced the new motto: “The New Spirit of Africa”. The logo contains English and Amharic text, and the color scheme (red, green, yellow) corresponds to the colors of the Ethiopian flag.</div>
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<span style="font-size: 18px;">Aer Lingus is an Irish airline company with a logo that dates back to 1938, when the original shamrock symbol was designed by Robert Logan. Shamrock (young clover) is generally considered to be the Irish national symbol, and it’s connected to the legend of Saint Patrick who used a clover to explain the Holy Trinity to the non-Christian Irish people. The current logo of Aer Lingus was created in 1996, and because of its slanted look it’s often called “The Drunken Shamrock”, which invokes the Irish drinking stereotype.</span></div>
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<img alt="thai4" class="alignnone size-full wp-image-5995" height="227" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/thai4.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/thai4.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/thai4-300x110.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="thai4" width="615" /></div>
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<span style="font-size: 18px;">The Thai Airways logo was created by Interbrand and presented in April 2005. It features a colorful ornament, in which the pink part represents a magnolia blossom. The logo gained some unwanted media attention in September 2013, when after a runway accident in Bangkok the airport workers painted over the logo on a damaged plane in an attempt to protect the reputation of Thai Airways.</span></div>
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<img alt="air_new_zealand_logo2" class="alignnone size-full wp-image-5966" height="234" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/air_new_zealand_logo2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/air_new_zealand_logo2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/air_new_zealand_logo2-300x114.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="air_new_zealand_logo2" width="615" /></div>
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Air New Zealand originated in 1940 as Tasman Empire Airways Limited (TEAL), a flying boat company operating trans-Tasman flights between New Zealand and Australia. TEAL became wholly owned by the New Zealand government in 1965, whereupon it was renamed Air New Zealand. In late 2011, type designer Kris Sowersby was approached by Designworks to work on a new logotype for Air New Zealand. He was contracted to draw new letterforms to complement the iconic koru logo. Designworks had been working closely with Air New Zealand to smartly and iteratively re-brand and re-position the airline across all aspects of their business, from terminals to in-flight teacups</div>
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<img alt="elal2" class="alignnone size-full wp-image-5977" height="92" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/elal2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/elal2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/elal2-300x44.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="elal2" width="615" /></div>
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<span style="font-size: 18px;">Dan Reisinger, the Yugoslav-born designer, designed the original logo for El Al in 1971. The classic logo interweaves the El Al name in Hebrew and English with the Israeli national flag. Reisinger, received the Israel Prize for Design, was angry that his work is being tampered with as El AL decided to rebrand.</span></div>
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<img alt="srilankan" class="alignnone size-full wp-image-6014" height="504" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/srilankan.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/srilankan.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/srilankan-300x245.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="srilankan" width="615" /></div>
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<span style="font-size: 18px;">SriLankan Airlines’ logo features a stylized, colorful peacock and an unconventional but elegant typeface. It was revealed as a part of a major rebranding project in 1999. According to Sri Lankan folk tales, a flying machine similar to a peacock once existed, and it was called the Dandu Monara Yanthra. It’s possible that this mythical creature inspired the airline logo. However, a more realistic explanation would be the fact that peacocks are a native species in Sri Lanka.</span></div>
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<img alt="cathay pacific" class="size-full wp-image-6076" height="232" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/cathaypacific21.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/cathaypacific21.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/cathaypacific21-300x113.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="cathaypacific21" width="615" /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2CoVImEJxoreiSD6Ijjw7bkLIvjDh26eUUpkuPwW2Djt3O0NkGr0MfrxwsUB2duzZy3TX4yZhcqnNWAjOEKRHh4I0AqFYCowm5XLMBe_ip8F2vBRyrbRTaq4ef0qrRp8hbP1nlMvenVE/s1600/a3.jpg" imageanchor="1"><img border="0" data-original-height="483" data-original-width="880" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2CoVImEJxoreiSD6Ijjw7bkLIvjDh26eUUpkuPwW2Djt3O0NkGr0MfrxwsUB2duzZy3TX4yZhcqnNWAjOEKRHh4I0AqFYCowm5XLMBe_ip8F2vBRyrbRTaq4ef0qrRp8hbP1nlMvenVE/s640/a3.jpg" width="640" /></a></div>
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<span style="font-size: 18px;">Air China is the flag carrier and one of the major airlines of the People’s Republic of China, that was established on 1988. The Air China logo consists of an abstract phoenix pattern, also the artistic transfiguration of the word “VIP”. The logo was designed by Chinese artist Han Meilin.</span><br />
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<img alt="china_airlines" class="alignnone size-full wp-image-6008" height="182" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/china_airlines.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/china_airlines.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/china_airlines-300x88.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="china_airlines" width="615" /></div>
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<span style="font-size: 18px;">In 1995, China Airlines of Taiwan introduced the ‘plum blossom’ logo along with a new corporate identity.</span><br />
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<img alt="continental-airlines-logo2" class="alignnone size-full wp-image-5974" height="144" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/continental-airlines-logo2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/continental-airlines-logo2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/continental-airlines-logo2-300x70.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="continental-airlines-logo2" width="615" /></div>
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<img alt="croatia2" class="alignnone size-full wp-image-5975" height="336" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/croatia2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/croatia2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/croatia2-300x163.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="croatia2" width="615" /></div>
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<img alt="delta3" class="alignnone size-full wp-image-6021" height="103" sizes="(max-width: 602px) 100vw, 602px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/delta3.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/delta3.gif 602w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/delta3-300x51.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="delta3" width="602" /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOlaU3uHeCglCUb2LXfKDHYhWe3k6Nihs7YnYFyNGTlL6-jm_ufetE7x8VXj1aZNVUjHnRBL5iztvMuc6ftgu4Im_pY92JupIndQFKA4eD0fu_RpgW4UZur52CQ48cO0uph73JWFInTO4/s1600/a3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="168" data-original-width="299" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOlaU3uHeCglCUb2LXfKDHYhWe3k6Nihs7YnYFyNGTlL6-jm_ufetE7x8VXj1aZNVUjHnRBL5iztvMuc6ftgu4Im_pY92JupIndQFKA4eD0fu_RpgW4UZur52CQ48cO0uph73JWFInTO4/s640/a3.jpg" width="640" /></a></div>
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<img alt="iberia2" class="alignnone size-full wp-image-5982" height="115" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/iberia2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/iberia2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/iberia2-300x56.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="iberia2" width="615" /></div>
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<span style="font-size: 18px;">Iberia got a new logo in 2013, when Interbrand redesigned the old one and introduced a custom typeface. They used red and yellow, which are the colors of the Spanish flag, to convey the energy of the Spanish character.</span><br />
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<img alt="icelandair_logo2" class="alignnone size-full wp-image-5983" height="116" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/icelandair_logo2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/icelandair_logo2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/icelandair_logo2-300x56.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="icelandair_logo2" width="615" /></div>
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<img alt="korean air" class="size-full wp-image-6134" height="128" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/korean.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/korean.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/korean-300x62.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="korean" width="615" /></div>
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<img alt="lan2" class="alignnone size-full wp-image-5986" height="232" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/lan2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/lan2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/lan2-300x113.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="lan2" width="615" /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilLhQPHetzMDI2aH547fVAoWClt87ocDr8_zQ1vnndzPH3MacW3_hXimgjVInUrxI1KBWBjuTUuGjY210Qtom-n6Cj0pOZ8VA_bSv_-PnQ6NnqCb8rRu5QVYK8HPPb68x9cwiGm7_UaRM/s1600/a3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="368" data-original-width="654" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilLhQPHetzMDI2aH547fVAoWClt87ocDr8_zQ1vnndzPH3MacW3_hXimgjVInUrxI1KBWBjuTUuGjY210Qtom-n6Cj0pOZ8VA_bSv_-PnQ6NnqCb8rRu5QVYK8HPPb68x9cwiGm7_UaRM/s640/a3.jpg" width="640" /></a></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxmZUaoblhHSFQqFdQOZYm4IkB79yO86C1VF0tpkAtt1MumTEQiqg2cVk7Uw5cB9cLxOi92C065G3KlU_wkAQiu84aXMYfYItUgk4_X8C-4Wu7BHky-wR3F-3ECdqqMtAvqy7E77VVzA0/s1600/a3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="220" data-original-width="500" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxmZUaoblhHSFQqFdQOZYm4IkB79yO86C1VF0tpkAtt1MumTEQiqg2cVk7Uw5cB9cLxOi92C065G3KlU_wkAQiu84aXMYfYItUgk4_X8C-4Wu7BHky-wR3F-3ECdqqMtAvqy7E77VVzA0/s640/a3.jpg" width="640" /></a></td></tr>
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<span style="font-size: 18px;">Aerolineas Argentinas has had this logo since June 2010, and it was designed by FutureBrand. It uses the Neo Sans typeface, and the stylized bird is actually a condor; a bird typically found in Argentina. The blue color is reminiscent of the Argentinian flag.</span></div>
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<img alt="lot2" class="alignnone size-full wp-image-5987" height="267" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/lot2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/lot2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/lot2-300x130.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="lot2" width="615" /></div>
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<img alt="dagonair" class="alignnone size-full wp-image-6017" height="144" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/dagonair.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/dagonair.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/dagonair-300x70.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="dagonair" width="615" /></div>
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<span style="font-size: 18px;">The red dragon, the traditional Chinese symbol of nobility and power was inspired by a legend of the dragon which traveled from Northern China to Hong Kong and created mountains in its path. The logo was created in 1993 with the help of Hong Kong’s Polytechnic School of Design for Dragonair of Hong Kong.</span></div>
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<img alt="malaysia" class="alignnone size-full wp-image-6012" height="137" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/malaysia.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/malaysia.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/malaysia-300x66.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="malaysia" width="615" /></div>
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The Korean Air’s logo is called Taegeuk, and it stands for the “ultimate reality from which everything is derived”. It’s also a part of the South Korean flag. Korean Air’s logo was designed in 1984.</td></tr>
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<img alt="oceanic" class="size-full wp-image-6005 aligncenter" height="357" sizes="(max-width: 319px) 100vw, 319px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/oceanic.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/oceanic.gif 319w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/oceanic-268x300.gif 268w" style="background: transparent; border: none; box-sizing: inherit; height: auto; list-style: none; margin: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="oceanic" width="319" /></div>
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<img alt="singapore_airlines2" class="alignnone size-full wp-image-5991" height="167" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/singapore_airlines2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/singapore_airlines2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/singapore_airlines2-300x81.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="singapore_airlines2" width="615" /></div>
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<img alt="southafricanairways2" class="alignnone size-full wp-image-5992" height="221" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/southafricanairways2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/southafricanairways2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/southafricanairways2-300x107.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="southafricanairways2" width="615" /></div>
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<span style="font-size: 18px;">Southwest Airlines’ logo rebranding was done in September 2014, and the logo was developed in cooperation with GSD&M, Lippincott, VML, Razorfish, and Camelot Communications. It uses a custom font called “Southwest Sans”, created by Monotype. The new logo features the traditional heart symbol that was used in old Southwest logos. However, now it’s more colorful and modern with blue, red and bright orange stripes</span></div>
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<img alt="vietnamairlines" class="alignnone size-full wp-image-6015" height="89" sizes="(max-width: 587px) 100vw, 587px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/vietnamairlines.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/vietnamairlines.gif 587w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/vietnamairlines-300x45.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="vietnamairlines" width="587" /></div>
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<img alt="virgin4" class="alignnone size-full wp-image-5997" height="174" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/virgin4.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/virgin4.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/virgin4-300x84.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="virgin4" width="615" /></div>
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<img alt="airmadagascar" class="alignnone size-full wp-image-6013" height="136" sizes="(max-width: 590px) 100vw, 590px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/airmadagascar.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/airmadagascar.gif 590w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/airmadagascar-300x69.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="airmadagascar" width="590" /></div>
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<span style="font-size: 18px;">Air Madagascar is the Société Nationale Malgache de Transports Aériens, Société Anonyme. The airline was formed in 1947 to feed into flights by Transports Aériens Intercontinentaux and Air France, and upon the independence of Madagascar, it became the national airline. Initially operating services on domestic routes, the airline saw expansion in the late 1960s and 1970s, when it began international flights to destinations such as France and South Africa. Air Madagascar logo, is based on the traveller's palm (Ravenala madagascariensis), which due to its striking shape and various use, quickly became Madagascar’s heraldic plant. Since 1922, the Ravenala adorns Madagascar’s official seal with its stylized palm leaves. And since the sixties, the silhouette turns up again in the logo of the national airline, Air Madagascar.</span><br />
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<img alt="wideroe" class="size-full wp-image-6090" height="195" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/wideroe1.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/wideroe1.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/wideroe1-300x95.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="wideroe" width="615" /></div>
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<tr><td><img alt="air phillipines" class="size-full wp-image-6133" height="374" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/airphillipines.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/airphillipines.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/airphillipines-300x182.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="airphillipines" width="615" /></td></tr>
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<span style="font-size: 18px;">With the minor refreshment to the symbol in 2003, James Hogan, president and chief executive of Gulf Air, praised the revitalised falcon logomark: “The restyled falcon, which remains the focal point of our new corporate identity, communicates a synthesis of bold, modern entrepreneurial principles and traditional Arabian values, through what we believe is a powerful and prominent icon for a new era.”</span><br />
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<img alt="airtran" class="alignnone size-full wp-image-6009" height="191" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/airtran.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/airtran.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/airtran-300x93.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="airtran" width="615" /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtbeK_uU_bY8aM54P4mX-TJL2q1-86hSCfrrzZOACjSBSXs7Mkz4oP_RHDMOMdhKYGB700FH-G1myy5qbBXWtaPNxgIaP-1gpfQGyS34Kj_xQzlonA689oXPrsq7e2yezFZrstHBH94Lc/s1600/a2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="186" data-original-width="850" height="140" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtbeK_uU_bY8aM54P4mX-TJL2q1-86hSCfrrzZOACjSBSXs7Mkz4oP_RHDMOMdhKYGB700FH-G1myy5qbBXWtaPNxgIaP-1gpfQGyS34Kj_xQzlonA689oXPrsq7e2yezFZrstHBH94Lc/s640/a2.jpg" width="640" /></a></div>
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<img alt="airberlin" class="size-full wp-image-6071" height="173" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/airberlin.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/airberlin.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/airberlin-300x84.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-bottom: 0px; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="airberlin" width="615" /></div>
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Originally registered as Air Berlin USA, the company was founded in 1978 as a wholly owned subsidiary of Lelco, an American agricultural enterprise head quartered in Oregon. The company got a new logo in January 2008. The airline planned to rebrand with, a stylized image of a bear on the tail, in red against a black and gold background - a clearly West German airline. However, after filing for insolvency, the company ceased operations on October 27, 2017 .</div>
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<a href="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/austrian2.gif" imageanchor="1" style="clear: left; font-size: 12.8px; margin-bottom: 1em; margin-right: 1em;"><img alt="austrian2" border="0" class="alignnone size-full wp-image-5970" height="256" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/austrian2.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/austrian2.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/austrian2-300x124.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; height: auto; list-style: none; margin-top: 0px; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="austrian2" width="615" /></a></div>
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<img alt="avianca1" class="alignnone size-full wp-image-6027" height="167" sizes="(max-width: 615px) 100vw, 615px" src="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/avianca1.gif" srcset="https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/avianca1.gif 615w, https://www.webdesignerdepot.com/cdn-origin/uploads/2009/03/avianca1-300x81.gif 300w" style="background: transparent; border: none; box-sizing: inherit; display: block; float: none; height: auto; list-style: none; margin: 0px auto; max-width: 100%; outline: 0px; padding: 0px; vertical-align: bottom;" title="avianca1" width="615" /><br />
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-72591408485940536282018-03-09T12:37:00.004-08:002019-02-21T12:26:40.171-08:00Chapter 90: The Intertwining of History and Posters in Latvia<div dir="ltr" style="text-align: left;" trbidi="on">
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The Latvians are part of the ancient group of peoples known as the Balts. During the 10th and 11th centuries, Latvian lands were under pressure: both from the Slavic east and from the Swedes in the west. During the time of the Crusades, German Saxons expansion reached the eastern shores of the Baltic. Because the people occupying the coast of Latvia were the Livs, the German invaders called the country Livland, a name rendered in Latin as Livonia.<br />
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Lacplesis, Latvia’s epic, was written by Andrejs Pumpurs (1841-1902), who based his story line on existing Latvian folklore. The epic conjures up images of black magic, and also takes its fair share of shots at Germans. Lacplesis, or the Bear Slayer, is part man, part bear, whose epic began in pagan Latvia of 800 years ago, around the time of the nation’s conquest by German Crusaders. The epic recounts the exploits of a giant-sized Lacplesis—who endeavors to defend his homeland from assorted invaders. Lacplesis, with his bearish large, fuzzy ears, is a kindly figure, who goes into action whenever his fellow Latvians are in trouble. His specialty is marauding bears, which he can slay by ripping their jaws apart with his bare hands.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs1qqENJK98PPDzXh9qRuyDzMhyphenhyphen5z4ntmlVos4qIJCYLVY5Kui3yZiqBbRBv8dP_Ur4PA5ow8HqmVhRTJcH13KwKRa1iJc_ldoPtW-YKeSrnPFQH0Kc3jyUbTcdv1HOWIVffvXkLOUp7s/s1600/51.jpg" imageanchor="1"><img border="0" data-original-height="594" data-original-width="448" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs1qqENJK98PPDzXh9qRuyDzMhyphenhyphen5z4ntmlVos4qIJCYLVY5Kui3yZiqBbRBv8dP_Ur4PA5ow8HqmVhRTJcH13KwKRa1iJc_ldoPtW-YKeSrnPFQH0Kc3jyUbTcdv1HOWIVffvXkLOUp7s/s640/51.jpg" width="482" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJeZ-JqPTiiIJp23wEuZDxFoBN_L2TmqfBM45SGQ6gBuPGur6CbCM4HyfoQXUCsvgLCnQP8GHJdn2R0T1FGVlhCRXBg-hr21vZuOSmkkBp2OwwdwUyTYgrJsAD4wPAPgWCi4wT7uXi21o/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="821" data-original-width="564" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJeZ-JqPTiiIJp23wEuZDxFoBN_L2TmqfBM45SGQ6gBuPGur6CbCM4HyfoQXUCsvgLCnQP8GHJdn2R0T1FGVlhCRXBg-hr21vZuOSmkkBp2OwwdwUyTYgrJsAD4wPAPgWCi4wT7uXi21o/s640/51.jpg" width="434" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> I Call and Am Called, Mystic Voice of Latvia,</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwO_X6inqlIn5wBPwrPoaD7_iqFkbInnsAj5uqhwBvgfTpLUk1DK3lNLLpsKSJ7DnPhg3D13rBwLlylyQ_chgiOU5IEBHNY1EJXI6GHcPzjH0Z4Bvqwro3vqB3oFTBD6buvmbsMw1PCxg/s1600/Screenshot+2018-03-08+at+9.38.18+PM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="538" data-original-width="358" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwO_X6inqlIn5wBPwrPoaD7_iqFkbInnsAj5uqhwBvgfTpLUk1DK3lNLLpsKSJ7DnPhg3D13rBwLlylyQ_chgiOU5IEBHNY1EJXI6GHcPzjH0Z4Bvqwro3vqB3oFTBD6buvmbsMw1PCxg/s640/Screenshot+2018-03-08+at+9.38.18+PM.png" width="424" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Invitation-call Musical Latvian voice, Anti-Alcohol Day - 1938</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYk7tej9yCrkmqdETj5FO0Pmv-b7oZUHri341inCrTPKQG1fRWsgb8N4nL2TbycM2HKXTI6M00SoAc12VzwZa32-1ACx3_Dh43qy9N5ALR_sD4357k5yArVTvOz0cxahmpOtiqtBV-BEA/s1600/Screenshot+2018-03-09+at+11.31.44+AM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1530" data-original-width="900" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYk7tej9yCrkmqdETj5FO0Pmv-b7oZUHri341inCrTPKQG1fRWsgb8N4nL2TbycM2HKXTI6M00SoAc12VzwZa32-1ACx3_Dh43qy9N5ALR_sD4357k5yArVTvOz0cxahmpOtiqtBV-BEA/s640/Screenshot+2018-03-09+at+11.31.44+AM.png" width="374" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Konrāds Ubāns, poster for the posthumous Jazeps Grosvalds exhibition </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjltFaQcMXi-gjMO9tliF0jUk-nCsueCM8hcWS_Pmtu-i6qJuQtRUhyphenhyphendUi3OcngBsehSOam_m99nYDGz9HnwVVUN4sXzL0JPZshWUaIpm70MeShD3GuEPqLjMZ62jD820B_BsMyJ0PJLYk/s1600/Screenshot+2018-03-09+at+11.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1206" data-original-width="960" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjltFaQcMXi-gjMO9tliF0jUk-nCsueCM8hcWS_Pmtu-i6qJuQtRUhyphenhyphendUi3OcngBsehSOam_m99nYDGz9HnwVVUN4sXzL0JPZshWUaIpm70MeShD3GuEPqLjMZ62jD820B_BsMyJ0PJLYk/s640/Screenshot+2018-03-09+at+11.png" width="504" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Niklāvs Strunke, Illustration for "Tūkstots un viena nakts", 1926, Andrušaite </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitAe3hxyRJpVtqiYJ7jtMpms2y7bEArbpHwdPSTzya-qmR3ELRH-FRnYMyKHJbcxZee5SBoxYMox8D1_yx_v3ggYthXWF7W5mRH2A0uTp_WGS6zigVVbwAHEPZ9XSxT1j7dcF3yC8Rw_I/s1600/Screenshot+2018-03-09+at+11.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="460" data-original-width="376" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitAe3hxyRJpVtqiYJ7jtMpms2y7bEArbpHwdPSTzya-qmR3ELRH-FRnYMyKHJbcxZee5SBoxYMox8D1_yx_v3ggYthXWF7W5mRH2A0uTp_WGS6zigVVbwAHEPZ9XSxT1j7dcF3yC8Rw_I/s640/Screenshot+2018-03-09+at+11.png" width="522" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Niklāvs Strunke </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkL-nahz3Pg5jtkj1m8hz4PeboYNmlRqFbbXqEAZRb-HafS9xngUFrfB-iLaNoLwQ7shzkGo2nlpIh-u3NKODTOdZFYuOxwdvdX7Wys4ilmDQpboM2rWvcCiH5yY6j0mRi8n_nqFiF-3o/s1600/Screenshot+2018-03-09+at+11.52.00+AM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1203" data-original-width="980" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkL-nahz3Pg5jtkj1m8hz4PeboYNmlRqFbbXqEAZRb-HafS9xngUFrfB-iLaNoLwQ7shzkGo2nlpIh-u3NKODTOdZFYuOxwdvdX7Wys4ilmDQpboM2rWvcCiH5yY6j0mRi8n_nqFiF-3o/s640/Screenshot+2018-03-09+at+11.52.00+AM.png" width="520" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Niklāvs Strunke </span> , Florencietis ziema, 1928</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6YiCvB70tm4ExpqTYKkKgucKI_wb0ulGsU-6S4ivLOSdi_GRFXQ-c_KR8WHzCIegyiG8eCr5EsBcY3sTjqCqgM1NKME3DZaRB8iVfeVsrrFgsepFDIJSiMVniQSH9wusHhbLCmFbDHcU/s1600/Screenshot+2018-03-09+at+11.52.00+AM.png" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="541" data-original-width="400" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6YiCvB70tm4ExpqTYKkKgucKI_wb0ulGsU-6S4ivLOSdi_GRFXQ-c_KR8WHzCIegyiG8eCr5EsBcY3sTjqCqgM1NKME3DZaRB8iVfeVsrrFgsepFDIJSiMVniQSH9wusHhbLCmFbDHcU/s640/Screenshot+2018-03-09+at+11.52.00+AM.png" width="472" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Niklāvs Strunke Song Festival in Riga, June 17-19, 1933</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMmMm2-wgKustrpnIjVJNAl3joWn4uZE34mhPDq3U10t0qxPAgRRui8x5qFTJdtUgONECW8W8FzwAgHXyOi3Fw0Q4hd6Ad7VnGabRpLVhmng4YlU-aNAszAY5D4jiUnC3m2gVkHCAXJpM/s1600/Screenshot+2018-03-09+at+11.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="460" data-original-width="357" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMmMm2-wgKustrpnIjVJNAl3joWn4uZE34mhPDq3U10t0qxPAgRRui8x5qFTJdtUgONECW8W8FzwAgHXyOi3Fw0Q4hd6Ad7VnGabRpLVhmng4YlU-aNAszAY5D4jiUnC3m2gVkHCAXJpM/s640/Screenshot+2018-03-09+at+11.png" width="494" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Niklāvs Strunke</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4wSkpNPiT6iK1-_3Uj3QfKjOaAf9vGjy_p8US5jBuZFTSzz6oJWgySgVW4dWaE0QyvkCA8SE74fFJs1UH2FIgpZTMOa9XX0w0EhIkAnprwLBwQAQBKAFmkSfPPg36pG1S9yY75ZXfC70/s1600/Screenshot+2018-03-09+at+11.24.36+AM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="698" data-original-width="920" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4wSkpNPiT6iK1-_3Uj3QfKjOaAf9vGjy_p8US5jBuZFTSzz6oJWgySgVW4dWaE0QyvkCA8SE74fFJs1UH2FIgpZTMOa9XX0w0EhIkAnprwLBwQAQBKAFmkSfPPg36pG1S9yY75ZXfC70/s640/Screenshot+2018-03-09+at+11.24.36+AM.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Niklāvs Strunke, Poster for the festival of the people's University, 1920 </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1cd2jcuDVtD0dD36porVSBzqitOSzSukj1DHO00rFnKcHb4rUYY-MTz9P6h5mISxPWFoTFw1hbQTkxIaRa4gnj9-tovAmBuPGUGGsAihHbcZgrLGD4ampAYPGtws1bNrt-3gzqCCiL8k/s1600/Screenshot+2018-03-09+at+11.46.54+AM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="852" data-original-width="1080" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1cd2jcuDVtD0dD36porVSBzqitOSzSukj1DHO00rFnKcHb4rUYY-MTz9P6h5mISxPWFoTFw1hbQTkxIaRa4gnj9-tovAmBuPGUGGsAihHbcZgrLGD4ampAYPGtws1bNrt-3gzqCCiL8k/s640/Screenshot+2018-03-09+at+11.46.54+AM.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The attack, The Latvian riflemen, Drawing by G. Klucis for the stand at the 5th Soviet Congress 1918</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi2tOYQbGc0aekbi7LeIams5nW3hwS4NDJHTWBZrA0w8MPQT9u8XOCsyGXV1ybKNVW1cEYmxTGUdQipJBfxWFCCW3t4mbeTLT_q8GU0X7wLWvXxYEU4D-NRSeyF1gb8GD_lYhBneB6vnI/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="864" data-original-width="564" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi2tOYQbGc0aekbi7LeIams5nW3hwS4NDJHTWBZrA0w8MPQT9u8XOCsyGXV1ybKNVW1cEYmxTGUdQipJBfxWFCCW3t4mbeTLT_q8GU0X7wLWvXxYEU4D-NRSeyF1gb8GD_lYhBneB6vnI/s640/51.jpg" width="414" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">God Bless Latvia-1918-1928 </td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjinZeTk1Vcrkj1NXC79YXp1D4EBhwmrmJoaHeh-VO1iISuaZ-zhhBh8cFvkTV6O1UfjRgGqZg16A06Q5NJdaVeZcAB6TZttJchEm3LsUh9EFqEvVIZ2Wlxptd-5_DuH4Gk1UvUOwEjS3c/s1600/Screenshot+2018-03-09+at+11.52.00+AM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="477" data-original-width="640" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjinZeTk1Vcrkj1NXC79YXp1D4EBhwmrmJoaHeh-VO1iISuaZ-zhhBh8cFvkTV6O1UfjRgGqZg16A06Q5NJdaVeZcAB6TZttJchEm3LsUh9EFqEvVIZ2Wlxptd-5_DuH4Gk1UvUOwEjS3c/s640/Screenshot+2018-03-09+at+11.52.00+AM.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An advertising poster for Cēsu alus, ca. 1935.</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBt6mYjwjqiYTiqbe8EQHpxebL6fQjL6oEGsYAPNVWMFosKPH3BvU5iQiupUs0V-Y-D_o3B_VrKs8J-mYj7iVvPI65wVa4lC6oz9HjJQhyv7I9QSsOvaPX1gxdOoRdF_cowDD9JSgt2o8/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="837" data-original-width="564" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBt6mYjwjqiYTiqbe8EQHpxebL6fQjL6oEGsYAPNVWMFosKPH3BvU5iQiupUs0V-Y-D_o3B_VrKs8J-mYj7iVvPI65wVa4lC6oz9HjJQhyv7I9QSsOvaPX1gxdOoRdF_cowDD9JSgt2o8/s640/51.jpg" width="430" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Latvian Money for Latvian production only</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL_Nftgv_fkKUz3h-ANfa3wBiitzRYFyYTIPL4Z2zdoNjr9_TvP7GmvWkjrEJGOzifvYvUyy2Q07kgnAcghqcd_jq2VtyOvykjiRuLXZk1BoEp_pYHo-KF4VixyAnxhYkJpKPxeNQ3qxA/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="599" data-original-width="421" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL_Nftgv_fkKUz3h-ANfa3wBiitzRYFyYTIPL4Z2zdoNjr9_TvP7GmvWkjrEJGOzifvYvUyy2Q07kgnAcghqcd_jq2VtyOvykjiRuLXZk1BoEp_pYHo-KF4VixyAnxhYkJpKPxeNQ3qxA/s640/51.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Choral Festival 1938</td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcMEsa5W_kEMtoRioWEgP85tA3bILnHrzFfXCziuChf_5h9aIH_et1784v4Hh65vodQPHG32pW5K4Vf_4GAAi1fNKx7pIR68mqup1w3k1DjQN2fCxWNtAI1s7-AsLNsXII5z8oSnQfI3Y/s1600/51.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="623" data-original-width="615" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcMEsa5W_kEMtoRioWEgP85tA3bILnHrzFfXCziuChf_5h9aIH_et1784v4Hh65vodQPHG32pW5K4Vf_4GAAi1fNKx7pIR68mqup1w3k1DjQN2fCxWNtAI1s7-AsLNsXII5z8oSnQfI3Y/s640/51.jpg" width="632" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2Ow4ou339Zvw5h1HanS5fUL_6uIS2ntPSSEZJtkIE9LEd2Lf-Ht1Li9CFTqR6MyEhrVp_SOG9RX0K4xKMwDVE-5t2RspfJ7Epohs4huu1-q8iuVAocTJ-7QaJCbXWDqzHmES2eu8tWIU/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="796" data-original-width="564" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2Ow4ou339Zvw5h1HanS5fUL_6uIS2ntPSSEZJtkIE9LEd2Lf-Ht1Li9CFTqR6MyEhrVp_SOG9RX0K4xKMwDVE-5t2RspfJ7Epohs4huu1-q8iuVAocTJ-7QaJCbXWDqzHmES2eu8tWIU/s640/51.jpg" width="452" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> <span style="background-color: white; color: #6a6a6a; font-family: "arial" , sans-serif; font-size: x-small; font-weight: bold; text-align: left;">Sigulda</span><span style="background-color: white; color: #545454; font-family: "arial" , sans-serif; font-size: x-small; text-align: left;">, Winter Invitation to Vilage</span></td></tr>
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On 16th June, 1940, the Russian Red Army attacked the Latvian border posts in Masļenki and Smaiļi. The USSR issued an ultimatum demanding the Latvian Government to resign and admit an unlimited number of Soviet troops to Latvia. The State President Kārlis Ulmanis and the government decided not to resist, in the hope of at least preserving the sovereignty of Latvia.<br />
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On 17 June, 1940, the USSR occupied Latvia. After the Latvian Government’s forced resignation, the so-called “People’s Government” with Augusts Kirheršteins as the leader was established. Latvian government's activity was controlled by the USSR Embassy and Andrei Vyshinsky, Deputy Chairman of the Council of People’s Commissars of the USSR sent from Moscow. Ulmanis, being under house arrest, formally continued to carry out the State President’s duties.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii0UBVv5jpsY4jUVYIPdz3WUD34SpdZrHISSwvszECzuNWOlZigSLQX89C4qbAz-mo_6cmVlIOpS1-kljsi_wpIBHE6xDx_PYQOAM7np1obBfv3xO4Qub6SajdcqW8V1tnokWTzkOq9go/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="269" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii0UBVv5jpsY4jUVYIPdz3WUD34SpdZrHISSwvszECzuNWOlZigSLQX89C4qbAz-mo_6cmVlIOpS1-kljsi_wpIBHE6xDx_PYQOAM7np1obBfv3xO4Qub6SajdcqW8V1tnokWTzkOq9go/s640/51.jpg" width="424" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">United in Work, United in Victory</td></tr>
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After Germany’s attack on the USSR, in the summer of 1941 Latvia came under the power of National Socialist Germany, which considered Latvia being not a freed and independent state, but rather an occupied territory of the USSR. Initially, Latvia was subordinated to German military administration, but from 1 September – to the civil administration. The general regions of Latvia, Estonia, Lithuania and Belarus became the constituent of the Reich Commissariat for Ostland established by the Nazis.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1ypGagPlTpNDg0rsBhmJtHROM_mE3EW1L8PXdyk-mTKLpryJG-qJTG4Eqe2Mh0ykSalc7IrGCMaIXcZ8TcZVkJIDnPWCe1GdoT7zgIAVo0xhbPYFVeW9YpRtKtt9rgcsBrC5iMNILx_U/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="440" data-original-width="640" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1ypGagPlTpNDg0rsBhmJtHROM_mE3EW1L8PXdyk-mTKLpryJG-qJTG4Eqe2Mh0ykSalc7IrGCMaIXcZ8TcZVkJIDnPWCe1GdoT7zgIAVo0xhbPYFVeW9YpRtKtt9rgcsBrC5iMNILx_U/s640/51.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Latvia - life, Bolshevism - death</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqAqMe_dxc7utZ-cZotQjMg9A-QoIJbcknfr4jkbUNwuY8AdDDVGvQC6WNhFSvo1SQ32r_SLGYUAH-6q3yOz1s6XdTRwQblaA3UbWhLESzV6riqaiwEBsoS2_tOB4ncG_wztI2x8-VfGs/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqAqMe_dxc7utZ-cZotQjMg9A-QoIJbcknfr4jkbUNwuY8AdDDVGvQC6WNhFSvo1SQ32r_SLGYUAH-6q3yOz1s6XdTRwQblaA3UbWhLESzV6riqaiwEBsoS2_tOB4ncG_wztI2x8-VfGs/s640/51.jpg" width="432" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ler's take a step forward and spoil every diversionary activities and spionages and be prepared for the future!</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnAj_ZLgi_0v-K2T0kiz4Zibgd4YK6qVUli7mVVRD-onBkAxRhrQOjsqljdOJxB0rvJNxfGkgz8bdRI3lNh4s5HKQPxn0_cMbv2Dg1ETE9bsT6Y1wPrTn65tqCpX07le-sLGqt1NCv73c/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="408" data-original-width="280" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnAj_ZLgi_0v-K2T0kiz4Zibgd4YK6qVUli7mVVRD-onBkAxRhrQOjsqljdOJxB0rvJNxfGkgz8bdRI3lNh4s5HKQPxn0_cMbv2Dg1ETE9bsT6Y1wPrTn65tqCpX07le-sLGqt1NCv73c/s640/51.jpg" width="440" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">At Home, at work!<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj88HVcaEifVBz8Mz6oGhzWnAk054NlOQghaCbAKuaw7tgHk8F5_-ORLzcofZP1aG-kOtXjs2tMx4C5cZQUboQLClmegt7QkASFSupl41gFVnjQcHQofEf5Q16kMStsQqIMi5wlFFadiQ8/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="564" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj88HVcaEifVBz8Mz6oGhzWnAk054NlOQghaCbAKuaw7tgHk8F5_-ORLzcofZP1aG-kOtXjs2tMx4C5cZQUboQLClmegt7QkASFSupl41gFVnjQcHQofEf5Q16kMStsQqIMi5wlFFadiQ8/s640/51.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1941 1st. July 1942, Goodluck for Future</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE8qoCpv7TbCpbmQMkjCNJsdnJSx8S3bOhJ2mLBX_qfPKkLFF215-l_e54TPvaONxkrlvIm5cVyXyGaNyVRg7Ki7_aIYVPWJNbrv-Bb9gOYzxVU301K9Eug9LmFZ6357snqLZTZJZGza8/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="405" data-original-width="280" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE8qoCpv7TbCpbmQMkjCNJsdnJSx8S3bOhJ2mLBX_qfPKkLFF215-l_e54TPvaONxkrlvIm5cVyXyGaNyVRg7Ki7_aIYVPWJNbrv-Bb9gOYzxVU301K9Eug9LmFZ6357snqLZTZJZGza8/s640/51.jpg" width="442" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">You also have to fight for Latvia!</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtbm5m1JOEJ9OCVg1QlpzzizHeHwJ4oV2I2HGQv1Wj50_IsRxxCyFl0TwRFtny4P2rygPfPYlIV7limji65kWHnC7sjUY-h55amDAEWFrzQ_vf1n4QFADwXvCAwF9hRDrJYx2mz7zX8wk/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="640" data-original-width="471" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtbm5m1JOEJ9OCVg1QlpzzizHeHwJ4oV2I2HGQv1Wj50_IsRxxCyFl0TwRFtny4P2rygPfPYlIV7limji65kWHnC7sjUY-h55amDAEWFrzQ_vf1n4QFADwXvCAwF9hRDrJYx2mz7zX8wk/s640/51.jpg" width="470" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Latvia for the Latvians, protect Latvia, Be a patriot and join, </td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRL3PDVHY9Tj9Fb_PF1NPR5XZejTjcUdh-jXGuRn-Ws2cK0tBCIy7dfdATsTyH7DIWDPN6uTMorRDyjYN1ymkbVPRt988l-sIOUhAq5iwa7nTEinv5bByKD6cxKm7lQQWOiAi656zVAqg/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="793" data-original-width="554" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRL3PDVHY9Tj9Fb_PF1NPR5XZejTjcUdh-jXGuRn-Ws2cK0tBCIy7dfdATsTyH7DIWDPN6uTMorRDyjYN1ymkbVPRt988l-sIOUhAq5iwa7nTEinv5bByKD6cxKm7lQQWOiAi656zVAqg/s640/51.jpg" width="444" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Prevent your homeland! goes to Bolshevism!</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipD1G_XAhg1ESEPXXF7LDBcHpv8X0V-US1Dq87ran85LZ1GZEch671r5hpc0nuQdJ2x_NdYyECVzxYrPLYa0OnkGQZKNG5h3L3akBbpPpfWEbY41RC8bS-jdXvNLBbFrJOprXolceEqX0/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="600" data-original-width="402" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipD1G_XAhg1ESEPXXF7LDBcHpv8X0V-US1Dq87ran85LZ1GZEch671r5hpc0nuQdJ2x_NdYyECVzxYrPLYa0OnkGQZKNG5h3L3akBbpPpfWEbY41RC8bS-jdXvNLBbFrJOprXolceEqX0/s640/51.jpg" width="424" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Anti-Semitic poster</span></td></tr>
</tbody></table>
The uncompromising effort of the Soviet regime, in the first decade after the WWII, to transform the country into a typical Soviet bailiwick compounded the devastation of the war. Severe political repression accompanied radical socioeconomic change. A national renaissance developed in the late 1980s in connection with the Soviet campaigns for glasnost (“openness”) and perestroika (economic and political restructuring). <div>
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<div>
An opposition Latvian Popular Front emerged in 1988 and won the 1990 elections. On May 4 the legislature passed a declaration to renew independence after a transition period. Soviet efforts to restore the earlier situation culminated in violent incidents in Riga in January 1991. After a failed coup in Moscow in August, the Latvian legislature declared full independence, which was recognized by the Soviet Union on September 6.<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBbvV5DxUMmditICjhHVBzWjddHbmd3CSQa_9JV3Zup1Jo5HjOU3F_JRErbaF6Sr5TLCAqkGxPjhuwkIBnocCeJWn_UcZM69d1fSj_ir6h8moBhwGbZs5_Xn9jz-nFz6LidZPx8PlBtZA/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="322" data-original-width="237" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBbvV5DxUMmditICjhHVBzWjddHbmd3CSQa_9JV3Zup1Jo5HjOU3F_JRErbaF6Sr5TLCAqkGxPjhuwkIBnocCeJWn_UcZM69d1fSj_ir6h8moBhwGbZs5_Xn9jz-nFz6LidZPx8PlBtZA/s640/51.jpg" width="464" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">All to the Election!</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZsBvclhtckpkptOdFOJMyM5KxKRLc9v3J4qD29uFClBokGwPbgOZWNG4F0RIOPMaaBSOFg_O03dYV-r2b08Vpw0rSPe8V8BGH8EVi_mB9axoqOvSzGQHeziQps80hZhNW8cqlPAlAN7w/s1600/51.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="552" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZsBvclhtckpkptOdFOJMyM5KxKRLc9v3J4qD29uFClBokGwPbgOZWNG4F0RIOPMaaBSOFg_O03dYV-r2b08Vpw0rSPe8V8BGH8EVi_mB9axoqOvSzGQHeziQps80hZhNW8cqlPAlAN7w/s640/51.jpg" width="440" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A propaganda poster, quoting Joseph Stalin, with regard to the desirability of seasonal work. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWXnkqlvS0OcN5QarHeKgGWfVyRPYtf3eNF5rsedlzWy-ZkpU0XKmBSJg4zbNHtKclew2zbLvRuPt9Ix2IZgcr8SOyLAcQJUV7zMDS66357c_ro2ivlUe7cGZba2tubBqR7b79PQGpBi4/s1600/Screenshot+2018-03-09+at+11.52.00+AM.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="400" data-original-width="246" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWXnkqlvS0OcN5QarHeKgGWfVyRPYtf3eNF5rsedlzWy-ZkpU0XKmBSJg4zbNHtKclew2zbLvRuPt9Ix2IZgcr8SOyLAcQJUV7zMDS66357c_ro2ivlUe7cGZba2tubBqR7b79PQGpBi4/s640/Screenshot+2018-03-09+at+11.52.00+AM.png" width="392" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Raimonds Šiško. Poster. Lithography Riga, "State Printing Works", 1937</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Juris Dimiters</td></tr>
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-67909384013003700252018-03-02T17:38:00.011-08:002021-06-22T12:31:37.069-07:00Chapter 89 : A History of Travel Posters<div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: large;">Poster art, in addition to being a true art form of its kind, has always been a powerful form of visual communication. Travel posters began at the turn of the 20th century as a vehicle for advertising the tourism industry. Colonial countries such as Great Britain, France and the Netherlands by organizing colonial exhibitions and creating new and exotic landscapes of their colonies, with bright and bold colors and causing a sense of adventure and exploration, prompted the observer to book trips and purchase tickets to their major cities by train, boat, Zeppelin or plane. Later, people wanted to visit these exotic places, and the posters started to advertise the real thing. During the late 1800s until about 1950, posters, print ads, and brochures were the most common way for travel companies and agencies to reach their customers.<br />
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<div><div><span style="font-size: large;">With the technological advances in transportation of the early 20th century, that reduced the cost of travel, railroads, ocean liners and airplanes, promoted the idea of pleasurable and luxurious travel, offering people the freedom to explore the world. This sparked the “Golden Age of Travel” which lasted until the outbreak of World War II. </span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">The tourism and hospitality industry including hotels, airlines, railroads and entertainment parks used travel posters to graphically create an image of themselves to the public. Many Graphic designers used the recently developed lithographic printing process to create stunning works of art that ranged in style from art nouveau to mid-century modern. </span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">By the early 1900s, Hugo d’Alesi (France), Emile Cardinaux (Switzerland) and Adolfo Hohenstein (Italy) combined stylised images with bold typography that were quite effective medium to inspire travelers to explore the world, and their posters were prominently displayed on kiosks, in train stations , burgeoning travel agencies, docks, depots, and later at airports of Europe and America to create demand. By the 1920s, A. M. Cassandre, his pupil Fix-Masseau, Tom Purvis, Frank Newbould and other artists transformed the travel poster from illustration to real artwork. </span></div></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrNMZ6k-M1qM01z62QL56-tSgEO8RvbLrVO0PeNR0xjjUK2k-0-Gwmj4beCeBqzhFyOvU0H0zevBJd4v3nNT4DBDx-JARc7StnyWJEBJDaymXtR4-RaSLtBhyLU2-clhC4HP4ceiyvAok/s300/aa1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="210" height="792" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrNMZ6k-M1qM01z62QL56-tSgEO8RvbLrVO0PeNR0xjjUK2k-0-Gwmj4beCeBqzhFyOvU0H0zevBJd4v3nNT4DBDx-JARc7StnyWJEBJDaymXtR4-RaSLtBhyLU2-clhC4HP4ceiyvAok/w555-h792/aa1.jpg" width="555" /></a></div><br /><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIuFHoxqHdIxP3tJlMROemYL39BWjsviQobYQBjQPmtxXCFYuH8kFV5Fm3FyxpLZ3TJnyy8wC_5BZrk5lT6URV7oBnXUjMyMVbJcYx0qUvNKNZB38gFw8jD5T5O338xrbwJgHA13eHx1Y/s1314/aa1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1314" data-original-width="955" height="722" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIuFHoxqHdIxP3tJlMROemYL39BWjsviQobYQBjQPmtxXCFYuH8kFV5Fm3FyxpLZ3TJnyy8wC_5BZrk5lT6URV7oBnXUjMyMVbJcYx0qUvNKNZB38gFw8jD5T5O338xrbwJgHA13eHx1Y/w525-h722/aa1.jpg" width="525" /></a></div><br /><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbzl88P0F-LKQ5MMkrQK05d5mIDG9k6QBqcj3AMJUV9OT7HJUd7OuQPjcg3ubN_gsKmCJXUT77llDTno5-3DObkNrbopVvNGRIOAVgMl6IfICg1xZUYwmZUD-c4mgrVM1IdgsnN7u3Kog/s728/aa1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="728" data-original-width="515" height="860" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbzl88P0F-LKQ5MMkrQK05d5mIDG9k6QBqcj3AMJUV9OT7HJUd7OuQPjcg3ubN_gsKmCJXUT77llDTno5-3DObkNrbopVvNGRIOAVgMl6IfICg1xZUYwmZUD-c4mgrVM1IdgsnN7u3Kog/w607-h860/aa1.jpg" width="607" /></a></div><br /><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcxwVmI7Mgq7gce6RnAMidrPcRqQKU8wgRpjKqoZB8NZRxPfK9bTJ4uNH0rDfknQXZDoZ-4HtJ-sUQA0YyBWggYyss3AVHvIVpgvBBVW1DExGTARupakmrtmRLL9TjWCsRC_ERUH4tnsg/s640/aa1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="433" height="833" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcxwVmI7Mgq7gce6RnAMidrPcRqQKU8wgRpjKqoZB8NZRxPfK9bTJ4uNH0rDfknQXZDoZ-4HtJ-sUQA0YyBWggYyss3AVHvIVpgvBBVW1DExGTARupakmrtmRLL9TjWCsRC_ERUH4tnsg/w562-h833/aa1.jpg" width="562" /></a></div><br /><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span style="font-size: large;"><br /><br /><br />
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The graphic designers not only created the imagery strong and appealing to promote a safe and magical experience, but also contributed to educate the public with the grammar of visual communication. Some used images of children to show the wonderment of travel through their adventurous eyes, as illustrated in a 1964 poster for Grace Line Ocean Liners. Others included mythical figures to represent adventure, excitement or safety, and some used native women in their national costumes, or various symbols or stylized monuments. </span></div>
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Shipyards in Germany, Italy and France had all eclipsed other competitors tonnage and their ships. RMS Queen Mary was completed by August 1934 and in 1935, the gigantic ocean liner, S.S. Normandie, was launched. They, Normandie in particular, inaugurated a new era in transatlantic travel. Normandie set new standards of luxury, speed, steadiness, comfort and safety, and was the largest liner afloat -- indeed different in almost every respect. It was a new kind of ocean liner which was considered the epitome of luxurious travel. The graphic designers of Normandie's posters were able to project this colossal power and strength in their posters. </span></div>
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On August 11, 1938 the first nonstop transAtlantic commercial flight by a land-based aircraft, a four-engine Focke-Wulf Fw 200 “Condor” developed by a German manufacturer and flown by Lufthansa landed at Floyd Bennett Field, now a park in Brooklyn, after taking off about 25 hours earlier from Berlin on a 3,728-mile flight.The era of intercontinental air travel had started.</span></div>
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Other airlines such as the British Imperial Airways and Pan American Airways began working toward experimental transatlantic flights only in 1936, partly because the British were unwilling to grant landing rights for American air carriers until then. Both airlines decided to use flying boats because concrete runways were rare at coastal airports on the Atlantic, and also because landplanes capable of flying such distances without refueling simply did not exist at the time. </span></div>
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On December 9, 1937, Pan American invited bids from eight U.S. airplane manufacturers to build a 100-seat long-range airliner. Boeing, which won the competition, offered its legendary B-314 flying boat. Pan American inaugurated the world's first transatlantic passenger service on June 28, 1939, between New York and Marseilles, France, and on July 8 between New York and Southampton. </span></div>
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By the beginning of World War II, Pan American, with its considerable experience in Pacific and South American operations with the famous Clipper service, dominated the transatlantic routes. The airline offered regular flights with its seaplanes from La Guardia airport in New York City to Lisbon in Portugal, which was the most common entry point into Europe at the time.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;">German Zeppelin, Hamburg -Amerika Linie</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Experience the Orient (Erleben Sie Den Orient Mit) - Lufthansa German Airlines, Hans Rott</td></tr>
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The competition among airlines created a surge in travel posters, and they could be found everywhere. As Henry Miller once said, “One’s destination is never a place, but rather a new way of seeing things.” However, not all airlines had a artistic sensibility to understand this dictum, and their posters were a distasteful collection of tacky images in flashy colours with awful typography crowded with information. On the other hand, some other airlines, like Sabena of Belgium, had always created posters that in that have stood the test of time and contributed to aesthetics of visual communication. </span></div>
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The very first commercial air flight took off on January 1st of 1914 from St. Petersburg, Florida to Tampa, Florida. By the 1920’s, Charles Lindbergh reached iconic celebrity status with his dream of crossing the Atlantic. His transatlantic trip in 1927 proved to the world that air travel was a quick and safe option, opening new parts of the world to vacation exploration. The most renowned artists of the time were commissioned, their artwork and images reflecting the styles of the Art Nouveau, Art Deco, Impressionist, Cubist and Modern eras. </span></div>
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One of the most prolific and sought-after travel poster artists is A. M. Cassandre (aka Adolphe Jean-Marie Mouron). Born in the Ukraine, Cassandre studied art in Paris at the famed Ecole des Beaux-Arts and Academie Julian, and was greatly inspired by Bauhaus, cubism, and surrealism. While he started work at a Parisian print house producing posters, he later set up his own advertising agency called Alliance Graphique. Cassandre’s poster of a large commercial steamship titled “L’Atlantique” from 1931 has one of the highest records set for a travel poster at auction at Christie’s in June of 2014, hammering down at 30,000 British Pounds, roughly $50,880 in U.S. Dollars. </span></div>
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In the 1950s and ’60s, when commercial air travel was still considered glamorous, Trans World Airlines (TWA) was one of the world’s premier passenger carriers. In 1930, TWA merged with Western Air Express to form Transcontinental and Western Air, Inc. (TWA). The airline took advantage of its association with Lindbergh in its advertising, which gave them prestige in the eyes of the public, who were wild about him. In 1950, to reflect TWA’s expanding international service, Howard Hughes, who had acquired a majority share of TWA in 1939, changed the name from Transcontinental and Western Air to Trans World Airlines, preserving the acronym.</span></div>
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Some of the best TWA posters from the 1950s and ‘60s were created by artist David Klein (1918 – 2005). Already a successful illustrator known in the late 1940s and early 1950s for his Broadway show window cards and posters, Klein’s award-winning abstract drawings for TWA came to represent the jet age. Klein won many awards for his TWA work. In 1957, his TWA poster of New York City became a part of the permanent collection of the Museum of Modern Art in New York. Klein won many excellence awards for his great design work for TWA from the Society of Illustrators.</span></div>
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<tr><td class="tr-caption" style="text-align: center;">David Klein. <span face=""arial" , sans-serif" style="background-color: white; color: #6a6a6a; font-size: x-small; font-weight: bold; text-align: left;">New York</span><span face=""arial" , sans-serif" style="background-color: white; color: #545454; font-size: x-small; text-align: left;"> Fly </span><span face=""arial" , sans-serif" style="background-color: white; color: #6a6a6a; font-size: x-small; font-weight: bold; text-align: left;">TWA</span><span face=""arial" , sans-serif" style="background-color: white; color: #545454; font-size: x-small; text-align: left;">. 1956. MOMA</span></td></tr>
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Braniff International Airways was an innovative American airline that in 1960s advertised that it is creating ...</span></div>
<blockquote class="tr_bq"><span style="font-size: large;">
the most beautiful airline in the world. We hired Emilio Pucci to design our uniforms. Our hostesses wear reversible coats of almond green and apricot, space helmets to keep out the rain, red spacesuits and sometimes something a little more comfortable... We have blue planes, orange planes, yellow planes...</span></blockquote>
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The company recruited Mary Wells a young designer who proposed a pop-hued, psychedelic scheme for Braniff. She and her team brought in Italian designer Emilio Pucci to design the staff uniforms (he even created plastic “space bubbles” to protect their hairdos) and commissioned pop designer Alexander Girard to paint the fuselage of the planes in bright, candy-colored patterns. Braniff’s tagline was, “the end of the plain plane!” “Suddenly, Braniff was seen as a modern, chic company that would make flying fun.” Braniff 's posters captured its innovative vision. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihT9MR1DyJuZKFYuTustKMXUqKYwq_FAFHV9sQpYReVeFAhnlEUOYPAfzWuFes1blBl8OGsOYVxiGhW9hye6LkKiVQ6zzAwljU8X_wVoFXIW00l5dooBLa8vzD5rEzgM8r6KDlQ-ybhcg/s1600/62.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="375" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihT9MR1DyJuZKFYuTustKMXUqKYwq_FAFHV9sQpYReVeFAhnlEUOYPAfzWuFes1blBl8OGsOYVxiGhW9hye6LkKiVQ6zzAwljU8X_wVoFXIW00l5dooBLa8vzD5rEzgM8r6KDlQ-ybhcg/s640/62.jpg" width="476" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvrYMLTx7E2XAP4nA4l2yExdEsoeF_Oq2rGI8OswX9BwOd_apo4U5ai_I4q2ngWrSGY0zqvAFVeBowkzVIe9Ja1fk_OzdUTOxL-_bKcyI3dWgKkbst1UpWjwNOgGlssydSqgv5OxqQd7E/s1600/62.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="678" data-original-width="864" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvrYMLTx7E2XAP4nA4l2yExdEsoeF_Oq2rGI8OswX9BwOd_apo4U5ai_I4q2ngWrSGY0zqvAFVeBowkzVIe9Ja1fk_OzdUTOxL-_bKcyI3dWgKkbst1UpWjwNOgGlssydSqgv5OxqQd7E/s640/62.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirNG3lRqoXEzo4PTxIipYqKQSg0ClDfKRz4SV-GUjuspSCGAkHFsMtmoiAbDg73EU1tBgt7_PDYNzB4iCDtV6UTOy_Y3NMU3XbECtMCX3TMPy95Lueg4vHsUTP-hRN1Pt6VhSNys1gRsg/s1600/62.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="723" data-original-width="931" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirNG3lRqoXEzo4PTxIipYqKQSg0ClDfKRz4SV-GUjuspSCGAkHFsMtmoiAbDg73EU1tBgt7_PDYNzB4iCDtV6UTOy_Y3NMU3XbECtMCX3TMPy95Lueg4vHsUTP-hRN1Pt6VhSNys1gRsg/s640/62.jpg" width="640" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihfMEhiu7h57ua1eYKN70o0ZhNHLKYy_Iore9yLxeDrhc5cmxldlg1zMys961RON4uycGT23Kb1qEttlv9dLvS21fTbqfQgR9wZv_UIA4YiAOuegICPGDZv1aeDuIXdDER7ygp9onQVMg/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="462" data-original-width="640" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihfMEhiu7h57ua1eYKN70o0ZhNHLKYy_Iore9yLxeDrhc5cmxldlg1zMys961RON4uycGT23Kb1qEttlv9dLvS21fTbqfQgR9wZv_UIA4YiAOuegICPGDZv1aeDuIXdDER7ygp9onQVMg/s640/62.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Left: “Monte Carlo Flowers” poster by Jean Gabriel Domergue, 1950; <br />
Right: “Oostende to Dover” poster by Marfurt, 1931,</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSLllWiQEX1Qr3Y7Udc1iv-5LVmGSR1-EdRKNK1GL_IpqQJGV2GA_yc5LsrmTEHLAovFMrToHIMINz1xu5NnZ2nPX0YYcCC9cxt9pD4uJ0XMOxwJ4fkEd9iDTVeHKBlW3haD6lq2j211k/s1600/62.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSLllWiQEX1Qr3Y7Udc1iv-5LVmGSR1-EdRKNK1GL_IpqQJGV2GA_yc5LsrmTEHLAovFMrToHIMINz1xu5NnZ2nPX0YYcCC9cxt9pD4uJ0XMOxwJ4fkEd9iDTVeHKBlW3haD6lq2j211k/s640/62.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB77UtvXMBYXYfyatLY8EEwC908UmLUp-vL4d3bxd1EOeNeuOre6kwlgSSo_oZaa6-G6FNH-5GU3aD6W2sLYf7c3-12gypM29vdOYpQvCzQ4xlnTsKuC6ZQKeZeeIGhPnV_riXoy3Wucc/s1600/62.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB77UtvXMBYXYfyatLY8EEwC908UmLUp-vL4d3bxd1EOeNeuOre6kwlgSSo_oZaa6-G6FNH-5GU3aD6W2sLYf7c3-12gypM29vdOYpQvCzQ4xlnTsKuC6ZQKeZeeIGhPnV_riXoy3Wucc/s640/62.jpg" width="640" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN69HrI5byKxLGZiOrHHMOjP72tDRYNFWUc9rxR1mKZqnzvGuwnk_HECX5Sqn4ugzdjy3sbFwEOTZ8ch3yFm6AgZHsUOSmkc0Se7KF2tVS1T8q8qa-k5HTcuimXOv8Rq5dHSAlmJ8_9nc/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1299" data-original-width="815" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgN69HrI5byKxLGZiOrHHMOjP72tDRYNFWUc9rxR1mKZqnzvGuwnk_HECX5Sqn4ugzdjy3sbFwEOTZ8ch3yFm6AgZHsUOSmkc0Se7KF2tVS1T8q8qa-k5HTcuimXOv8Rq5dHSAlmJ8_9nc/s640/62.jpg" width="399" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“Summer in Switzerland”, 1921</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqryoQGmSBlWnLGQMJOpgtXm4KaxX4kUulShEJPRMwjdqzNybDhWMTbqV71iw20g9KqPxpmjIGPS5ixdmD3aZCltNeYqbamAA9dc_9IZHrHKAcr_RupfTeCx_WNxJs1Ay1SxfZ_lJAsG8/s1600/62.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="645" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqryoQGmSBlWnLGQMJOpgtXm4KaxX4kUulShEJPRMwjdqzNybDhWMTbqV71iw20g9KqPxpmjIGPS5ixdmD3aZCltNeYqbamAA9dc_9IZHrHKAcr_RupfTeCx_WNxJs1Ay1SxfZ_lJAsG8/s640/62.jpg" width="402" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEgkhDNIIvzvPmDtR-6jQobNJb2-UWg2RaoYz54XJhNm63B1ysgTFo9XUiDXXKSOtN_7sSpq35LMsLUMMLehiw10r_gJy6-A48gd3hL1mymx5pr7YsHaX0njWbWvWCUxb29Yi-s_lk43o/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="516" data-original-width="700" height="468" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEgkhDNIIvzvPmDtR-6jQobNJb2-UWg2RaoYz54XJhNm63B1ysgTFo9XUiDXXKSOtN_7sSpq35LMsLUMMLehiw10r_gJy6-A48gd3hL1mymx5pr7YsHaX0njWbWvWCUxb29Yi-s_lk43o/s640/62.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Left: "Middelkerke Belgium Bains Gratuits" by Baillie, 1923; <br />
Right: "Fly TWA to New York," unknown artist, c. 1955,</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWA_B8nMUtAEKIO8tPyCBvY5cnHvg4WeoKrPLDecNgSuQri_zKNjvzv0Xf7Xeu3_WG8MieBeHDN4rfrJXNnKSrWu8ZYr3wNxlw5MSmwqYoma8Iwy8bdW0J_1jzEqyCJtyDISffXdXuIqM/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="748" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWA_B8nMUtAEKIO8tPyCBvY5cnHvg4WeoKrPLDecNgSuQri_zKNjvzv0Xf7Xeu3_WG8MieBeHDN4rfrJXNnKSrWu8ZYr3wNxlw5MSmwqYoma8Iwy8bdW0J_1jzEqyCJtyDISffXdXuIqM/s640/62.jpg" width="410" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">‘Orient Calls,’ Mune Satomi, 1936</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNvsqWc4wkHOec2NW7kwHChWnQiTQE4pTKLU0h_9IM3QXWx1kC4cG9gDF5_aK7m6jPn_vC8cLxSwJnQr-buNFtJjcx3CUoeEgIJCsOYeANgzKeCMpyOlcshpNJMZ_zf08ni-iOIjGzQlo/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="685" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNvsqWc4wkHOec2NW7kwHChWnQiTQE4pTKLU0h_9IM3QXWx1kC4cG9gDF5_aK7m6jPn_vC8cLxSwJnQr-buNFtJjcx3CUoeEgIJCsOYeANgzKeCMpyOlcshpNJMZ_zf08ni-iOIjGzQlo/s640/62.jpg" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">‘Palestine Line,’ T. Trepkowski, 1935</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil0hlV6UY3SSVoAcLAJ90CAjjqnNK9au6CL7Uj4AqbQxN8l1zJtGZ7r4BZ7KPigFvu3fqgSNYCaG6j8UXyew_uyJqW0ywqHfI7cUKB8HTwv-wz6JjxKJGSFqwjs2e-i11BNhmj8wbp01A/s1600/Screenshot+2018-03-01+at+8.57.35+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1324" data-original-width="981" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil0hlV6UY3SSVoAcLAJ90CAjjqnNK9au6CL7Uj4AqbQxN8l1zJtGZ7r4BZ7KPigFvu3fqgSNYCaG6j8UXyew_uyJqW0ywqHfI7cUKB8HTwv-wz6JjxKJGSFqwjs2e-i11BNhmj8wbp01A/s640/Screenshot+2018-03-01+at+8.57.35+PM.png" width="472" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg85yt9kKX-7tbh1zT2zbX0VVQiv1bptXDz5D7pHv-72CTNxCqK3irUbu0y63K1732BKqUp4iolA7MHrCqXHh3jrb03R6KNB43Ps_kYr_qcE3oekXa-mhG6s-kITALpyyZowN8p8fv-fE/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="621" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg85yt9kKX-7tbh1zT2zbX0VVQiv1bptXDz5D7pHv-72CTNxCqK3irUbu0y63K1732BKqUp4iolA7MHrCqXHh3jrb03R6KNB43Ps_kYr_qcE3oekXa-mhG6s-kITALpyyZowN8p8fv-fE/s640/62.jpg" width="388" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: large;"> David Klein, Egypt <br />
</span><div style="text-align: left;"><span style="font-size: large;">
Klein’s early career was as a painter and illustrator before becoming a part of the California Watercolor Society in the 30s. His vintage travel posters emanate the style so closely associated with the group – bold colours and thick brushstrokes drawn onto paper with no pre-planning.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio7FhedqfQB4bBzi3VTqEw6y557r9mJcVFbfZ5lN-qebINTsAug7rdO5UF0My67rcIiEkBN02EZU0Fcv5NzDGbRtR5S5gEMbJlULQRR4IyIFnylGKWNVXfhKpz9a83yIXrUxh3f06ZI1Q/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio7FhedqfQB4bBzi3VTqEw6y557r9mJcVFbfZ5lN-qebINTsAug7rdO5UF0My67rcIiEkBN02EZU0Fcv5NzDGbRtR5S5gEMbJlULQRR4IyIFnylGKWNVXfhKpz9a83yIXrUxh3f06ZI1Q/s640/62.jpg" width="436" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">‘Visit Palestine,’ Franz Krausz, ca. 1930s</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-TTxgBLtCaBStLcqkuusJVus2n1HovYsZT_ubVLhHU3N-LPKSAVZozm6uXnIfFo9gf07-i3XiBsz9an8Lsz4GeaNpgT-oxjETtfz65K_Ks3vtXEjE0SoC41ADzX4wWMqHAwj1D8hjRYw/s1600/62.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-TTxgBLtCaBStLcqkuusJVus2n1HovYsZT_ubVLhHU3N-LPKSAVZozm6uXnIfFo9gf07-i3XiBsz9an8Lsz4GeaNpgT-oxjETtfz65K_Ks3vtXEjE0SoC41ADzX4wWMqHAwj1D8hjRYw/s640/62.jpg" width="564" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp6NHoI-0lCnAK0x8NgIDzKQNicVjtBmc2wKfaEyfelzTyGMFpsZMsaq0Ab1J55fMQlR_mPJpjUawzRukZ7gpFVgvBb1aZNDu-o4XVszJ5d4wPJ3W32r8sWgO8WiNffk37kloFKzYQa4k/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="299" data-original-width="204" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp6NHoI-0lCnAK0x8NgIDzKQNicVjtBmc2wKfaEyfelzTyGMFpsZMsaq0Ab1J55fMQlR_mPJpjUawzRukZ7gpFVgvBb1aZNDu-o4XVszJ5d4wPJ3W32r8sWgO8WiNffk37kloFKzYQa4k/s640/62.jpg" width="438" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Hamburg-America Line, by Albert Fuss ca. 1930s.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBzl2rgkAQWG4Wed2Wi2IHDvQvRFp5ofwzSE257bIKTsNtNU1bbvF9crZPWU7bSjP-kh75_gtZbD6K59QbMVqXfJcawUaZUi9ZMJAGDqHIouSOwabOLp7YfY-bl0TaA-Et6K-CV5qRslE/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="764" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBzl2rgkAQWG4Wed2Wi2IHDvQvRFp5ofwzSE257bIKTsNtNU1bbvF9crZPWU7bSjP-kh75_gtZbD6K59QbMVqXfJcawUaZUi9ZMJAGDqHIouSOwabOLp7YfY-bl0TaA-Et6K-CV5qRslE/s640/62.jpg" width="402" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">‘Motoring in Germany,’ Ludwig Hohlwein, </td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5wBUOWXPsm5DtFue4Qz-iB0zI0XuNhQr_ymV-60dilZELe1YuYiSxuH5udEwq5GgZ77wSi4frdhdnJp0SUX-b7Kvx6m6hOlX9l3FbLrxu2ucSGwMJ1HSjDmfhH1qzjk2qUJdQJxJjW10/s1600/Screenshot+2018-02-23+at+1.31.28+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="424" data-original-width="568" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5wBUOWXPsm5DtFue4Qz-iB0zI0XuNhQr_ymV-60dilZELe1YuYiSxuH5udEwq5GgZ77wSi4frdhdnJp0SUX-b7Kvx6m6hOlX9l3FbLrxu2ucSGwMJ1HSjDmfhH1qzjk2qUJdQJxJjW10/s640/Screenshot+2018-02-23+at+1.31.28+PM.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx2sJCydeDNGDToyhL9TyyPYaKIc0qegSshxTbasetnFUn9FQfHjyNXG2U0J08PD-1TnOF4cEfoBB_hdN6_5pY1gvTKp7d31viSCAWaC66xthxU-FAN5midN9DjfkaieskyplcKjjN9ns/s1600/Screenshot+2018-03-01+at+9.31.47+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="438" data-original-width="290" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx2sJCydeDNGDToyhL9TyyPYaKIc0qegSshxTbasetnFUn9FQfHjyNXG2U0J08PD-1TnOF4cEfoBB_hdN6_5pY1gvTKp7d31viSCAWaC66xthxU-FAN5midN9DjfkaieskyplcKjjN9ns/s640/Screenshot+2018-03-01+at+9.31.47+PM.png" width="420" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSIyzP9nB7r6Vz3rJxBJWdp5LhRl8BoEJ0D02cuRf9nmn2tI9dFxKkOo2IBV1sv8W1WQzIxl9dSU_iUNeaGvRleswPg2OEU8PYf4ydDRFfyYNzSmjfVr5WhtFOYb1K8mBpQ0RJKgvDvn4/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="350" data-original-width="227" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSIyzP9nB7r6Vz3rJxBJWdp5LhRl8BoEJ0D02cuRf9nmn2tI9dFxKkOo2IBV1sv8W1WQzIxl9dSU_iUNeaGvRleswPg2OEU8PYf4ydDRFfyYNzSmjfVr5WhtFOYb1K8mBpQ0RJKgvDvn4/s640/62.jpg" width="412" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Annecy Sa Plage" Robert Falcucci - 1935</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixYuVsHOXV6FO1Pn6qckkPPlc3wZdT70bga88_szjO7v274LDSX6r-y4hVyYZvFKXu9kjFlyypXbIwHN1Y6lLDICi6TKQFN2i_U6aIFTbX72fKEO36Rz_Hmksdbzncxdp0yelnaXN3Nkk/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="350" data-original-width="219" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixYuVsHOXV6FO1Pn6qckkPPlc3wZdT70bga88_szjO7v274LDSX6r-y4hVyYZvFKXu9kjFlyypXbIwHN1Y6lLDICi6TKQFN2i_U6aIFTbX72fKEO36Rz_Hmksdbzncxdp0yelnaXN3Nkk/s640/62.jpg" width="396" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Veneux Fontainebleau" Prieur - 1930</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpnzKVrQXGv0f9DLr_TkCfkVsaZ4-qS2mokXt0FgQAPILwpy3gt_pZxhcD9BZUQGpPIZESnIluElWVNyTuzGs9VmtREdgRnc19GKVm224ygUPI_9Eh42Hr70Ij2h_M1XW4xnhy1_Iu1UI/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1024" data-original-width="656" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpnzKVrQXGv0f9DLr_TkCfkVsaZ4-qS2mokXt0FgQAPILwpy3gt_pZxhcD9BZUQGpPIZESnIluElWVNyTuzGs9VmtREdgRnc19GKVm224ygUPI_9Eh42Hr70Ij2h_M1XW4xnhy1_Iu1UI/s640/62.jpg" width="410" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">TWA Spain </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbXjkTFqo072CFTezBTgOpk5NIJuuQSyoWhw5WFudHoJjSy-zu9wyAnvJctzsFyf91mZG2NW3kiD1bDyROQIhjNeBzqAb5lfMJETwnIX_0vXJxxqwROIi2Zcrb9PPA6mRn3OR0cURpGug/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="758" data-original-width="479" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbXjkTFqo072CFTezBTgOpk5NIJuuQSyoWhw5WFudHoJjSy-zu9wyAnvJctzsFyf91mZG2NW3kiD1bDyROQIhjNeBzqAb5lfMJETwnIX_0vXJxxqwROIi2Zcrb9PPA6mRn3OR0cURpGug/s640/62.jpg" width="402" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">‘Klosters. Graubnden, Schweiz,’ J. C. Müller,</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAmmK4M8OxPgU0-rkOf6kjJAH8loX2qqlkIVrvgoX4aOz8wFGtFnlfjpAc35SLnYjPBGYJVfWS_-6l41uROtOvHacW-gHW8trw9ilxfWNZM1I6Z2A4KjwDuXck3idMozunJFDbNgRJ4Hs/s1600/Screenshot+2018-03-01+at+9.15.15+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="734" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAmmK4M8OxPgU0-rkOf6kjJAH8loX2qqlkIVrvgoX4aOz8wFGtFnlfjpAc35SLnYjPBGYJVfWS_-6l41uROtOvHacW-gHW8trw9ilxfWNZM1I6Z2A4KjwDuXck3idMozunJFDbNgRJ4Hs/s640/Screenshot+2018-03-01+at+9.15.15+PM.png" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLkZshbYRuzQWGUuF5kY2UFFASMLHpki6Il9vM6GjfdjqJi1Qze8OK_jY6nsKfNX45fsM22Fe-AozD1LkVRlaOJp3eS5Ydk9AGU_REmUVeQmHCbHDb003ZrENzl0DKkK8A3VB0d6w_FGY/s1600/62.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1001" data-original-width="749" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLkZshbYRuzQWGUuF5kY2UFFASMLHpki6Il9vM6GjfdjqJi1Qze8OK_jY6nsKfNX45fsM22Fe-AozD1LkVRlaOJp3eS5Ydk9AGU_REmUVeQmHCbHDb003ZrENzl0DKkK8A3VB0d6w_FGY/s640/62.jpg" width="476" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTKxxmQIozuDiFo-lWL0iMrIrKcK2AXrxFH-A2T4ucEE-k9-oZQf4NgsiiVj9LBPNRv6kqowUW6RwrzFMNeAYvJ0HxWPB7yROOoSTJd_KuMiu6P-RTs9uRV4tiX1hNh82MioqI1uCLFXk/s1600/62.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="645" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTKxxmQIozuDiFo-lWL0iMrIrKcK2AXrxFH-A2T4ucEE-k9-oZQf4NgsiiVj9LBPNRv6kqowUW6RwrzFMNeAYvJ0HxWPB7yROOoSTJd_KuMiu6P-RTs9uRV4tiX1hNh82MioqI1uCLFXk/s640/62.jpg" width="402" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKg53XA4D5lbpm34yvXciCrDu1c4oCoVOW7x1KejaiTLRiNGl7nJ-3XUEIijY4Y7cJcA9aT4jg_otR_z_TGAnXX2qhG8mN5s0ZDQd4DXb3UnkEc2H0xuX888v2bChvsruTmFKKOFku5qo/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="770" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKg53XA4D5lbpm34yvXciCrDu1c4oCoVOW7x1KejaiTLRiNGl7nJ-3XUEIijY4Y7cJcA9aT4jg_otR_z_TGAnXX2qhG8mN5s0ZDQd4DXb3UnkEc2H0xuX888v2bChvsruTmFKKOFku5qo/s640/62.jpg" width="396" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">‘Varmland, Sweden. An unspoiled mecca for tourists,’ Beckman, 1936</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDMu_sHN-NbZwiQLIXjAUeWqqBKO5Ee-z87Jsz6qqQEzZporLXCd3dpKXwo6Q5Hqj0MeWRXu_9bMvqx0lCOvKFwGQ9Sc_B9J8MbozgbrYzpmgY-lP5mAae4NtxyaeQw7wWRS-lJ10Q0DM/s1600/Screenshot+2018-03-01+at+9.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="493" data-original-width="710" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDMu_sHN-NbZwiQLIXjAUeWqqBKO5Ee-z87Jsz6qqQEzZporLXCd3dpKXwo6Q5Hqj0MeWRXu_9bMvqx0lCOvKFwGQ9Sc_B9J8MbozgbrYzpmgY-lP5mAae4NtxyaeQw7wWRS-lJ10Q0DM/s640/Screenshot+2018-03-01+at+9.png" width="640" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRtuseto9LA70YYg_aJuHMdffgTH2x-1uzw-oltu3CsloURaYUMasyjhL4QdBNLd-u4ueNaDz4hSDkLAfu2jLOZdH7ULEWk7z1s3N50Qc7_0KUAYUyoBFcgxpDHj-NnV5R-JDi7iO-T70/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="990" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRtuseto9LA70YYg_aJuHMdffgTH2x-1uzw-oltu3CsloURaYUMasyjhL4QdBNLd-u4ueNaDz4hSDkLAfu2jLOZdH7ULEWk7z1s3N50Qc7_0KUAYUyoBFcgxpDHj-NnV5R-JDi7iO-T70/s640/62.jpg" width="394" /></a></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxblMiTpWiLFFxusNfbK2wVhuEKrFPQ2x4EUrf-NMX3ssEhZUPpWjKZLCcswl2lpMLOwwPX3tFQTfWOeB6waj3CAHMsPabbLkbfILtEEum9DL79x9-G50FzEEabRK-Eb7XDvIpgL7s-Jg/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="550" data-original-width="385" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxblMiTpWiLFFxusNfbK2wVhuEKrFPQ2x4EUrf-NMX3ssEhZUPpWjKZLCcswl2lpMLOwwPX3tFQTfWOeB6waj3CAHMsPabbLkbfILtEEum9DL79x9-G50FzEEabRK-Eb7XDvIpgL7s-Jg/s640/62.jpg" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cote d'Azur Jean-Gabriel Domergue</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjDw4tjkwQzFuNJa_u7req4V86JvaCBpjjHoRIcSGQGTmTxRiZH-YAvFJXjALNh7aQhbOb3VK4YMX15y2cUkDnTxRvH4L1w8eiyf45XtAvswqinckxnFud_6XTqgvpBfAxVvDt-q41UJk/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="550" data-original-width="438" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjDw4tjkwQzFuNJa_u7req4V86JvaCBpjjHoRIcSGQGTmTxRiZH-YAvFJXjALNh7aQhbOb3VK4YMX15y2cUkDnTxRvH4L1w8eiyf45XtAvswqinckxnFud_6XTqgvpBfAxVvDt-q41UJk/s640/62.jpg" width="508" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">L'Ete sur la Cote d'azur Roger Broders</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifaPoZoYWqC-OBJoebguAoDOAz7VXajAnAVBzBT6TVOZJxtkDGrpgumEFKZbWtyzoagLcc4Y9IPQW_nUAwWyJcP1-bVsfwWlxYQZSSgPw6I03wu2AuTekoB6jLD9S2e2ITMlb79B-vTBo/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="550" data-original-width="412" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifaPoZoYWqC-OBJoebguAoDOAz7VXajAnAVBzBT6TVOZJxtkDGrpgumEFKZbWtyzoagLcc4Y9IPQW_nUAwWyJcP1-bVsfwWlxYQZSSgPw6I03wu2AuTekoB6jLD9S2e2ITMlb79B-vTBo/s640/62.jpg" width="476" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Les Sables d'Olonne Walter Thor</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAb-dODhyphenhyphencZJBJxRWNIOsr0ukN_QxzVCJv3jg_hNoBGpsvZUboJcup74dpQJRQ3tWx_0RjUcDeFBAxl7AajGFF6NyuUv5HMsd7ZjiEndZGJXyhwG1HlEvtX3gZh1Q9ByshKJFLzMhwGaY/s1600/62.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="758" data-original-width="479" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAb-dODhyphenhyphencZJBJxRWNIOsr0ukN_QxzVCJv3jg_hNoBGpsvZUboJcup74dpQJRQ3tWx_0RjUcDeFBAxl7AajGFF6NyuUv5HMsd7ZjiEndZGJXyhwG1HlEvtX3gZh1Q9ByshKJFLzMhwGaY/s640/62.jpg" width="402" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBbudkwQovkLcjGyxhFcURtxEBgYHm22DoN3YQM-Ov6okSZQl65m6CCH06Sa1jKj3Vjjba8s8LoqgXZgYSaFfcXbTenYeNsbrp7NFBtwI_r1wC0Jo_2gDRexXW55Iu7O7ZaXQC80-2xRA/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="713" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBbudkwQovkLcjGyxhFcURtxEBgYHm22DoN3YQM-Ov6okSZQl65m6CCH06Sa1jKj3Vjjba8s8LoqgXZgYSaFfcXbTenYeNsbrp7NFBtwI_r1wC0Jo_2gDRexXW55Iu7O7ZaXQC80-2xRA/s640/62.jpg" width="428" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">‘Alaska via Canadian Pacific, Taku Glacier,’ Greenwood</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXcVDyq702cyrwpvOG8Sn3Atpg454T8v8VtHcn8RwT-nkrFUTcK2Nf6K97DY5XboMbJn2zmIncJmbxTPawO4Et0FZxYZnfb8_9afYRKGU_tRfkWIlPSAYVeDQFRLcSBfog6S3gDUVt684/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="300" data-original-width="224" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXcVDyq702cyrwpvOG8Sn3Atpg454T8v8VtHcn8RwT-nkrFUTcK2Nf6K97DY5XboMbJn2zmIncJmbxTPawO4Et0FZxYZnfb8_9afYRKGU_tRfkWIlPSAYVeDQFRLcSBfog6S3gDUVt684/s640/62.jpg" width="477" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Greyhound's Los Angeles Disneyland Poster. ca. 1960s</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhccUTaPlwaAI-1_dcxKSYYuyVFtgQqmHsQoiYLA5bj78g8yoq14qQhiF9-3PCwQxNatsOtOY_F-9-yebv8Mj1Wpc0fWRkrw8D95h_dq31-Wzn54Hb5wXg5hv7NsyNYcd2UTVCGRSEWoJc/s1600/62.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="652" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhccUTaPlwaAI-1_dcxKSYYuyVFtgQqmHsQoiYLA5bj78g8yoq14qQhiF9-3PCwQxNatsOtOY_F-9-yebv8Mj1Wpc0fWRkrw8D95h_dq31-Wzn54Hb5wXg5hv7NsyNYcd2UTVCGRSEWoJc/s640/62.jpg" width="404" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAvHP3GrpsTTbHRGx1QYNVqPIXwVHwZnisAJOvCyth8jAHr0qnYxZCKF29srwwBhzLIJUjfixdeP_GMHz6Xu2H7WTSrpYFoFdPIeMfFEK_cIvrccHEB179okoFh0vtT-i0kXPZSsVdVCo/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="299" data-original-width="207" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAvHP3GrpsTTbHRGx1QYNVqPIXwVHwZnisAJOvCyth8jAHr0qnYxZCKF29srwwBhzLIJUjfixdeP_GMHz6Xu2H7WTSrpYFoFdPIeMfFEK_cIvrccHEB179okoFh0vtT-i0kXPZSsVdVCo/s640/62.jpg" width="442" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Southern Pacific's California Beaches poster, by Maurice Logan, ca. 1920s</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqKB3nBO2uT4XroAOZcffzxMx2nVteru91Y4ohdqtjjPzEcXKzgrs1nnmXQFhACAmC1LY7D7t_goMcCO2ysH8_5h7NXIQiMB968-0MZLoZb6fzyOHDyoqEUAd-HlvMt5TIiyvmQ2Ga3GQ/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="309" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqKB3nBO2uT4XroAOZcffzxMx2nVteru91Y4ohdqtjjPzEcXKzgrs1nnmXQFhACAmC1LY7D7t_goMcCO2ysH8_5h7NXIQiMB968-0MZLoZb6fzyOHDyoqEUAd-HlvMt5TIiyvmQ2Ga3GQ/s640/62.jpg" width="394" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">United Air Lines' Southern California poster, by Stan Galli, ca. 1955</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkiXDZGhHX9yKx_JAlW8u6JKQDzmSDZI20XKwhdjz9tuqxXRIq-FQmuBDOoE-lzci8Mi-6nGRq6DzVB3ISWq4U5Sz6b7Du3qQQ6YWawcCIL60rl-_9dLrT_5-KodSSV9nTM6HmELD2t5I/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="377" data-original-width="236" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkiXDZGhHX9yKx_JAlW8u6JKQDzmSDZI20XKwhdjz9tuqxXRIq-FQmuBDOoE-lzci8Mi-6nGRq6DzVB3ISWq4U5Sz6b7Du3qQQ6YWawcCIL60rl-_9dLrT_5-KodSSV9nTM6HmELD2t5I/s640/62.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Pacific Coast Highway</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhREGHskJTcbvrVsQU-t2600EVGFVyuA1WC4Xh6HHRgBETI_u4Yi7dFBLZypBw5V4-3Q8WoD_K9hpaxO6x7bGSwKeZrRCRLWNNCvB6Hgb68wNxZbrIVKsNsWUBIcdayMs9aushH3Ule_F8/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="354" data-original-width="236" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhREGHskJTcbvrVsQU-t2600EVGFVyuA1WC4Xh6HHRgBETI_u4Yi7dFBLZypBw5V4-3Q8WoD_K9hpaxO6x7bGSwKeZrRCRLWNNCvB6Hgb68wNxZbrIVKsNsWUBIcdayMs9aushH3Ule_F8/s640/62.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Laguna Beach, California</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKWiF3VyzsaQSzccF9skFG1UHw_MLwWuqyA3BNvHKpQ-G_gaTvbPrMTxucPW-MXkQ-l_MdeeELB4gI6kwbexEWBZlAEbPXjFeZ22AcL9FR5TztyMyTqyAPsCa-jZAXt4WUZIOhERFrieM/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="378" data-original-width="236" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKWiF3VyzsaQSzccF9skFG1UHw_MLwWuqyA3BNvHKpQ-G_gaTvbPrMTxucPW-MXkQ-l_MdeeELB4gI6kwbexEWBZlAEbPXjFeZ22AcL9FR5TztyMyTqyAPsCa-jZAXt4WUZIOhERFrieM/s640/62.jpg" width="396" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">United Air Lines San Francisco, Cable Car Posters by Stan Galli</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDPgVOZNK8-wwruEz8P4aqcgWnlyKjH0CLmKchkBZgqKjbDc8A0dS0jgKm60pNd1kXJXv2Vy74DY9BdLu5TmDKhB0-7i_kbTDlLq-mMTb2KvotLGDc3QAuD0BR7SRtHQWUSPl5I913lqM/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="368" data-original-width="236" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDPgVOZNK8-wwruEz8P4aqcgWnlyKjH0CLmKchkBZgqKjbDc8A0dS0jgKm60pNd1kXJXv2Vy74DY9BdLu5TmDKhB0-7i_kbTDlLq-mMTb2KvotLGDc3QAuD0BR7SRtHQWUSPl5I913lqM/s640/62.jpg" width="410" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">California Carmel by the Sea</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjCZ1LpK-DG4ldKPrbqwMreXxuC1kOPRxuKK6531EtcAUT6yYIs1FIBOTUVNmonYRYAeQBRpIKq_COwedv3Z5SCIlZ8PnNYQSnplQUGSo9xaPVLbuA-IQAj1_vlHytV3Czu0tGq-Ke6H0/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="365" data-original-width="236" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjCZ1LpK-DG4ldKPrbqwMreXxuC1kOPRxuKK6531EtcAUT6yYIs1FIBOTUVNmonYRYAeQBRpIKq_COwedv3Z5SCIlZ8PnNYQSnplQUGSo9xaPVLbuA-IQAj1_vlHytV3Czu0tGq-Ke6H0/s640/62.jpg" width="412" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lake tahoe california</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCbMNUt7JjxFSdNxDeZ6qe5sCHWVsI0urhmh9iHIc_efPhtDGLQR360OwNr0x4QNtUTJk3zGPUbhcylXuyuo-F4SE5muHwPNR_fIWExV5JvyRIq3EPM0cRmV_dUdTIHjQdqWx7qUkKTxA/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="314" data-original-width="237" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCbMNUt7JjxFSdNxDeZ6qe5sCHWVsI0urhmh9iHIc_efPhtDGLQR360OwNr0x4QNtUTJk3zGPUbhcylXuyuo-F4SE5muHwPNR_fIWExV5JvyRIq3EPM0cRmV_dUdTIHjQdqWx7qUkKTxA/s640/62.jpg" width="481" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">San Diego, California - Old Town </td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-wISqdJvnnMUB2ztHcC6lyW9q3A5CEUEDJsq4AEDGi_pXAVf6HgQozmly87_xHYkxVmIsEkWZgG5gQ_XjlvV8GL-59032rki7f6hQZc3vZfBcxFY1yv4b3PYRBoam8qv_h4sMzaylJjM/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="354" data-original-width="236" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-wISqdJvnnMUB2ztHcC6lyW9q3A5CEUEDJsq4AEDGi_pXAVf6HgQozmly87_xHYkxVmIsEkWZgG5gQ_XjlvV8GL-59032rki7f6hQZc3vZfBcxFY1yv4b3PYRBoam8qv_h4sMzaylJjM/s640/62.jpg" width="426" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">California Sailboat Boat Sport Travel</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh85-ByYAh2h8f8m6XYQlJFv5GFopEbXykfvo0wnCgTDf5wurZcbt36nTrEj2FCjh_1-s5nHgaZJBGqLcL2wvvqf92McVc-MJlCW7jla4ZvStLQE57SV4PtbVsn_SQKir8ziF6TX8wsE-M/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="460" data-original-width="237" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh85-ByYAh2h8f8m6XYQlJFv5GFopEbXykfvo0wnCgTDf5wurZcbt36nTrEj2FCjh_1-s5nHgaZJBGqLcL2wvvqf92McVc-MJlCW7jla4ZvStLQE57SV4PtbVsn_SQKir8ziF6TX8wsE-M/s640/62.jpg" width="328" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sunny California - Surf's Up</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRUOhul0B0MZQsGcJ3fqP_cKLg00oeEEuUeDOOwITTdNB-T565zjbSAbQ557hhEsLsqOcICkE4iGhtSz8eT6f23ZsUZSOZGAXaZlPgE9a-p4PG36m1AhcYd85kx9ufIX02KkuiLvKj16c/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="375" data-original-width="236" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRUOhul0B0MZQsGcJ3fqP_cKLg00oeEEuUeDOOwITTdNB-T565zjbSAbQ557hhEsLsqOcICkE4iGhtSz8eT6f23ZsUZSOZGAXaZlPgE9a-p4PG36m1AhcYd85kx9ufIX02KkuiLvKj16c/s640/62.jpg" width="402" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Yosemite</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCwVEPluPCFSlgb3qn6LgPbEBiokMpwsnEtkZA0PYPwgjJwH3LPZQR46Ih05_mMka2XgUQUG1vdRb6uAHSS4oqkgcdqcFk7Mrclu-FDimxm4NauaChv-F_p0Myhz8Arpm__AK8g6TIGvE/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="315" data-original-width="236" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCwVEPluPCFSlgb3qn6LgPbEBiokMpwsnEtkZA0PYPwgjJwH3LPZQR46Ih05_mMka2XgUQUG1vdRb6uAHSS4oqkgcdqcFk7Mrclu-FDimxm4NauaChv-F_p0Myhz8Arpm__AK8g6TIGvE/s640/62.jpg" width="481" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Key West Florida Travel Poster by Kerne Erickson</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWmnCbX12EQ0-KAkoYknpt4Xp3tCGS3RSwXkTobxDlvmiR8Gn7gYxnckvRLbW3OR8HhoVe-R76EwZN5eQMgBK7jneLy_FsXuyA4YzKp9nKiefxUxlgprgQ1-fKOPa4XZ_UcNPNkj6-4KQ/s1600/62.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="335" data-original-width="236" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWmnCbX12EQ0-KAkoYknpt4Xp3tCGS3RSwXkTobxDlvmiR8Gn7gYxnckvRLbW3OR8HhoVe-R76EwZN5eQMgBK7jneLy_FsXuyA4YzKp9nKiefxUxlgprgQ1-fKOPa4XZ_UcNPNkj6-4KQ/s640/62.jpg" width="452" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Grand Canyon National Park</td></tr>
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-69861948598210666642018-01-22T10:58:00.004-08:002018-01-22T10:58:32.120-08:00Chapter 88: Visual Communication in Mysterious and Majestic Bayeux Tapestry<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqB4q1CN1mbndTVV0kyo0vSI2V85i7BRa0_vLZsM1pPRBv8CjkoAJVJjTw4CpR28LmG9pvNSrfCy2_rCCrigAfUag5ZxbBt7ha0Omi2QOKOQSceI9jq08CVszxvMr6_yRbFG9bfi1VutU/s1600/m1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="619" data-original-width="1100" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqB4q1CN1mbndTVV0kyo0vSI2V85i7BRa0_vLZsM1pPRBv8CjkoAJVJjTw4CpR28LmG9pvNSrfCy2_rCCrigAfUag5ZxbBt7ha0Omi2QOKOQSceI9jq08CVszxvMr6_yRbFG9bfi1VutU/s640/m1.jpg" width="640" /></a><br />
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The mysterious and majestic Bayeux Tapestry is a stunning piece of visual communication about a decisive battle in British history. The artists of this incredible piece of graphic design have produced a sophisticated, thought provoking, and subtle propaganda against the horrors of war and their impact on a community and its social fabric. Scores of dead bodies, with their horrifying wounds including decapitation, a burning house and various acts of atrocities constitute a powerful manifesto against any war.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBpbn7yqBbmJXs2CNfszydrAtqUAS5v0m0JI6Tb9CEMvIWK5x6Cd8u1CUChdvvlqwGcZhRzA3h7-XdpBi0oiBpNpsRcFqXaZ3vXlyf9Gxw4qPWl_46IEUehrymA_Uq5nfbRoLcRQb4bVg/s1600/m1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="511" data-original-width="768" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBpbn7yqBbmJXs2CNfszydrAtqUAS5v0m0JI6Tb9CEMvIWK5x6Cd8u1CUChdvvlqwGcZhRzA3h7-XdpBi0oiBpNpsRcFqXaZ3vXlyf9Gxw4qPWl_46IEUehrymA_Uq5nfbRoLcRQb4bVg/s640/m1.jpg" width="640" /></a><br />
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Little is known about the origins of the tapestry. Historians have long debated the origins of the tapestry. The earliest written reference to it is from 1476, in an inventory from Bayeux Cathedral, but it is not known whether it was made in England or France. Until the Renaissance, most Northern European embroidery could be fairly categorized as religious art and confined itself to Biblical themes. The Bayeux Tapestry was a major exception to this trend. According to the latest research, the Tapestry was commissioned by William the Conqueror's half-brother Odo, Bishop of Bayeux, Normandy, in whose cathedral the Tapestry was discovered.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilmZMoVG4A05uMudPlNJ66u1rHr8bgp_BoQLmotIi6CMYbpCHtRHz1aj6yuSHx2QH4PilTizsOzD2cJ_wN56pPTI3a3Ih-WZxcS06FdMnUetroXBFG_0WwWybrbhR4v8s9FhOD_JUTHeE/s1600/m.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="579" data-original-width="965" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilmZMoVG4A05uMudPlNJ66u1rHr8bgp_BoQLmotIi6CMYbpCHtRHz1aj6yuSHx2QH4PilTizsOzD2cJ_wN56pPTI3a3Ih-WZxcS06FdMnUetroXBFG_0WwWybrbhR4v8s9FhOD_JUTHeE/s640/m.jpg" width="640" /></a><br />
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It is highly probable that the tapestry was designed and embroidered in England during the 1070s by a mixture of medieval artists, including Anglo-Saxon, Norman and Breton seamsters, possibly in the embroidery workshops of Canterbury or Winchester, since by then Odo had been created Earl of Kent and had established himself in the county.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_TXVcrwViUbkGQ0ZDf3_Wj7IJ05_bMG11i7ZznELd_qOGR54Oo3iKlFntp4m5BhH1y6o6O3sVbKshjUvptuvJkYa_GoXZtXGwTvTX3MsvCmxnOM-GMk0i1FEEfgNIjS6tLuWib4r8IWI/s1600/IMG_0712.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="579" data-original-width="965" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_TXVcrwViUbkGQ0ZDf3_Wj7IJ05_bMG11i7ZznELd_qOGR54Oo3iKlFntp4m5BhH1y6o6O3sVbKshjUvptuvJkYa_GoXZtXGwTvTX3MsvCmxnOM-GMk0i1FEEfgNIjS6tLuWib4r8IWI/s640/IMG_0712.JPG" width="640" /></a><br />
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We know that Anglo-Saxon weaving and needlework (known as Opus Anglicanum [English Work]) was highly regarded throughout the Continent, and the seamsters traditionally employed the same vegetable dyes and colour pigments as those found in the Tapestry.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL77RCITE4zHMTJZ7N9NCz769oYlLKkTfVdzBMxcskPG7EODTZ1t2Pz7AH6Vp5e1IxoN8UkYizHfAdm9b3RJ5f5FRYW4mYSoa1aXj6bT-nmQLgGB9PJEQeVcXR8Dre2SS1RkTBrm0R8ww/s1600/m1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="720" data-original-width="1280" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL77RCITE4zHMTJZ7N9NCz769oYlLKkTfVdzBMxcskPG7EODTZ1t2Pz7AH6Vp5e1IxoN8UkYizHfAdm9b3RJ5f5FRYW4mYSoa1aXj6bT-nmQLgGB9PJEQeVcXR8Dre2SS1RkTBrm0R8ww/s640/m1.jpg" width="640" /></a><br />
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The Latin inscriptions on the tapestry have an Anglo-Saxon influence. According to traditional French sources, however, the Bayeux Tapestry was commissioned by William the Conqueror's wife, Queen Matilda. In fact, in France the work is still referred to as "La Tapisserie de la Reine Mathilde", as is the museum in which it hangs.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX8jZVoPtHH4nP8q5y-s1AAxvcw1_CHDYh9huL_0tXKxvIr3Jkh268vRkclQtx4pGhvc_q6drZX5NaGdbbLtYihiVIfc6Y6YIQbR09O_3GwfBurlf2NBmi16Pi1prbhfvDJQ_rpD4Fn1I/s1600/m.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="300" data-original-width="730" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX8jZVoPtHH4nP8q5y-s1AAxvcw1_CHDYh9huL_0tXKxvIr3Jkh268vRkclQtx4pGhvc_q6drZX5NaGdbbLtYihiVIfc6Y6YIQbR09O_3GwfBurlf2NBmi16Pi1prbhfvDJQ_rpD4Fn1I/s640/m.jpg" width="640" /></a><br />
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The tapestry depicts more than 70 scenes chronicling the events leading up to the Battle of Hastings, by forces of William the Conqueror, who invaded England in 1066. This was one of the most important battles in British history. The Norman Conquest transformed England’s language, laws and customs.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRh6l5PKoNk47honepdwfqjjKEnB0plkNyA3CN4BKklklJS3cSIPOVNOlV1JxSZgnzJPBJmaen6Nh-ffpcMJJsyj2jPqn1lDvMMvgUvBf3lxQX_hDoCU_HemvtNsLopowZJCvs35Im9F8/s1600/m.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="133" data-original-width="378" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRh6l5PKoNk47honepdwfqjjKEnB0plkNyA3CN4BKklklJS3cSIPOVNOlV1JxSZgnzJPBJmaen6Nh-ffpcMJJsyj2jPqn1lDvMMvgUvBf3lxQX_hDoCU_HemvtNsLopowZJCvs35Im9F8/s640/m.jpg" width="640" /></a><br />
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The tapestry is possibly the best known textile work in the history of art , and like most other embroidered hangings of the Middle Ages, it is traditionally called a tapestry. However it is not actually a piece of real tapestry which is woven on a loom and the design and colour scheme are woven into the cloth. It is, in fact, an embroidery, which is known as a "ground fabric" on which threads are sewn or embroidered to form a picture.<br />
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Nevertheless, as an important work of Medieval art, the Bayeux Tapestry is a rich source of historical information. It has been in Bayeux since at least 1476, and its creation may have been timed to coincide with the consecration of the city's cathedral in 1077. It is currently on public display at the Musée de la Tapisserie de la Reine-Mathilde in the former Bishop's Palace in Bayeux.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI_pAGkmbXYDneRO9mCmm_TlrlitSnp5vOpBy4d5ZfqIdK5x4IDjTgGVgigTBsgFnUT7IPjPvpTXUGF0R4FqyaXBt7kPE1rxC6Y4iuOtAYuJt32h3N0uW89piCPHO7hWvNHEXvjHT-jTI/s1600/m.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="205" data-original-width="640" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI_pAGkmbXYDneRO9mCmm_TlrlitSnp5vOpBy4d5ZfqIdK5x4IDjTgGVgigTBsgFnUT7IPjPvpTXUGF0R4FqyaXBt7kPE1rxC6Y4iuOtAYuJt32h3N0uW89piCPHO7hWvNHEXvjHT-jTI/s640/m.jpg" width="640" /></a><br />
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The Bayeux Tapestry is made of a linen band, approximately 231 feet in length and 19.5 inches in width, and is embroidered in coloured woollen yarns with more than 70 scenes from the Norman Conquest, involving the two protagonists: Harold, King of England; and William, Duke of Normandy.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhif6ABP6-3SoK5_HKAcQuy2IApWp00zfWmlkc98roTBIvRbdKO0D5MhYenBRmiZWyzc4yHO2N8cj6O92bh1b4iTzKXsmSLlQzJJSHZ4yFButaCxlliNf6O5dcMYpVP9_jUyHY5AAUBGlc/s1600/m.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="136" data-original-width="369" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhif6ABP6-3SoK5_HKAcQuy2IApWp00zfWmlkc98roTBIvRbdKO0D5MhYenBRmiZWyzc4yHO2N8cj6O92bh1b4iTzKXsmSLlQzJJSHZ4yFButaCxlliNf6O5dcMYpVP9_jUyHY5AAUBGlc/s640/m.jpg" width="640" /></a><br />
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The event starts with King Harold's visit to France and ends with the flight of the English soldiers from the Hastings battlefield. There are decorative bands along the top and bottom, while a running commentary in Latin is stitched into the pictorial storyboard. Unfortunately, the final section of the tapestry - roughly 5 feet in length - has been missing for centuries. And according to experts, the final words of the tapestry's inscription ("Et fuga verterunt Angli") were added as late as 1814. However none of this detracts from the beauty of this work, a magnificent exemplar of Romanesque crafts from the 11th century,<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuSDGBLk9c5N_8YsFXYOZPnra0esvIg5Cvh7f4V-4sFmGiA-Vi8BTPxGj9i6JUaGVuDJmpkcrqKEcT7Z0cVkGkbyW1UYt7e5fkK9xrp36-XcoOwQaC_5ecZqc2_ktpVS4H29nlO_r2Yl8/s1600/m.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="316" data-original-width="848" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuSDGBLk9c5N_8YsFXYOZPnra0esvIg5Cvh7f4V-4sFmGiA-Vi8BTPxGj9i6JUaGVuDJmpkcrqKEcT7Z0cVkGkbyW1UYt7e5fkK9xrp36-XcoOwQaC_5ecZqc2_ktpVS4H29nlO_r2Yl8/s640/m.jpg" width="640" /></a><br />
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The work is embroidered in wool yarn on a woven linen ground that is turned brown with age. The artists have used two styles of stitching: outline/stem stitch for the lettering and the outlines of figures, and couching/laid work for the rest. The main colours of the yarns are terracotta, blue-green, gold, olive green, and blue. Other hues include dark blue, black and sage green. Later repairs and re-stitching were done in light yellow, orange, and light greens. The complete work is made up of 9 linen sections, each of which were completed before being stitched together.<br />
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Some people argue that the style of some figures are so different they must have been embroidered by different people. Others argue that it's not the embroidery which is different – but the way the characters were drawn.Examining at the embroidery techniques at the back of the tapestry it has appeared that it is the work highly skilled professional embroiderers.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwC0rR0XgDi32eLER9rd-mWzA5ophmVjm6kGYCr7Hg62EJqNaYbW2OPuH_gsVnBJ1VATpQp9E0-8GxZWvpsz9UA3th-lYCD7HhsMDYxzVQ-xOvnP1LhnJL4ScvtPHtTPcPy7uF0Wj2jWQ/s1600/m.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="355" data-original-width="550" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwC0rR0XgDi32eLER9rd-mWzA5ophmVjm6kGYCr7Hg62EJqNaYbW2OPuH_gsVnBJ1VATpQp9E0-8GxZWvpsz9UA3th-lYCD7HhsMDYxzVQ-xOvnP1LhnJL4ScvtPHtTPcPy7uF0Wj2jWQ/s640/m.jpg" width="640" /></a><br />
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The basic design consisted of a broad middle zone with narrow decorative borders top and bottom. Most of the action takes place inside the middle zone, pictorialized in a series of scenes before and after the Norman invasion of England, during the period 1064-1066. The main characters are King Edward the Confessor, King of England; his brother-in-law and successor to the English throne, Harold Godwinson; William, Duke of Normandy and son of Robert the Magnificent.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI-dzODNzyOS0nPBZtF5tVR0nYMb496-Uxbq9jX_EIjya0pOG5PYTK3Y3ijQ65ZdLP1yBiZvqknV3UTX8cHHMC0HDqWbK0Z8DYlH0t6NBo_967rU-fIs4l_DydGNlkxzM8XdzwwwN5DfE/s1600/m1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="500" data-original-width="750" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI-dzODNzyOS0nPBZtF5tVR0nYMb496-Uxbq9jX_EIjya0pOG5PYTK3Y3ijQ65ZdLP1yBiZvqknV3UTX8cHHMC0HDqWbK0Z8DYlH0t6NBo_967rU-fIs4l_DydGNlkxzM8XdzwwwN5DfE/s640/m1.jpg" width="640" /></a><br />
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Latin inscriptions - stitched in dark blue and providing names of people and places and other comments - also appear in the central zone and, less often, in the top border. The borders are purely decorative, with images of animals, rural life and hunting. The top border also features the first known picture of Halley's Comet. Following its "discovery" in the mid-1720s, a backing cloth was sewn onto the linen, to which reference numbers were added in ink, about 1800.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV8U-5HTVdZMQMTKYbNdrDa9D-RfljgHmUvj-ZgoOSnQ0rgDU8UuumXdMCSbr29eKv0AxHC1M3g3Y3zRZVAuTZ81-wL6ojBks1K_I87mtngC_B7Hma-qlk4TjWcRqNU37gDnPXkQu9SiE/s1600/IMG_0712.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="624" data-original-width="965" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV8U-5HTVdZMQMTKYbNdrDa9D-RfljgHmUvj-ZgoOSnQ0rgDU8UuumXdMCSbr29eKv0AxHC1M3g3Y3zRZVAuTZ81-wL6ojBks1K_I87mtngC_B7Hma-qlk4TjWcRqNU37gDnPXkQu9SiE/s640/IMG_0712.jpg" width="640" /></a><br />
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The existence of the Tapestry was first mentioned in 1476 when it appeared in an inventory of Bayeux Cathedral. It was next referred to in 1724, in a report sent by Antoine Lancelot to the <i>Academie Royale des Inscriptions et Belles-Lettres </i>which mentioned a drawing he had received, based on an earlier work depicting William the Conqueror. The writer was unsure whether the earlier work was a painting, a sculpture or even a tapestry. Not long afterwards, the French Benedictine scholar Bernard de Montfaucon found the tapestry preserved at Bayeux Cathedral - where it was being displayed in public once a year to coincide with the Feast of St. John the Baptist - and published drawings together with an extensive description of the work.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnKnOQPvoYLQhWV4roHi4EXBuSJNR2lmtZ4WmC3uXbT0Sk0va0nBKFFumUroUnWrexycuaCV_vxPP42980aNozH54HtGZeUKPDlRYW-gAbQrUYZkK8RHW-B7h4lWRXVW_kgOqXkkiUlws/s1600/m1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="270" data-original-width="591" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnKnOQPvoYLQhWV4roHi4EXBuSJNR2lmtZ4WmC3uXbT0Sk0va0nBKFFumUroUnWrexycuaCV_vxPP42980aNozH54HtGZeUKPDlRYW-gAbQrUYZkK8RHW-B7h4lWRXVW_kgOqXkkiUlws/s640/m1.jpg" width="640" /></a><br />
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During the French Revolution, the Tapestry narrowly avoided destruction and in 1803, after coming into the possession of the official commission of fine art, was moved to Paris to be displayed at the Musee Napoleon. Within a few years, however, it was returned to Bayeux. In 1842, following concerns about its preservation, it was displayed in a special-purpose room in the city's public library. In the summer of 1944 it only just survived being transferred to Berlin. After the liberation of Paris, the Tapestry was briefly displayed in the Louvre before being returned to Bayeux the following year.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg63ELskEfF9gy7N9Ryf7lZnPoFGRxVLLgRUxkVxWriMbNCv6BAhjAR6NDEqvv3NQezCQZmZ1sVmjTnc6Q9KdvoPMKCgbLhhwQYaUreZxIY9Cq0eD4IDSQzpqHEGQH9AgWzG3DObWwzoo/s1600/m1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="387" data-original-width="620" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg63ELskEfF9gy7N9Ryf7lZnPoFGRxVLLgRUxkVxWriMbNCv6BAhjAR6NDEqvv3NQezCQZmZ1sVmjTnc6Q9KdvoPMKCgbLhhwQYaUreZxIY9Cq0eD4IDSQzpqHEGQH9AgWzG3DObWwzoo/s640/m1.jpg" width="640" /></a><br />
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Replicas<br />
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Several replicas of the Bayeux Tapestry have been created, including: (1) a full-size copy, now exhibited in the Museum of Reading, Berkshire, which was created in 1885-6 by artist William Morris in collaboration with textile manufacturer Thomas Wardle, his seamstress wife Elizabeth, and thirty other embroiderers; (2) a full-size replica completed in 1996 by Professor Ray Dugan of the University of Waterloo, which has since been exhibited in various art museums in Canada and the United States. (3) a hand-painted full-size version of the Bayeux Tapestry, commissioned by Dr. E.D. Wheeler, former dean at Oglethorpe University, which resides at the University of West Georgia, to whom it was donated in 1997. (4) A half-size mosaic of the Bayeux Tapestry, created by Michael Linton (1979-99) is on public display in Geraldine, New Zealand. It also features a hypothetical reconstruction of the missing final scenes of the Tapestry, concerning the lead-up to the coronation of William the Conqueror in Westminster Abbey on Christmas Day 1066.<br />
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-10946985873800241482016-09-26T17:41:00.117-07:002024-03-03T16:49:00.395-08:00Chapter 40; A history of Caricatures and Political Cartoons: History in its context<div dir="ltr" style="text-align: left;" trbidi="on">
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<li><a href="#One"><span style="font-size: medium;">Introduction: The birth of Caricature </span></a></li>
<li><a href="#Two"><span style="font-size: medium;">Political Cartoons</span></a></li>
<li><a href="#Three"><span style="font-size: medium;"> From the French Revolution until the Great War: A Narrative of History in Cartoons</span></a></li>
<li><a href="#Four"><span style="font-size: medium;">The "Citizen King" and the Royal Pear: The case against Charles Philipon </span></a></li>
<li><a href="#Four-1"><span style="font-size: medium;">American Revolution </span></a></li>
<li><a href="#Five"><span style="font-size: medium;"> The capitulation of Sedan; Napoleon III and Wilhelm I of Prussia</span></a></li>
<li><a href="#Six"><span style="font-size: medium;">Thomas Nast, Abraham Lincoln and the Civil War</span></a></li>
<li><a href="#Seven"><span style="font-size: medium;">Louis Raemaekers and the Great War </span></a></li>
<li><a href="#Eight"><span style="font-size: medium;">Editorial cartoons after WWII </span></a></li>
<li><a href="#Eight1"><span style="font-size: medium;">After the Cold War </span></a></li>
<li><a href="#Trump"><span style="font-size: medium;">Donald Trump's 'chaos' presidency </span></a></li>
<li><a href="#Eight2"><span style="font-size: medium;">The Financial Crisis and Great Recession, </span></a></li>
<li><a href="#Eight3"><span style="font-size: medium;">The Snowden Affair, </span></a></li>
<li><a href="#Eight4"><span style="font-size: medium;">Obama and the Arab Spring, </span></a></li>
<li><a href="#Eight4.1"><span style="font-size: medium;">Saudis Connection, </span></a></li>
<li><a href="#Eight5"><span style="font-size: medium;">Pope Benedict's Resignation, </span></a></li>
<li><a href="#Seven2"><span style="font-size: medium;">Canada </span></a></li>
<li><a href="#Eight0"><span style="font-size: medium;">Britian before and after Margaret Thatcher </span></a></li>
<li><a href="#Eight10"><span style="font-size: medium;">France and Germany after WWII </span></a></li>
<li><a href="#Eight30"><span style="font-size: medium;">Chancellor Angela Merkel's Germany </span></a></li>
<li><a href="#Nine"><span style="font-size: medium;">China of Mao Zedong, Deng Xiaoping, Jiang Zemin, and Hu Jantao</span></a></li>
<li><a href="#Ten"><span style="font-size: medium;">Narendra Modi's India </span></a></li>
<li><a href="#Eleven"><span style="font-size: medium;">The NATO Campaign in Libya</span></a></li>
<li><a href="#Twelve"><span style="font-size: medium;"> Myanmar and the Education of Aung San Suu Kyi</span></a></li>
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<span><span><span style="color: #b45f06; font-size: x-large; font-weight: normal;">Introduction: The birth of Caricature</span></span></span></h4>
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<span>The history of Caricature, as part of a discipline in modern graphic design, may be traced back to the cultures of ancient Egypt, Greek and Rome and in the middle ages to Leonardo da Vinci's attempts to comprehend the concept of ideal beauty, by analyzing "the epitome of grotesque".</span></span></div><div dir="ltr" trbidi="on"><span style="font-size: medium;"><span><br /></span>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgafRpQvyZ7BvJF8KdXQVZ5zSfq8z2LbPUoPPCPMMHKBVt-BTRAf0wY7NeEz2VoeB_PHjvoJm5uLLoriqExVfcJw8kU9Q4DuF_YdI4RGzYoLPdJ8VCcYieRZt4zKo8GVXb9oBH-728XPl0/s1600/b.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgafRpQvyZ7BvJF8KdXQVZ5zSfq8z2LbPUoPPCPMMHKBVt-BTRAf0wY7NeEz2VoeB_PHjvoJm5uLLoriqExVfcJw8kU9Q4DuF_YdI4RGzYoLPdJ8VCcYieRZt4zKo8GVXb9oBH-728XPl0/s640/b.png" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">An Egyptian funeral boat</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb9it6HhcQaXzrblxSWQoRJHm6HCAZ4eE8vNb759PS6KEavsFn9qiWS8euNTG3zup_iQIf32DrXwdMAi7VsML-fs5qhglAcQLPMuVk9-erLSa9T05bTmAmeBk9QtT9B2Mj5M7Lyziyb_o/s1600/a3..jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgb9it6HhcQaXzrblxSWQoRJHm6HCAZ4eE8vNb759PS6KEavsFn9qiWS8euNTG3zup_iQIf32DrXwdMAi7VsML-fs5qhglAcQLPMuVk9-erLSa9T05bTmAmeBk9QtT9B2Mj5M7Lyziyb_o/s640/a3..jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">An Unfortunate Egyptian Soul</span></td></tr>
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<span>Caricatures are designed to oversimplify and exaggerate each subject's distinctive features, while still maintaining a recognizable likeness, in order to convey a visual message. According to Thomas Wright, a message has been conveyed to us from the distance of the ages by an Egyptian image in which a small boat with provisions that runs into the back of a larger funeral boat, upsetting the tables of cakes and other supplies. Thus this scene has the characteristics of a caricature. Wright, provides other Egyptian examples in which animals are employed in occupations usually reserved for humans which appear to be humorous , and he discusses examples of the ancient Greeks who were especially partial to representations of monsters, frequently using their images in their ornaments and works of arts.</span><br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4hrXhQDLYipxS3HDGvFWr5J4wNPlySkIjqYrmhZ0E_xTE3DeChv1Y4dFMpi8U0F7DRQ3eSioNvZ0uaBpAaE6LqThuFYAVXJhOPTmv3QFnV-H3WbqZ0bOYrpoKJMgzMJ1iUKcGNM8oZMQ/s1600/a3..jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4hrXhQDLYipxS3HDGvFWr5J4wNPlySkIjqYrmhZ0E_xTE3DeChv1Y4dFMpi8U0F7DRQ3eSioNvZ0uaBpAaE6LqThuFYAVXJhOPTmv3QFnV-H3WbqZ0bOYrpoKJMgzMJ1iUKcGNM8oZMQ/s640/a3..jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">The Egyptian God Typhoon</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG2FwwkGywL9KNXcHGiCgHwpDg4833Vma_DdJyQokqq8rY4PSVOlbj1ZQOAAQAVzwKlvnP3G2tphRRPjMHUenvLp2p3VYTWsWOjiU2-vVouxdLrOU9rxbTlbSLZjkEUdByRGPKHnvkCN0/s1600/a3..jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG2FwwkGywL9KNXcHGiCgHwpDg4833Vma_DdJyQokqq8rY4PSVOlbj1ZQOAAQAVzwKlvnP3G2tphRRPjMHUenvLp2p3VYTWsWOjiU2-vVouxdLrOU9rxbTlbSLZjkEUdByRGPKHnvkCN0/s400/a3..jpg" style="border: none; position: relative;" width="310" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">A Greek Gorgon</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-tHpEV13pHKI_54tTiKclKr4yvTvcxDTGZ772pCvY-e4TpNQdWQLh82c56ZxFM1SRxYMpJLEXdheS231ehl6bozHFHKcSBvchXdxOw90ld58tWCZXBziYF51zi6y3vDBnBtj4VJTQbSM/s1600/a3..jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-tHpEV13pHKI_54tTiKclKr4yvTvcxDTGZ772pCvY-e4TpNQdWQLh82c56ZxFM1SRxYMpJLEXdheS231ehl6bozHFHKcSBvchXdxOw90ld58tWCZXBziYF51zi6y3vDBnBtj4VJTQbSM/s1600/a3..jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">The Roman Sannio, from an engraving in the "Differetatio de Larvis Scenicis" by the Italian antiquary Ficoroni, who copied it from an engraved gem. He wears the Foccus or low shoe peculiar to the comic actors.</span></td></tr>
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<span>In particular, Greeks adapted the figure of the Egyptian god Typhoon to represent their Gorgon, as the above images show the Greek Gorgon was a rather close emulation of Typhoon. The image of Typhoon with its broad, coarse, and frightful face, lolling out his large tongue , appeared frequently on the Egyptian monuments. According, to Pliny in his "Natural History" among the pictures exhibited in the Forum at Rome there was one in which a Gaul was represented, "trusting out his tongue in avert unbecoming manner". Perhaps by using a Gorgon-type caricaturization, Romans were trying to exhibit their displeasure with Gauls. The Roman popular character Sannio, or buffoon, whose name is derived from a similar Greek character and who was employed in performing burlesque dances, making grimaces, and in other acts calculated to excite the mirth of the spectators, was another example of these ancient caricatures.</span><br />
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<tr><td class="tr-caption"><span style="font-size: medium;">An artist studio in Pompeii</span></td></tr>
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<tr><td><span style="font-size: medium;">The Oldest drawing in British Museum, 1320 AD. Two demons tossing a monk headlong into a river.</span></td></tr>
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<tr><td><span style="font-size: medium;">Luther Inspired by Satan</span></td></tr>
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<span>In the Middle Ages religious anxieties were mixed with carnivals, festivals and enjoyment of the ludicrous. A manuscript from this time provides an example of two demons playfully tripping a monk and throwing him into a river. According to James Parton, "Reformation began with laughter, which church itself nourished and sanctioned ... upon edifices erected before the year 1000 there are few traces of the devil, and upon of those of much earlier date none at all; but from eleventh century he begins to play an important role". Artists competed with each other to give the devil the most hideous looks, and as time passed he looked more and more ridiculous. However, Luther spoke of the devil very seriously, as he thought that devils are present everywhere and in every action. People laughed at clergy, "the clergy, self-indulgent" in the words of Parton "preached self denial; practicing vice, they exaggerated human guilt. " Parton writes " among the curiosities which Luther himself brought from Rome in 1510, was a caricature suggested by the <i>Ship of Fools</i>, showing how the Pope <i>had fooled the whole world with his superstitious and idolatries. </i>... Luther himself was a caricaturist ... The famous pamphlet of caricatures published in 1521 by Luther's friend and follower, Lucas Cranach, contains pictures that we could easily believe Luther himself suggested."</span><br />
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<tr><td><span style="font-size: medium;">The Pope Tossed into Hell, Lucas Cranach, 1521</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJi76g_8oEbcnu2QrrmHqWc0Y52gX5TpZ4gLOUr_MnfzRBN7Oivrci1QTmjBIyCsVgjInJJKNAe9Pll0gvYy-L3acr3HLHu-DNqrESU1K_UUrJkIf_mub2qvmDsa-4W18p9XGFH3HuUJM/s1600/b.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJi76g_8oEbcnu2QrrmHqWc0Y52gX5TpZ4gLOUr_MnfzRBN7Oivrci1QTmjBIyCsVgjInJJKNAe9Pll0gvYy-L3acr3HLHu-DNqrESU1K_UUrJkIf_mub2qvmDsa-4W18p9XGFH3HuUJM/s640/b.png" style="border: none; position: relative;" width="530" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">Pythagoras with musical devices. In Franchino Gaffurio, Theorica musice (Milan: Filippo Mantegazza for G.P. da Lomazzo, 1492)</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggL055KtUEnylKAKRDZIVHP7aLSrPqD7Tu25dRmMYtSNCS5FPVpSN30LABaqxg7-f1r4YHiSomkvxw4Lha7uhPRlwoP4faknMg1ftGQlPiqEug0H3TU2rybqcYjp4O9ReT6EQ5PndDUJs/s1600/a.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggL055KtUEnylKAKRDZIVHP7aLSrPqD7Tu25dRmMYtSNCS5FPVpSN30LABaqxg7-f1r4YHiSomkvxw4Lha7uhPRlwoP4faknMg1ftGQlPiqEug0H3TU2rybqcYjp4O9ReT6EQ5PndDUJs/s1600/a.png" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">America, Jan Galle after Joannes Stradanus (Jan Van der Straet), ca. 1580, from Nova repetra. In <i>seculum diuersarum imaginaum speculatiuarum a varijis viris doctis adinuentarum, atq[ue] insignibus pictoribus ac culptoribus delineatarum...</i></span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeriYtxBGvfPJ2l42iRgBrthRhuwDT-mE5miljP-ehWvFpZUDa9AnVC3LkMND4xBzxSIYf39687eo1eST8NHzbFsc-727Qy_caI2V6rzl-P_-ZF3sh2qsq68l2y0XWfUx0XzJdJINVFDA/s1600/Guity+novin.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeriYtxBGvfPJ2l42iRgBrthRhuwDT-mE5miljP-ehWvFpZUDa9AnVC3LkMND4xBzxSIYf39687eo1eST8NHzbFsc-727Qy_caI2V6rzl-P_-ZF3sh2qsq68l2y0XWfUx0XzJdJINVFDA/s640/Guity+novin.png" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">Bibliotheca Publica in Leiden, In Johannes van Meurs, Athenac Batave, Sive, De urbe Leidensi, Academia, virisque claris ... (Leiden: Apud A. Cloucquium et Elsevirios, 1625)</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw0NSILGFuho8LxxMlhKu0ufNohPZl9p9ZVXHqEVms7sssKTyWKXo0MtnFn2jnaq2YY2Y_CeaVQKx8I0qMLHUQ0DSJZqcWP2N7rdNzVSuYBMQtcEKDWGsB4aFCMKoG7jAhwFeWnTTYlSo/s1600/Guity+novin.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiw0NSILGFuho8LxxMlhKu0ufNohPZl9p9ZVXHqEVms7sssKTyWKXo0MtnFn2jnaq2YY2Y_CeaVQKx8I0qMLHUQ0DSJZqcWP2N7rdNzVSuYBMQtcEKDWGsB4aFCMKoG7jAhwFeWnTTYlSo/s640/Guity+novin.png" style="border: none; position: relative;" width="452" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">The Padua anatomy theater designed by Hieronymus Fabricius, 1595. In Giacomo Filippo Tomasini, Gymnasium Patavinum (Udine: Nicolaus Schirattus, 1654)</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeQUILBvSJ-5mmEOqGAkCbr_lPQXtZYrmMiuyBZa_H6rNqvReqzwIksh-tMNhDDCCmuXiwLWOO5lXZE-iNQLQTG54ZCzMz5iOm01GlXgmWhE7wWhwv70t0Nrj1TQJw98o_gA2g35TR65w/s1600/Guity+novin.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeQUILBvSJ-5mmEOqGAkCbr_lPQXtZYrmMiuyBZa_H6rNqvReqzwIksh-tMNhDDCCmuXiwLWOO5lXZE-iNQLQTG54ZCzMz5iOm01GlXgmWhE7wWhwv70t0Nrj1TQJw98o_gA2g35TR65w/s640/Guity+novin.png" style="border: none; position: relative;" width="418" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">A coffeehouse in London. In E. Ward, The Fourth part of Vulgus Britanicus; or, British Hudibras (London: James Woodward and John Morphew, 1710), frontispiece.</span></td></tr>
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<span>Between 1490 and 1495 Leonardo da Vinci (1452- 1519) developed his habit of recording his studies in meticulously illustrated notebooks. His work covered four main themes: painting, architecture, the elements of mechanics, and human anatomy. It appears that as much as he was interested in the human anatomy, through his sketches of various facial characteristics he was also interested in understanding of the human emotions and the impact of the ravages of time on the battered faces of various characters. These sketches which are collected into various codices and manuscripts, are indeed real precursors to modern caricatures.</span><br />
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<span>Over time, as Werner Hoffman, in his Caricature from Leonardo to Picasso. (New York: Crown Publishers, 1957) argues artist deviated from Leonardo's approach to the human figure to develop a more exaggerated appearance of their subject. The “principles of form established in part by Leonardo had become so ingrained into the method of portraiture that artists like Agostino and Annibale Carracci rebelled against them. Intended to be lighthearted satires, their caricatures were, in essence, ‘counter-art.”</span><br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpIbVi5XKmS9aL5C7UXYP1mRiMql1e77MAtHsGe1I9shjBqTMSq70H-7tj1FY54Jwhd8jXZ04gSugdgja-oOYS8eI57W2gxPiSP1ULzxeyQinJU3ouKJihEnTo_-c3_nGoW5WjYliKqBo/s1600/Guity+novin.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpIbVi5XKmS9aL5C7UXYP1mRiMql1e77MAtHsGe1I9shjBqTMSq70H-7tj1FY54Jwhd8jXZ04gSugdgja-oOYS8eI57W2gxPiSP1ULzxeyQinJU3ouKJihEnTo_-c3_nGoW5WjYliKqBo/s640/Guity+novin.png" style="border: none; position: relative;" width="536" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">Study of Aesthetics in Five Rugged Heads, Leonardo da Vinci c. 1495</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGIp9dD2KLJd7fHOvt4Wst_r_ZIVW4t60aA5o7gJTkEU7PxBBhMo4JXhb2S58qAsf_tzma-Xaf7AsaQl0akicE5bx-lwEHigf87gNEaDC0xUMhSx_Sx3R2_nFFuRfxM5T4HTP2jnmJMzsQ/s1600/bruegel_blinden.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGIp9dD2KLJd7fHOvt4Wst_r_ZIVW4t60aA5o7gJTkEU7PxBBhMo4JXhb2S58qAsf_tzma-Xaf7AsaQl0akicE5bx-lwEHigf87gNEaDC0xUMhSx_Sx3R2_nFFuRfxM5T4HTP2jnmJMzsQ/s640/bruegel_blinden.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">The parable of the blind, Pieter Bruegel the Elder, 1568</span></td></tr>
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<span>Pieter Bruegel the Elder (1520?-1569), who was from Flanders introduced his imaginative symbolism mixed with a subtle sarcasm in his paintings of various biblical parables and other metaphors, such as the Parables of Blinds, in which a blind is leading the others. His composition, and exaggerations of various human sensitivities are truly stunning and anticipates the best today's political cartoons.</span><br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpOQij0vXGX3Wq66Ff3qQd7MTQ7jGqp6AA1kt63PJQTnELDVyHjfzoMFhgvPifdfQcNtvrnpAX4uuJ7XkQ5tqjzsa7P6Y__PCgaq_EN7kara8UNPvqt3YygkYdTWNR2I-dG2K2QHbmJ2XZ/s1600/h2_27.78.1.150.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpOQij0vXGX3Wq66Ff3qQd7MTQ7jGqp6AA1kt63PJQTnELDVyHjfzoMFhgvPifdfQcNtvrnpAX4uuJ7XkQ5tqjzsa7P6Y__PCgaq_EN7kara8UNPvqt3YygkYdTWNR2I-dG2K2QHbmJ2XZ/s400/h2_27.78.1.150.jpg" style="border: none; position: relative;" width="400" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><span>The Drunken Silenus ("The Tazza Farnese", ca. 1597–1600</span><br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisggJvLWWJKZ4dRrj22OiwRAMzrSaxhNDBDK1U3ibAS_8AgT1BH8ZuZGarjnrSun_R7cs1UVpsQ4hpZSpOqfrqqzPLbhSuHfg456fAbIa3XpJMFiNTjPNeLtnWoeugglIHJzUYgVF-ncw/s1600/b.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="450" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisggJvLWWJKZ4dRrj22OiwRAMzrSaxhNDBDK1U3ibAS_8AgT1BH8ZuZGarjnrSun_R7cs1UVpsQ4hpZSpOqfrqqzPLbhSuHfg456fAbIa3XpJMFiNTjPNeLtnWoeugglIHJzUYgVF-ncw/s640/b.png" style="border: none; position: relative;" width="640" /></span></a></td></tr>
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<span style="font-size: medium;">The cartoon like engraved frontispiece of the most significant book in the history of science, Galileo’s <i>Dialogue Concerning the Two Chief World Systems, Ptolemaic and Copernican</i>, which resulted in Galileo’s censure and imprisonment by the Inquisition in 1633. The controversy arose over his proof of the Copernican cosmology, which placed the sun, not the Earth, at the center of the solar system. It depicts three great students of astronomy in dialogue: from left to right, Aristotle (384–322 BCE), Ptolemy (90–168 CE), and Nicholas Copernicus (1473–1543). Ptolemy holds an armillary sphere with the Earth at its center, while Copernicus grasps a heliocentric model of the solar system.</span></div>
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<span style="font-size: medium;">By the end of the 17th century, Annibale Carracci had raised the status of the caricature up to a high art discipline. His exaggerated visual narratives were later followed by many caricaturists of the 18th century.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikUOUPKmxTFreBX7uEzMerRLBFOoENCW6OyDT9zDLP1ZJPjq86Ilxi8GOOZd9fwcKlncTSdv5eIxDQjT3XKMFM8Rb9zRKMhEkI1tWphguiDNXeBDbAlM0F6X9-pVZNAgqJoZk0ZMiHLgs/s1600/Guity+novin.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikUOUPKmxTFreBX7uEzMerRLBFOoENCW6OyDT9zDLP1ZJPjq86Ilxi8GOOZd9fwcKlncTSdv5eIxDQjT3XKMFM8Rb9zRKMhEkI1tWphguiDNXeBDbAlM0F6X9-pVZNAgqJoZk0ZMiHLgs/s640/Guity+novin.png" style="border: none; position: relative;" width="436" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">Annibale Carracci, Sheet of caricatures, c.1595, British Museum</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyYSoCLV2XnWT6eOgXgByhcZxAupUmsrhyphenhyphenKF5P1D48bya_DO0d4sMMSChm550MwlMF5B6Y6_TqVI9LJ2Na9gV-uTZR7hQVmmqWVXPxlGPaleIJ_OnKqpo6SEwIFi42BIV5h6eiFKxmlR_O/s1600/A1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyYSoCLV2XnWT6eOgXgByhcZxAupUmsrhyphenhyphenKF5P1D48bya_DO0d4sMMSChm550MwlMF5B6Y6_TqVI9LJ2Na9gV-uTZR7hQVmmqWVXPxlGPaleIJ_OnKqpo6SEwIFi42BIV5h6eiFKxmlR_O/s640/A1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;"><span>Annibale Carracci, Various Works</span><br />
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<span style="font-size: medium;">According to seventeenth century sources, the inventor of caricature as an independent art form was, the Bolognese history painter, Annibale Carracci. Mosini recorded Annibale's 'theory' of caricature as being the ultimate antithesis of beauty: 'una bella... perfetta deformità.' Like beauty in art, Annibale held, caricature was based on selection and synthesis. The artist was to devise it, in a playful spirit like that of Nature, whenever She offered him suitable models. The point was to offer an impression of the original which was more striking than a portrait.</span></div>
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Political Cartoons</span></h3>
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<span>Ideally, political cartoonists challenge political demagoguery, criticize societal injustices, and push public discourse towards enlightenment. They can highlight general instances of political corruption and inspire the community to try to understand their roles and responsibilities as conscious citizens. Through satire and irony, political cartoonists have the ability to unravel the complexities and speak the truth to power. Although in reality, some cartoonists do the exact opposite, as their masters assign them to do so. Society owes cartoonists the freedoms they need to fulfill their important duty.</span></span></div><div dir="ltr" trbidi="on"><span style="font-size: medium;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: medium;"><span>In political cartoons the artist reduces the intriguing conceptual complexity of historical events, within a cultural context, into a stark but simple imagery accompanied by a witty and sarcastic statement. When this image is carefully analyzed, it leads to discovery of a number of important historical, social, economical, political, and cultural facts that offer authentic and accurate insights into the various cultural biases, human right issues, public anxieties, democratic wishes, and other features of a particular age. They shed light on enigmatic causes of historical events and describe the trajectory of a civilization's journey through time towards achieving humanistic ideals. Since the early eighteenth century, political cartoons have opened a sharp visual communication window into the past. The political cartoon is always informed by an event and speaks to a specific perspective towards that event. Thus to fully comprehend a cartoon, one needs to be well-read about both the event and its impacts on various perspectives.</span><br />
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<span>The key to the caricature is an exaggeration of those aspect of a narrative that the artist wants to highlight. The personage of a tyrant, a charlatan politician or a corrupt clergyman in the hands of an artist turns to a revealing caricature that no amount of censorship can cover up. In this regard political cartoons have become a unique visual communication device since the 17th century, providing political editorials and socio-cultural commentaries. The main aim of this visual communication is to shape public opinion by using a verity of artistic, cultural, and psychological techniques, including resorting to nationalism, symbolism, hyperbolic suggestions, labeling, analogy, and irony. But, most often, they use sarcastic metaphors, satirical comparisons, and over the top description of reality to simplify complex political events so that the general public can comprehend their significance, from a particular perspective.</span><br />
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<span>Perhaps the first political cartoonist was the Dutch artist Romeyn de Hooghe (1645-1708), who at the service of William of Orange, later King William III of England, repeatedly caricatured James II and Louis XIV, sometimes using pseudonyms on his most audacious images. He painted, engraved, sculpted, designed medals, enameled, taught drawing school, and bought and sold art as a dealer, but above all he was a graphic designer who etched allegories and mythological scenes, portraits, caricatures, political satires, historical subjects, landscapes, topographical views, battle scenes, genre scenes, title pages, and book illustrations.</span><br />
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<tr><td style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifWJiq43VSU_TGG1P-WjV15TKtVYmOyYeJtpiNQxgUIrXIhYrX-7goQRu_yPbfJtG1ujdNHDCfZseVD1KblUOXj2GMIWBtIMsz1yhWewZjIhv7GHJbjjNiMeMEil32SPDkCXByp-itOsX4/s1600/louisxivb.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="507" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifWJiq43VSU_TGG1P-WjV15TKtVYmOyYeJtpiNQxgUIrXIhYrX-7goQRu_yPbfJtG1ujdNHDCfZseVD1KblUOXj2GMIWBtIMsz1yhWewZjIhv7GHJbjjNiMeMEil32SPDkCXByp-itOsX4/s640/louisxivb.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">Louis XIV as Apollo led by Madame de Maintenon, Romeyn de Hooghe, etching from 1701</span></td></tr>
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<span style="font-size: medium;"><span>Political cartoons played a significant role in the French Revolution and later on during the Napoleonic era. Revolutionaries used cartoons to highlight the lavish lifestyle of Marie Antoinette, often depicting her in obscene and unflattering situations. Under the censorship of Louis XIV of France, the caricaturists could not depict the sacred person of the king. However, the opponents of the Sun King, who were constantly at war with him, in coalitions that generally grouped the United Provinces, England, and the Hapsburgs; resorted also to political cartoons as a potent weapon. In this cartoon the king's image is not distorted or deformed. The caricature style of depicting an enormous head on a small body was not yet in fashion, however, it is rather clear that it is the staging of the event that is supposed to communicate with the viewer. The Sun King is represented as a sad, gloomy, and pathetic sun. His private life and his many mistresses are the subject of ridicule. Here the young Madame de Montespan, who was the most celebrated maîtresse en titre of King Louis XIV, is especially jeered for her bizarre relationship with a middle aged king who is depicted preying on Madame de Maintenon. The eclipse of 1706 in this regard provides a relevant backdrop to the sarcastic message. This celestial phenomenon is foretelling the imminent demise of the Sun King.</span><br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJRj-5YRk-bzYvos6g4mLAKUQR_g00dCa7Rr1yvwewk_g60M_ORoQ1kVktmAWspXlSJ-HrjudNcHiqsfYGze7aq6C97lfix15c7zIOWZmNn2xiJt9z0h-pFO-3om06m4iMlDM8BMRnixWt/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJRj-5YRk-bzYvos6g4mLAKUQR_g00dCa7Rr1yvwewk_g60M_ORoQ1kVktmAWspXlSJ-HrjudNcHiqsfYGze7aq6C97lfix15c7zIOWZmNn2xiJt9z0h-pFO-3om06m4iMlDM8BMRnixWt/w372-h498/a.jpg" style="border: none; position: relative;" width="372" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><br />One of the earliest political cartoons was that of Robert Walpole, considered as the first British prime minister (1720 to 1742), who was represented by his exposed rear end. The cartoon did not show his face, because everybody knew you had to kiss his bottom if you wanted a highly paid government job. Walpole's attempts to arrest cartoonists only heightened interest in this medium. Bowing to the inevitable, he commissioned more flattering cartoons in an attempt to outflank his rivals. ”</span></td></tr>
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From the French Revolution until the Great War: A Narrative of History in Cartoons</span></h3>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2X_QR5cReHjRlntx_5FgxYm8176cmr3hPNjsHGEMqnJoW1JUtXaOvVCQAUqU98UFHJ_giLR2j2pxRak-QswoOScZjIWLrATwp2Hh09m3trlNMpg81YKUIArgIC6fUmtiemz05L2MIOTaC/s400/images.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2X_QR5cReHjRlntx_5FgxYm8176cmr3hPNjsHGEMqnJoW1JUtXaOvVCQAUqU98UFHJ_giLR2j2pxRak-QswoOScZjIWLrATwp2Hh09m3trlNMpg81YKUIArgIC6fUmtiemz05L2MIOTaC/s400/images.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">The farmer crushed by "Taille, Impots et Corvee"; by tithe, taxation and statute-labour. Coloured engraving.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLe3bw0KNXyv-sXDOwFGt3VSIZaShpByQHdAhpAS_gPc4xFHQLaSFGtlCgC5bUnoaM-5Io2pcu31IV0gL2q48dtf5RD2AUTSW6uByjAAxPpImCDWgD9flJhNg6PBVpJwZ-wABleOwCnxlc/s1600/The+Third+Estate%252C+the+clergy+and+the+nobility+shouldering+the+national+debt.+French+Revolution.+Engraving%253B+1789.+.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="507" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLe3bw0KNXyv-sXDOwFGt3VSIZaShpByQHdAhpAS_gPc4xFHQLaSFGtlCgC5bUnoaM-5Io2pcu31IV0gL2q48dtf5RD2AUTSW6uByjAAxPpImCDWgD9flJhNg6PBVpJwZ-wABleOwCnxlc/s640/The+Third+Estate%252C+the+clergy+and+the+nobility+shouldering+the+national+debt.+French+Revolution.+Engraving%253B+1789.+.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><br />The Third Estate, the clergy and the nobility shouldering the national debt. French Revolution. Engraving; 1789.</span></td></tr>
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<span style="font-size: medium;"><span>Marie-Antoinette was cruelly lampooned throughout her life in France. She was an Austrian Princess,who at age 15 married the Crown Prince of France in 1770. She and husband Louis XVI were still teenagers when they ascended the throne in 1774.</span><br />
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<span>This anonymous cartoon from around 1791 blames the unfortunate queen for her alleged infidelity, the scandal provoked by her alleged greed in the <i>affaire du collier</i> or the necklace affair, the doomed flight to Varennes and counter-revolutionary intrigue. The image depicts her carrying the <i>Dauphin</i>, her eldest son, and Louis XVI, followed by her daughter Madame Royale and the King’s aunt Madame Elisabeth, leaping to safety from the Tuileries. The royal couple are both holding the broken scepter and are encouraged by the King’s brother, Comte de Provence (left), holding a purse full of money. Beneath are references to the Queen’s alleged sins.</span><br />
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<span>The <i>affaire du collier</i> which was the trigger point for the French Revolution was started when jewelers Böhmer and Bassenge nearly went broke creating a necklace that they presumed King Louis XV would buy for his mistress Madame du Barry. But the king died before he could purchase it and the jewelers hope that the new king, Louis XVI, might agree to buy the necklace for Marie Antoinette was dashed when Marie Antoinette discouraged Louis from purchasing it. Then a desperate, heavy-indebted Comtesse de Lamotte told cardinal Rétaux de Villette that the queen desperately wanted the diamond necklace but that she didn't want to ask Louis for it. Comtesse and her lover, forged letters in Marie Antoinette's hand and send them to the Cardinal, who was disliked by Marie Antoinette, asking him to buy the necklace, and Lamotte slyly suggested that if Cardinal de Rohan could find a way to procure it for her, his good reputation would be restored at court.</span><br />
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<span>At last, the cardinal wrangled the diamonds from Böhmer and Bassenge on credit. The jewelers presented the necklace to the queen's footman for delivery -- only the footman was Comtesse's lover Rétaux in disguise. He seized the necklace and headed to London. When his first payment was due, Cardinal de Rohan couldn't cough up the amount. The jewelers demanded money from Marie Antoinette, who had no knowledge of the necklace. By then, the necklace had been sold. A furious Louis had the cardinal arrested; later, he was acquitted of all charges and exiled. The scheming mastermind Lamotte was imprisoned but broke free and took up residence in England. There, she spread propaganda about the queen.</span></span></div>
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<span style="font-size: medium;">Luis looks at the empty chests and asks “Where is the tax money?“ The financial minister, Necker, looks on and says “The money was there last time I looked." The nobles and clergy are sneaking out the door carrying sacks of money.</span></div>
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<span style="font-size: medium;">Necker’s ability to manage the deficit was tested by France’s involvement in the American Revolution from 1778 onwards, which would cost the nation more than 2 billion livres. He managed to fund the war effort but, it was through borrowing at rates of high interest, rather than by raising state taxes or revenue. By 1781 disaster was looming as the nation was approaching bankruptcy. Necker produced a document that was stunning in its deceit: the Compte Rendu du Roi (loosely translated, the ‘king’s balance sheet’) was a statement of the nation’s financial situation. However the Compte Rendu suggested there was actually a fiscal surplus, not a substantial debt. The publication of these glowing numbers in the Compte Rendu earned Necker hero-status amongst the people; he was hailed as an economic miracle-worker, despite being no such thing. The document concealed the disastrous level of debt and would make subsequent attempts at taxation reform more difficult than they would ordinarily have been. Thus the Compte Rendu du Roi was a catalyst for revolution: it was not a problematic event itself but it nevertheless contributed to the crises of the late 1780s. The opposition of the leading minister, Jean-Frédéric Phelypeaux, comte de Maurepas, and the hostility of the queen, Marie-Antoinette, forced Necker to resign on May 19, 1781.</span></div>
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<tr><td><span style="font-size: medium;"><span>"The Awakening of the Third Estate," an aristocrat and clergyman are horrified to see a man casting off the shackles of his class.</span><br />
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<span style="font-size: medium;">The hierarchical society of France was distinguished by her three estates: the clergy, the nobility, and commoners.</span></div>
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<span style="font-size: medium;">The first estate, the clergy, occupied a position of conspicuous importance in France. Though only .5 percent of the population, the clergy controlled about 15 percent of French lands. They performed many essential public functions—running schools, keeping records of vital statistics, and dispensing relief to the poor. The French church, however, was a house divided. Taxpayers hated the tithe levied by the church, even though the full 10 percent implied by the word tithe was seldom demanded. They also complained about the church’s exemption from taxation. While the peasants remained moderately faithful Catholics and regarded the village priest, if not the bishop, with esteem and affection, the bourgeoisie increasingly accepted the anticlerical views of the philosopher.</span></div>
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<span style="font-size: medium;">Like the higher clergy, the wealthy nobles of the Old Regime, the second estate, were increasingly unpopular. Although less than 2 percent of the population, they held about 20 percent of the land. They had virtual exemption from taxation and monopolized army commissions and appointments to high ecclesiastical office.</span></div>
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<tr><td>Confiscation of Churches Lands<br />
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The French Catholic Church, known as the Gallican Church, recognised the authority of the pope as head of the Roman Catholic Church but had negotiated certain liberties that privileged the authority of the French monarch, giving it a distinct national identity characterised by considerable autonomy. France’s population of 28 million was almost entirely Catholic, with full membership of the state denied to Protestant and Jewish minorities.</span></div>
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The Church’s revenue in 1789 was estimated at an immense – and possibly exaggerated – 150 million livres. It owned around six per cent of land throughout France, and its abbeys, churches, monasteries and convents, as well as the schools, hospitals and other institutions it operated, formed a visible reminder of the Church’s dominance in French society. The Church was also permitted to collect the tithe, worth a nominal one-tenth of agricultural production, and was exempt from direct taxation on its earnings. This prosperity caused considerable discontent, best illustrated in the cahiers de doléances, or ‘statements of grievances’, sent from throughout the kingdom to be discussed at the meeting of the Estates-General in May 1789. Calls for the reform or abolition of the tithe and for the limitation of Church property were joined by complaints from parish priests who, excluded from the wealth bestowed upon the upper echelons of the Church hierarchy, often struggled to get by.</span></div>
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On 4 August 1789, when the remains of France’s feudal past were abolished in a night of sweeping reforms, the clergy agreed to give up the tithe and allow the state to take over its funding. The Declaration of the Rights of Man and Citizen, adopted on 26 August, made no recognition of the special position of the Catholic Church. With all authority located henceforth within the nation, the Church now found itself open – and vulnerable – to further reform. On 2 November 1789, France’s new National Assembly, known as the Constituent Assembly, passed a decree that placed all Church property ‘at the disposition of the nation’. Talleyrand, the bishop of Autun and one of the few clerics to support the measure, argued that all Church property rightfully belonged to the nation and that its return, by helping to bring about a better society, should therefore be viewed as a ‘religious act’.</span></div>
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<tr><td><span style="font-size: medium;"><span>The runaway royal family busted by French democrats Louis and extravagant Marie Antoinette were apprehended in Varennes, just miles from the Austrian border. Some say the strong scent of the queen's perfume gave their whereabouts away.</span><br />
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<span style="font-size: medium;">In October 1789, the royal family was forced to leave Versailles for the Tuileries palace in the heart of Paris, where they lived in prison-like isolation. Marie Antoinette secretly requested help from other European rulers, including her royal siblings in Austria and Naples. On the night of June 20, 1791, the royal family attempted to flee. Their escape plan was said to have been engineered by Axel von Fersen, the Swedish count who was rumored to be one of the Queen's lovers. It is incontestable that Marie Antoinette's brother awaited the royal family just across the border and that he was accompanied by troops ready to invade. </span></div>
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<span style="font-size: medium;">They were caught in the small town of Varennes, half-way to the border, and brought back to Paris, prisoners now of the Revolutionary government. On the night of August 10, 1792, militants attacked the royal palace where Marie Antoinette and her family were being held and forced the Legislative Assembly to "suspend" the King. Little more than a month later, on September 20, the new National Convention was convened, and two days later it voted to declare France a republic, thus abolishing the monarchy. From that moment on, Louis XVI and Marie Antoinette were no longer King and Queen, but, like many others, imprisoned citizens suspected of treason.</span></div>
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<span><br />Edmund-Burke, Radical Arms, The conclusion of the French Revolution</span></span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPd4xYmUIzI3yldNONLV78onAx-ozLEkGZjL72FfwszDdpiRqMeU8rbqPCzdQIpa5UpHKRkbgRauwvuT3KNnoK0GsVeBxbrWu6nBI2U2ljouYLClpSNElogriQLec7RW2OBbwy0VL3ZMYm/s400/images+%25281%2529.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPd4xYmUIzI3yldNONLV78onAx-ozLEkGZjL72FfwszDdpiRqMeU8rbqPCzdQIpa5UpHKRkbgRauwvuT3KNnoK0GsVeBxbrWu6nBI2U2ljouYLClpSNElogriQLec7RW2OBbwy0VL3ZMYm/s400/images+%25281%2529.jpg" style="border: none; position: relative;" width="460" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><br />James Gillray, "The Zenith of French Glory - the Pinnacle of Liberty.(Louis XVI) Religion, Justice, Loyalty and all the Bugbears of Unenlightened Minds, Farewell!", February 12, 1793. Etching</span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFVNYIuvKcSir7T8gzZouzyNBUyAXPk2CX7smbpDgIRh2E7lUuDMvyfS04eTM9SLQNBQnns7Ud_jrijxC9uIf0Tj6FzfHwNViqspdERhDy5Hoilai2T_Ugz6-SXbUPrZqyvdSEVg7M1c7G/s1600/237.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="462" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFVNYIuvKcSir7T8gzZouzyNBUyAXPk2CX7smbpDgIRh2E7lUuDMvyfS04eTM9SLQNBQnns7Ud_jrijxC9uIf0Tj6FzfHwNViqspdERhDy5Hoilai2T_Ugz6-SXbUPrZqyvdSEVg7M1c7G/s640/237.jpg" style="border: none; position: relative;" width="640" /></span></a></div>
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<tr><td><span style="font-size: medium;"><span><br />A French Gentleman of the Court of Louis XVI ; A French Gentleman of the Court of Egalité, James Gillray, 1799.</span><br />
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<span style="font-size: medium;">A sarcastic treatment from England of French manners that contrasts the weakness of the old regime with the vulgar arrogance of the new revolutionary regime. The engraver also seems to be pointing toward two entirely different views of masculinity.</span></div>
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<span>In England, James Gillray (1757-1815) adopted the caricatural style of Bruegel, to create caricatures of his contemporary statesmen that today can be categorized as political cartoons in which his wit was directed not only against the political and legislative abuses of his time but also against the morals of the royal family. Gillray initially supported the French Revolution, and it's principles of liberty , but when the revolution turned violent particularly during the work of the Terror he turned against, nevertheless later on he turned against the tyrannical regime of Napoleon Bonaparte, describing him as "Boney the carcase-butcher" in a number of offensive images.</span><br />
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<tr align="left"><td><span style="font-size: medium;">George Cruikshank (1792 - 1878) was at his best when he was dealing with socio-cultural issues. His most celebrated of social cartoons were his Monstrosities, which were published annually from 1816 to 1828. As the conservative Victorian era began (1837) most forms of satirical art grew to be unfashionable. George Cruikshank thus turned his talents to the illustrated book, including Dickens's Oliver Twist, which bear testimony to his artistic talent.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3K8WcIrbqsX9RU1o1u222ia6utKD5EkoETSmxVwsWV4RID8CvdxQd720e4gpvdZ17roy32c8HRX9jkrcfCJOuA47Pj-UCGSYGrkk9EQzRQs-7sJM9_80749KclZO6JYHPwCwB2SKYklV9/s1600/panther.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="563" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3K8WcIrbqsX9RU1o1u222ia6utKD5EkoETSmxVwsWV4RID8CvdxQd720e4gpvdZ17roy32c8HRX9jkrcfCJOuA47Pj-UCGSYGrkk9EQzRQs-7sJM9_80749KclZO6JYHPwCwB2SKYklV9/s640/panther.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><span>Bonaparte with authority commandeth his soldiers with fixed bayonets during the attack on the Council of Five Hundred. Note the exaggeration of his uniform and his hat feathers trying to give a comic note to the scene. They brandish proudly tricolor on what is written "Long live Bonaparte triumvirate - Seyes - Ducos." On the young drummer boy's instrument is inscribed "Vive la Liberté".</span><br />
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<span>In August of 1794 Napoleon was arrested because he had been a supporter of Maximilien Rosbespierre. He was accused of treason. Although he was released his career seemed to be over. Then in October of 1795, the government was threatened with a revolt in Paris. Paul Barras, commander of the home forces, appointed Napoleon to defend the capital. "With amazing swiftness Napoleon massed men and artillery at important places in Paris The attack of 30,000 national guards was driven back by his men. One year later at the age of 26, he was rewarded with the position of commander in chief of the interior French army in Italy.</span><br />
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<span>When Napoleon accepted the position as the commander of the French Army he received a chilly reception by his generals. Yet, as Augereau one of the generals admitted , something about this Bonaparte frightened them. That day Napoleon issued the following order, "Soldiers! You are badly fed, almost naked. The government owes you a great deal, but it can do nothing for you. Your patience and courage do you honor, but give you neither worldly goods nor glory. I shall lead you into the most fertile plains in the world where you will find big cities and wealthy provinces. You will win honor, fame and riches. Soldiers of the Army of Italy! Could courage and constancy possibly fail you?"</span><br />
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<span>Once Napoleon took over it didn't take long for him to turn the group of ill disciplined soldiers into an effective fighting force. In a series of stunning victories, Napoleon defeated four Austrian generals in succession, each army he fought got bigger and bigger. This forced Austria and its allies to make peace with France. He returned to Paris as a conquering hero. When he returned he received a huge welcome</span></span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNQRq1enQWXPaRZo2trPtL3k8kvkf5pq3H9RjFm3QCvnAeApg_pGK1TPiMT-QN7Gv6tMCA7GqgC1-O4d2kKZGgM_Yru5i_tig9KVChT0TQTUuub4th_TYZDi_ftMMJEGXbrUM92J9ibaRz/s1600/panther.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="507" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNQRq1enQWXPaRZo2trPtL3k8kvkf5pq3H9RjFm3QCvnAeApg_pGK1TPiMT-QN7Gv6tMCA7GqgC1-O4d2kKZGgM_Yru5i_tig9KVChT0TQTUuub4th_TYZDi_ftMMJEGXbrUM92J9ibaRz/s640/panther.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: medium;">The governing Directory was happy to send Napoleon to far-off Egypt. On the paper spread over the table is written "Subject: Send Bonaparte to Egypt to prevent the organizing of the Executive." According to some authors, Bonaparte can also be seen as Banquo in Shakespeare's Macbeth, who encountering the witches hear their prophesy about his future,that his descendants will be kings. Bonaparte, simply dressed in a long white shirt with a tight belt and boots is accusing the Board of wanting to remove soldiers as the only reward for his victories in Italy.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKJcOktBJPNJygdxpsWnu98DhqZR_oR2sX3qMVhVCjySdCwDqh4tOL9aAUs3m1RdxxzFVP6-UsLa_kBVjzd7Pu9KaL8GRGxSi1BMtPumNesMHn-9SUIXn8cf7FS8cNyBvmyBnevIXPKbev/s1600/panther.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKJcOktBJPNJygdxpsWnu98DhqZR_oR2sX3qMVhVCjySdCwDqh4tOL9aAUs3m1RdxxzFVP6-UsLa_kBVjzd7Pu9KaL8GRGxSi1BMtPumNesMHn-9SUIXn8cf7FS8cNyBvmyBnevIXPKbev/s640/panther.jpg" style="border: none; position: relative;" width="526" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: medium;">Bonaparte, depicted in a bizarre military costume, furiously reads a dispatch addressed to "Mounseer Beau-Naperty ", which advising him to be cautious. On the paper dropping from his left hand is written; "The conquest of the Chouans (French royalists), old song called into music.", Signifying that England does not trust the Bonaparte promises of reconciliation. Behind him the second and third consuls are depicted as two buffoons trying to read over his shoulder. On the left, the messenger, carrying the red cap, awaiting Bonaparte's response.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiieQYKHOXvfX3suPS_d3RF8KrvXoFe47TmGtl7jSVkI0itmaqEWGL8Ydo-2ASo08x2QzFpaQTQpbeksV7SV7AWyewW3-lORUKAmK9n4pOaQCugplGXS1OZAnFwo1a8uHfMcCJyNTxkOMKR/s1600/panther.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiieQYKHOXvfX3suPS_d3RF8KrvXoFe47TmGtl7jSVkI0itmaqEWGL8Ydo-2ASo08x2QzFpaQTQpbeksV7SV7AWyewW3-lORUKAmK9n4pOaQCugplGXS1OZAnFwo1a8uHfMcCJyNTxkOMKR/s640/panther.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: medium;"><span>A courteous Bonaparte is politely welcoming to Paris the vulgar John Bull and his coarse bride Hibernia, representing England and Ireland, that are recently united by the Act of Union 1801. John Bull thanks his host by addressing him as Bonny Party. He also uses the word "gammon", which has the double meaning of "nonsense, humbug," and a cured or smoked ham; implying that for John Bull, this is not a simple courtesy visit. His wife (Ireland) interrupts him, telling him he needs to learn some manners.</span><br />
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<span>English cartoonists are beginning to represent John Bull as squire with top hat, Colorful jacket and culotte, a style of tight pants ending just below the knee, first popularized in France during the reign of Henry III. Bull's conservative instinct is in contrast to the excesses of the Jacobins. Created in 1712 by John Arbuthnot, John Bull became widely known from cartoons by Sir John Tenniel published in the British humor magazine Punch during the middle and late 19th century. In those cartoons, he was portrayed as an honest, solid, farmer figure, often in a Union Jack waistcoat, and accompanied by a bulldog. He was explicitly used as the antithesis of the sans-culotte during the French Revolution.</span></span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqo9_38UUqZiibzu8Mp3ETAEU-zds-ThBP0AkuM971aY67CAXh7EAUzZHVknq3m3NEpowI4LMiJzgmNqVL0M2PUd-MSoyuehh7rlkjBvXEwSCYi5k-cKmvfjwgNBzD6fp9bjM6ZN1uOZ87/s1600/panther.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqo9_38UUqZiibzu8Mp3ETAEU-zds-ThBP0AkuM971aY67CAXh7EAUzZHVknq3m3NEpowI4LMiJzgmNqVL0M2PUd-MSoyuehh7rlkjBvXEwSCYi5k-cKmvfjwgNBzD6fp9bjM6ZN1uOZ87/s640/panther.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: medium;"><br />The three English visitors bow before Bonaparte. Fox, the first character on left, is wearing a revolutionary cap and has bowed so low that his pants are torn. Erskine, in the middle, dressed in the black habit of lawyers and a paper out of his pocket says "O'Conners Brief." Beside him, bows Harvey Christian Combe, the Lord Mayor of London (recognizable from his gold chain). A paper out of his pocket reads "Essay on Porter Brewing by H. C. " Comb who acquired the Woodyard Brewery, of Castle Street, situated midway between the City and the West End of London was remarkable for his energy and great business ability. He became Lord Mayor in 1799, and was returned five times as the City's representative in Parliament. Sitting on a high chair decorated with elegant revolutionary symbols, Bonaparte receives the homage with one foot on a small stool, the other on the carpet covered raised podium. Note that he wears a director's uniform, not that of the First Consul.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRsAgNJJeXPfWIZhJ7OMuAWXP3qdncsC1-v7LaxY12BzK0BfYdIE3KNahWzrax7Sej8dJNjDcEK-y4Y29qIiURrvvUu8W4TNAoblmKwGofb6PtuaDRDqsPRjJVcxGAnI-LSh3ZftH-tWfh/s1600/panther.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRsAgNJJeXPfWIZhJ7OMuAWXP3qdncsC1-v7LaxY12BzK0BfYdIE3KNahWzrax7Sej8dJNjDcEK-y4Y29qIiURrvvUu8W4TNAoblmKwGofb6PtuaDRDqsPRjJVcxGAnI-LSh3ZftH-tWfh/s640/panther.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: medium;"><span><br />Napoleon wearing an unflattering military uniform wearing a pirate crown adorned with weapons and a skull. On the 9th of November 1799 (18 Brumaire) General Napoleon Bonaparte overthrew the Directory and assumed leadership of the French nation. Napoleon's victory at Marengo June 1800 followed by Moreau's at Hohenlinden in December 1800 forced Austria into a separate peace.</span><br />
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<span>Impressed by the exploits and eastern temptations offered by General, now First Consul Bonaparte, Tsar Paul inclined towards France. Along with Sweden, Denmark, and Prussia; Russia formed the Baltic League of Armed neutrality to resist Britain's efforts to enforce the blockade of France. This had added seriousness because of Britain's reliance on the Baltic ports for imports of grain, naval stores and for export markets. Britain was almost completely alone without an ally to be found across Europe. By stroke of good fortune with perhaps a (some have suggested there is a hint of complicity on Britain's part), Tsar Paul was assassinated on March 21st 1801. The new Tsar Alexander was no admirer of Napoleon and the promised Franco-Russian prosperity where they would settle the fate of northern Europe and the near east together, now evaporated like a mirage. Nine days later Nelson destroyed the Danish fleet in Copenhagen ending any potential for a combined fleet to threaten British naval superiority.</span><br />
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<span>In the midst of the Swiss crisis in 1802 France annexed Elba and Piedmont and in October Parma was occupied. To integrate these territories into the national patrimony was going beyond the cherished natural frontiers, and at such a critical juncture! This was flying in the face of all reason.</span></span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKqqRMy1BJ7gjyn6pENuu2OD5oEXE5eRtWD_PIDhjmKpvXZKORGcHlfYhuEutfPycVjzUdgeRH9K-XG88st4LYKAMr6oIuVPuXWuoXR-Qtini8Hofqhu3jCrdmpXVGYU5b6Lrn0g6UFs8H/s1600/panther.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKqqRMy1BJ7gjyn6pENuu2OD5oEXE5eRtWD_PIDhjmKpvXZKORGcHlfYhuEutfPycVjzUdgeRH9K-XG88st4LYKAMr6oIuVPuXWuoXR-Qtini8Hofqhu3jCrdmpXVGYU5b6Lrn0g6UFs8H/s640/panther.jpg" style="border: none; position: relative;" width="592" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: medium;"><span>The perception of the peace treaty with England. Napoleon had foreign expectations that encouraged him to seek peace. Initially and as Britain feared, he hoped to diplomatically and militarily defeat Britain, but once the opportunity to defeat Britain had diminished there were pressing reasons for peace. For the people of France the revolution had turned out to be a roller coaster ride, and to a large measure the reason General Bonaparte's take-over of the government was so popular was that he was perceived to be strong enough to bring things back under control in peace as he had in war. Victories alone were no longer enough, what was the point of victory if it didn't bring peace?</span><br />
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<span>Here a thin and elegant, but cunning and deceitful Bonaparte who has taken care to place his hat and sword on the floor, implying that he is no longer a warrior but a friend, courts a plump, prosperous, but outrageously dressed England (Britannia) who is depicted as a bit naive. Having set aside, too, her trident and shield, she is captivated by the fellow's charm, knowing that "he will disappoint again." In the background, the portraits of George III and Napoleon's face each others, but the eyes are wary, even-though their outstretched hands seem to merge. It is said that Napoleon was extremely amused by this cartoon.</span></span></td></tr>
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<tr align="left"><td class="tr-caption"><span style="font-size: medium;"><span><br />In the Treaty of London, signed on the first of 0ctober 1801, the guarantee of a single great power in charge of Malta was first abandoned for the collective guarantee of its independence from all the six European powers: Britain, France, Spain, Austria, Russia and Prussia. Although the last three were not present at the table, the protection and guarantee of Malta's independence was required from all of them. British forces were to be withdrawn, the fortification were to be left intact and for the next year, 1802, Malta was to be garrisoned by Naples from which Napoleon was agreeing to pull his troops out of. Following this the reconstituted Knights of St John would again hold the island.</span><br />
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<span>However virtually none of this ever occurred. None of the other powers ever offered their guarantee (although Russia toyed with the idea); Britain never withdrew her garrison, and when Naples sent the temporary garrison there were denied admission to the fortresses. The nominated Grandmaster could not be persuaded to accede until March when it was already too late, and the Knights of St John were insolvent and unable to govern the island in any case. By March both sides were talking of the possibility of war over Malta. France had never disarmed but further military preparations for St Domingo (or wherever) were in evidence. There was talk in England that French commercial agents had surveyed British and Irish harbours and defences. On March the 6th, Britain began a partial rearmament in response on the 13th of March there occurred a famous scene: At a Sunday afternoon drawing room review in front of 200 other guests Napoleon either staged or actually lost his temper and made a scene. In a voice that everyone in the room could hear he raged, "So you are determined to go to war." The English envoy, Whitworth, was stunned at this impropriety and did not know how best to reply. Napoleon then stormed off to complain further of British warmongering to the Spanish and Russian ambassadors.</span><br />
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<span>Britain was saying plainly that Malta would not be evacuated without some concession on France's part. Whitworth could threaten 'Malta or war' because he believed Napoleon was so determined over Malta that he would offer concessions to obtain this object. One such concession would have been the abandonment of Louisiana. On the 13th of April Monroe arrived from the United States to negotiate the Louisiana purchase. The transaction was completed on the 3rd of May and thus Napoleon gives evidence that his hopes for overseas expansion were gone. The purchase price of $15m (Spanish Dollars) USA 15 years bonds, (less nearly a third deducted by USA for economic damages) was immediately on sold to Dutch and ironically to British bankers at 87.5% raising $8.8m for the coming war. This was a virtual a fire-sale! The Treaty of Amiens was signed on March 25, 1802. The news arrived in London on the 29th. There was intense relief and the populace now gratefully looked forward to falling prices and rising prosperity. Much goodwill had been lost and many were fatalistic or suspicious but peace had been achieved. However, a lack of trust between Britain and France caused the collapse of the Peace of Amiens in the late-spring of 1803. Indeed, by 1804 Napoleon's conduct in Italy and Germany pushed Russia and Austria closer to an anti-French alliance.</span><br />
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<span>Here the drinking companions begin a quarrel: the French soldier draws his sword, while John Bull falls on his back in the middle of his beer and his ham. But with his broken oar (symbolizing the battered British sea power) he threatens to strike back. He has in his hand a map of Malta, and tramples on the Treaty of Amiens. The French has already snatched Hanover. On the wall, a lion, symbolizing France, attacks the English leopard. The turkey, on the counter, represents the English sovereign, George III, who was identified with George Dandin, a Molière character, a fool, who admits his folly while suggesting that wisdom would not help him because, if things in fact go against us, it is pointless to be wise.</span></span></td></tr>
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<tr align="left"><td><span style="font-size: medium;"><span>"Plumb Pudding in Danger", James Gillray, 1805</span><br />
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<span style="font-size: medium;">William Pitt and Napoleon dividing the world between them. Pitt takes the ocean: symbolically, his fork resembles a trident. Napoleon takes Europe, with the exception of Britain, Sweden, and Russia. At Trafalgar, the Royal Navy ensured its maritime supremacy for the rest of the war by destroying a combined Franco-Spanish fleet. At Austerlitz, Napoleon crushed an Austro-Russian army to become the master of Europe for the next seven years.</span></div>
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<tr align="left"><td class="tr-caption"><span style="font-size: medium;">John Bull worriedly inspects the small workshop of Bonaparte, to see what the kid is up to. He is carving and accumulating wooden vessels. Bull appears reassured because the vessels are accumulated in the trash basket. But the viewer is not fooled: the implications here are quite clear; John Bull will not notice the mischievous action of Bonaparte, and England will sleep peacefully.</span></td></tr>
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<tr align="left"><td class="tr-caption"><span style="font-size: medium;"><span>Bonaparte just crosses the Channel. Britannia desperately opens her arms for help from doctors (Addington and Hawkesbury) reminiscent of Shakespeare's Hamlet famous line; "Angels and ministers of grace defend us!".</span><br />
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<span>Their support is of no use, even if Addington tries to revive her with gunpowder. Sheridan's patriotic attitude, who dressed as a clown here, seems to be based on ulterior mercantile motives. As for Fox, with his hat pulled over his eyes, he is unable to see the seriousness of the situation. It appears that nobody assumes responsibility for the peace treaty of Amiens, .</span></span></td></tr>
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<tr align="left"><td class="tr-caption"><span style="font-size: medium;">Napoleon's nocturnal dreams: the massacre of Royalist insurgents during the 13th Vendemiaire, executions of Jaffa, many victims seeking revenge. Bonaparte here is also accused of having sacrificed his soldiers for fearful of being assassinated in a turmoil. He is holding in his hand a map of Malta and England. Campaign plans are on his nightstand.</span></td></tr>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span>“Boney bear Jemmy Wright, who shave as well as any Man, almost not quite.” 1806</span><br />
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<span>Napoleon, as a barber, is shaving off the sovereigns of European countries' hair and beards and is described in this cartoon as “shaver general to most of the Sovereigns on the Continent.” The bleeding Dutchman and the bleeding Emperor of Austria praise the closeness of their shaves. The Dutchman says: “Yaw Mynheer very close shaver, its nix my doll when you are used to it, ” and the German Hanover prince says: “I hope he don’t mean to shave me as bare as he has you and my neighbor Austria there? I should to sit here so quietly with my face lathered!!” Francis I addresses John Bull whom is looking through the barber shop window while passing by:“Come Johnny, come in and be shaved, don’t be frightened at the size of the Razor, it cuts very clean I assure you!”. Bull refuses the Emperor’s encouragement to enter and notes the gashes and red marks left by the razor: “By Goes it seems and leaves a dom’d sight of gashes behind as you and Mynheer can testify!!”. In the center of the caricature, the Prussian king sits lathered waiting for his turn to be shaved. He has a nervous expression on his face, and his right hand clenches a paper titled “Plan of Hanover.” </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">At the right of the caricature, Napoleon and Talleyrand attack the Sultan of Turkey by attempting to shave his beard. The Sultan tries to pull away:“By the Holy Prophet I must not part with my beard. Why my people will not acknowledge me for the grand Signor again at Constantinople!” Talleyrand tries to calm him down: “Come, come don’t make such a fuss, and my Master will cut away when he catches anybody in his shop,” and Napoleon: “Lather away Talley I’ll soon ease him on his superflicities and make him look like my Christian Customers.”.</span></div>
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<span style="font-size: medium;">A War of 1812 satire on Anglo-American and Franco-American relations. England's "lesson" is about the seriousness of American determination to maintain freedom on the high seas, while France is warned of Yankee firmness on matters of "Retribution" and "Respect."</span></div>
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<span>On the left, Columbia, as a maiden with staff and liberty cap, a shield with stars and stripes, and an eagle, gestures toward John Bull, saying, "I tell you Johnny, you must learn to read Respect --Free trade -- Seamans rights &c -- As for you Mounseer Beau Napperty, when John gets his lesson by heart I'll teach you Respect -- Retribution &c. &c."</span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span><br /></span>
<span>B</span><span><span>onaparte, standing on a hillock in the center: "Ha-ha -- Begar me be glad to see Madam Columbia angry with dat dere Bull -- But me no learn respect -- me no learn retribution -- Me be de grand Emperor."</span><br />
<span>John Bull, in knee breeches, standing at right: "I don't like that lesson -- I'll read this pretty lesson." He points to the pages of a book that read, "Power constitutes Right."</span></span></span></div>
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<tr><td><span style="font-size: medium;"><span>Trial of Napoleon Bonaparte, George Cruikshank, 1813</span><br />
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<span>This caricature sneers at Napoleon Bonaparte leaving his army on its horrendous retreat from Moscow and for his betrayal of the ideals of the French Revolution.</span></span></div>
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<span style="font-size: medium;"><span>Napoleon duels with Gerhard Leberecht von Blücher, while a British sailor judges the match. </span><span> Ink-and-watercolor by</span><span> the Prussian artist Johann Gottfried Schadow (1764-1850)</span></span></div>
<span style="font-size: medium;"><span><br />The caricature parodies political conditions at the time. Following Napoleon’s retreat from Russia, the Germanic states, led by Prussia, reentered the wars against Napoleon. At the time the caricature was made, Prussian incursions were the primary threat to France, and von Blücher was the field marshal who pressed to move the Prussian army into France itself. The work is .</span><br />
<span>Napoleon’s faction includes French generals, while von Blücher’s includes German peasants and a Russian cossack. </span></span></td></tr>
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<tr><td class="tr-caption"><span style="font-size: medium;"><br />Messieurs, avec quel rasoir me faites-vous la barbe ? The British are ready to give Napoleon a close shave.</span></td></tr>
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<tr><td class="tr-caption"><span style="text-align: start;"><span face=""helvetica neue" , "helvetica" , "ヒラギノ角ゴ pro w3" , "hiragino kaku gothic pro" , , "meiryo" , "ms pゴシック" , "arial" , sans-serif" style="color: #211922;"><span style="font-size: medium;"><br />Field Marshal Gebhard Leberecht von Blucher, who led Prussian forces at the 1815 Battle of Waterloo, alongside his British counterpart, Arthur Wellesley, the Duke of Wellington trying to put the lid on top of France’s Napoleon Bonaparte</span></span></span></td></tr>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span>Le Cesar de 1815 - je suis venu, j'ai vu, ... j'ai fui</span><br />
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<span style="font-size: medium;">Napoleon I carrying a broken standard with a dead eagle on top and a piece of paper that states "Vite à Paris"; he is fleeing from a battlefield strewn with dead French soldiers; above, the figure of Fame blows her trumpet and carries a paper that states "il j'est sauvé de l'Egypte, de Madrid, de Moscou, de Leipsic, de Mont-St. Jean"</span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div>
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<tr><td class="tr-caption"><span style="font-size: medium;"><br />Napoleon on St. Helena: "Je fume en pleurant mes péchés." (I smoke and cry about my sins.) - 1815<br /><br /></span></td></tr>
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<tr><td><span style="font-size: medium;"><span>The Kings' Cake being Cut at the Congress of Vienna (November 1814-June 1815), L. to R. Emperor Francis I of Austria (1768-1835); King Frederick William III of Prussia (1770-1840); Czar Alexander I of Russia (1777-1825); Joachim Murat, king of Naples (1767-1815); Napoleon II, king of Rome (1811-1832);</span><br />
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<span style="font-size: medium;">On April 20, 1814, the dethroned Emperor left France for the isle of Elba, where he was exiled under the terms of the Treaty of Fontainebleau. Napoleon would be allowed to rule Elba, which had 12,000 inhabitants. He was under the constant watch of Austrian and French guards. Nevertheless, on February 26, 1815, Napoleon managed to sneak past his guards and somehow escape from Elba, slip past interception by a British ship, and return to France. At the Congress of Vienna, where the European powers were meeting to discuss how to rearrange Europe in the aftermath of Napoleon's conquests, news of Napoleon's escape from Elba delivered an intense shock to all. On March 13, 1815, the nations represented there declared Napoleon an outlaw.</span></div><div style="text-align: left;"><span style="font-size: medium;"><span><br /></span>
<span>On the extreme left stands Francis I, grabbing the Italian side of the map marked 'Lombardie' and 'Etat de Venise'. He says with a sly leer "Les absens ont tort..." (he who is absent is always in the wrong), On his left stands Frederick William, close to the Tsar, he tears at a piece inscribed 'Saxe' which includes an extension to 'Mayence', saying with an imbecile stare, "Prenons bien les choses..." (But let's deal with the issues in the right order.) Alexander, holding a document inscribed 'Pologne', puts his left hand near the 'Duché de Curlande' and 'Lithuanie'. He looks to the right, exclaiming, "Je crains le Revenant!..." (I fear the returned-one!...) On his left, in the centre of the design and a little apart from the others, stands the Regent, with a pyramid of curls on a head like a pineapple. He silently holds up a pair of scales, one weighted by a heap of coins, the other containing a label: 'Le prix du sang!! . . .' (the blood money). On the right is 'le revenant', Napoleon holding the part of the map on which are 'France' and 'Paris'; he slashes at it with his sword, detaching it by a clean cut which reaches to les 'Pays Bas'; on it is inscribed 'Gare à qui y touchera! . . .' ( a reference to Napoleon's coronation on May 26, 1805. In the Duomo he took the Iron Crown and, placing it on his head, uttered the words: «Dieu me l’a domnée, gare a qui y touchera». God gave it to me, beware whoever touches it.) He says: "Qui compte sans son Hôte compte deux fois. . . ." (He that reckons without his host, must reckon over again meaning reckon not your chickens before they are hatched) </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">The little King of Rome clutches his father's overcoat, saying, "Papa garde ma part. . . ." (father take care of mine). On Napoleon's right stands Murat, handsome and imposing. He holds 'Naples', which is next the cut made by Napoleon. Under the map is Talleyrand, grovelling on the ground and holding a profile medallion of Louis XVIII. His club-foot is conspicuous, and he wears many stars and ribbons. He says: "Je vais devenir d'Evêque . . . Meunier! Cachons nous, je suis sur un vilain pied ici bas. . . ." I'll become a bishop. . . Meunier! let us hide ourselves, I'm on a wrong foot down there".</span></div>
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<tr><td><span style="font-size: medium;"><span>The Capitulation, caricature of Charles Maurice de Talleyrand-Perigord (1754-1838) 30th March 1814, French School, (19th century)</span><br />
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<span style="font-size: medium;">Unique in his own age and a phenomenon in any, the enigmatic Charles-Maurice, Prince de Talleyrand, was a statesman of outstanding ability and extraordinary contradictions. He was a world-class rogue who held high office in five successive regimes. A well-known opportunist and a notorious bribe taker, Talleyrand's gifts to France arguably outvalued the vast personal fortune he amassed in her service. Once a supporter of the Revolution, after the fall of the monarchy, he fled to England and then to the United States. Talleyrand returned to France two years later and served under Napoleon, and represented France at the Congress of Vienna.</span></div>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span>The Man with Six Heads', caricature of Charles Maurice de Talleyrand-Perigord (1754-1838), 1815</span><br />
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<span style="font-size: medium;"><span>The French diplomat and statesman Charles Maurice Talleyrand-Perigod is portrayed as a man "floating with the tide". First published in 1815 as "L'Homme aux six tetes. Le Nain jaune" (the six-headed man [referring to Talleyrands prominent role in six different regimes: As Bishop of Autun during the reign of Louis XVI, as a member of the National Convention during the French Revolution, as Foreign Minister during the Directoire Era, as Foreign Minister of Napoleon the Consul and Napoleon the Emperor and finally as Foreign Minister and Minister President of the re-established Bourbon Monarchy).</span><br />
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<span>A representative of the clergy in the States-General of 1789, Talleyrand sided with the revolutionists. He proposed the appropriation of church lands by the state, endorsed the civil constitution of the clergy, and was excommunicated (1791) by the pope after consecrating two "constitutional" bishops. In 1792 he was sent by the National Assembly on a mission to London to secure Great Britain's neutrality, but the radical turn of the French Revolution nullified his success. A lifelong advocate of constitutional monarchy and peace, Talleyrand sought refuge in England in Sept., 1792, following the fall of the monarchy. In 1794 he went to the United States, where he stayed until after the establishment (Nov., 1795) of the Directory in France, when he returned (Sept., 1796) to Paris.</span><br />
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<span>Peter V. Curl claims that Talleyrand's part in the Revolution was not simply a question of opportunism, as many historians have claimed, but that he was politically on the side of the revolutionaries. He explains that Talleyrand served six successive governments on the basis that the State was a "metaphysical concept" which had to be obeyed and served in the most enlightened manner possible. The diplomatic beginnings of Talleyrand's career go back to the Ancien Régime. Talleyrand, according to Schroeder, "took it for granted that a permanent place and a role for Austria should be found within the international system, and he tried to come up with one which would please Napoleon. Napoleon, very much a criminal with respect to international politics, clearly did not see why he should be obliged to grant any role whatsoever to Austria".</span></span></div>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span>Negotiation at the Congress of Verona (1822)refusing to recognize the Greek declaration of independence</span><br />
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<span style="font-size: medium;"><span>The Congress of Vienna established an international system of reactionary governments dedicated to maintaining a set of European boundaries, preventing revolutions and changes in government, and stopping any one power from becoming too powerful. To this end, the Congress powers agreed to meet whenever trouble should crop up in Europe to discuss how to fix it. This Holy Alliance, appropriating the name of the coalition of Christian values Alexander had wanted to set up at the Congress of Vienna, was also called the Congress System, and aimed at stopping any revolutionary attempt in any part of Europe. To deal with the revolutionary trends, Metternich called the Congress of Verona in 1822. The congress moved against the Greek revolutionaries, who really did not have the military power to take over Turkey at this time anyway. The Congress also allowed France to send an army into Spain to end the revolt and stabilize the Bourbon king. The revolution in Spain was quickly smashed.</span><br />
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<span>The Greeks were the most privileged minority in the Ottoman State, and enjoyed substantial privileges. As H. Hearder states in his <i>Europe in the Nineteenth Century, 1830-1880</i>, "European Turkey differed from the rest of the continent in one significant respect. Whereas Christian governments in the rest of Europe had permitted no Muslim communities, Christians had been officially tolerated." The Greeks were also the most populous among the non-Muslims, and under the system of "millet" the leader of the Orthodox church, the Phanariot Patriarch, was always elected from the Greeks. Therefore the whole of the Orthodox population, Bulgarians, Serbians, Romanians, and Albanians were under Greek predominance. During the Napoleonic Wars the the French revolutionary ideas came to Greece. After defeating the Austrians in Italy in 1797, the French seized and then annexed the Ionian Islands.</span></span></div>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span>The Congress of Vienna</span><br />
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<span style="font-size: medium;"><span>The Congress of Vienna did not have the features of a real Congress. Although many European delegates arrived for the Congress, it never sat as one. In fact, most of the business was discussed in private informal sessions between the Big Four (Austria, Russia, Britain, and Prussia) and France, or during decadent feasts and balls. One attendee, Prince de Ligne, who was known for his wit, famously commented “Le Congres danse, mais ne marche pas” (The Congress dances, but does not progress).Prince Metternich’s network of spies, frequented salons (drawing rooms where the intellectual, political, and social elite gathered to converse) and intercepted letters, reading, copying, and re-sealing them, before delegates began to catch on and took measures to prevent intelligence from falling into Austrian hands.</span><br />
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<span>At the congress, Metternich's mastery of diplomatic maneuvering earned him the title of "the coachman of Europe." More than any other single leader, he seemed to determine the future direction of the Continent. One observer described him as "not a genius but a great talent; cold, calm, imperturbable, and a supreme calculator." Metternich's main goal at the congress was to promote the idea of the "Concert of Europe": if all the great powers acted together or in "concert," they would be able to prevent the outbreak of any large European war like the Napoleonic Wars. They might also be able to see that "the foundations of a lasting peace are secured as much as possible." The Congress did have a positive and lasting impact on European history. The peace treaty signed on June 9, 1815 resulted in what Henry Kissinger called the longest period of peace Europe has ever known. It was also “the first international peace conference to discuss humanitarian issues” and resulted in a condemnation of the slave trade, and discussions on literary piracy and the civil rights of Jews.</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><span><br />"Porro unum est necessarium". "His Ambition will lead him to attempt that one thing."—Vide Napoleon Bonaparte's prophecy.</span>
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<span style="font-size: medium;"><span> This print is a satire on Wellington's pressure over king's "Catholic emancipation". </span><span>The fight for Catholic emancipation began in the late 18th century in Ireland. A series of parliamentary measures in the 1770s and the 1780s, gradually restored certain liberties to the Catholic community in Ireland. However, the Act of Union proved to be a set back. Introduced into the Irish Parliament following the Rebellion of 1798, William Pitt, the Prime Minister of Great Britain, and Lord Cornwallis, the Lord Lieutenant of Ireland, both supported Catholic Emancipation as a component of the Act of Union, inspiring support from the majority Irish population. However, while the Act of Union passed and officially united the Kingdom of Ireland with England and Scotland under one parliament, Catholic Emancipation was overruled by King George III, who believed full liberties to Catholics would undermine this oath as sovereign. Unable to persuade the king, William Pitt resigned in protest. </span><br />
<span><br />Catholic Emancipation gained new fervor under the leadership of Daniel O’Connell in the 1820s. O’Connell formed the Catholic Association in 1823 which was later reorganized in 1826. O’Connell believed that Westminster should repeal anti-Catholic legislation to justify their claim of representing all the people of Ireland. Known as “The Liberator,” he gained massive support for Catholic Emancipation through his powerful rhetoric and wide appeal, putting extreme pressure on Westminster. In July 1828, O’Connell was elected to Parliament for County Clare but was ineligible because he was Catholic. </span><span>Recognizing the potential upheaval in Ireland if O’Connell were barred from his seat in Westminster, the Prime Minister, (Duke of Wellington) and the Home Secretary (Sir Robert Peel) convinced King George IV of the need for Catholic Emancipation. </span><br />
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<span>In this Print Wellington (left) sits back in an ornate chair in deep meditation; open on the table beside him is a large open book: 'Life of Oliver Cromwell'. He says (quoting Macbeth): '"I dare do all that becomes a man,— | Who dares do more, is none!"' On the table is a large royal crown across which lies Wellington's sword (the Sword of State), enormously long, and so tilted as to point to its owner's cocked hat which hangs on the wall so that the plume covers the face of Lawrence's W.L. portrait of George IV (seated on a sofa). Among the documents on the table two hang down showing their contents: [1] . . . 'depend upon every assistance from the Holy See also from France Italy Spain &c &c &c', [2] 'We have had but 7s|6d in the pound we shall shortly demand the remaining I2s|6d D. O'C—nn—l.' The King's portrait might well be his reflection in a mirror, while awaiting the Duke's decision. Behind Wellington, and almost hidden by a curtain, is a picture entitled 'House of Brunswick' in which an axe suggests an execution scene. Between the two pictures and above the table is a large design enclosed in a garter inscribed 'Tria juncta in Meo' [altered from 'Uno', the motto of the Order of the Bath]; within the circle is Britannia enclosed in a triangle, against each side of which respectively are the words 'King', 'Lords', 'Commons'. On the floor is a portrait head of Eldon, on a black ground, crumpled and torn across to suggest decapitation.</span><br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmr1JIUfA1v83JYdOtys0dcmhRoPIZksqmPvpBFSmoS3b739pQJzZflIwRKCCEUgNCld9GVDLznvTBYVK4iquSJn3gGgnXvEC4mMv7OvFXjjq9QI44Nst7wr7RJSqbDBBKau_SAftnH4fN/s1600/800px-G-Cruikshank-Inconveniences-Crowded-Drawing-Room-1818.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmr1JIUfA1v83JYdOtys0dcmhRoPIZksqmPvpBFSmoS3b739pQJzZflIwRKCCEUgNCld9GVDLznvTBYVK4iquSJn3gGgnXvEC4mMv7OvFXjjq9QI44Nst7wr7RJSqbDBBKau_SAftnH4fN/s640/800px-G-Cruikshank-Inconveniences-Crowded-Drawing-Room-1818.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">The inconveniences of a crowded drawing room", George Cruikshank, 1818</span></td></tr>
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<span>Thomas Rowlandson (1756-1827) preferred to deal with socio-cultural issues and satirize morals. Rowlandson worked with Tobias George Smollett, whose radical books resulted in him being sent to prison for libel. Some of Rowlandson's political cartoons also got him in trouble and he was accused by his critics of being "coarse and indelicate".</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrLLCIyz2zuwwKy6OiyY3fGC6Yzjimlibtg08NBa4X46JTg4AziaZvpYErW9kyxe5lFewzMQ39OIifTT7tbyBDTZ3osG944utQRna22mC1c-XFawhXDgIfEilQAsDGfi7wt9nc9_9sWGwc/s1600/Screenshot.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="462" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrLLCIyz2zuwwKy6OiyY3fGC6Yzjimlibtg08NBa4X46JTg4AziaZvpYErW9kyxe5lFewzMQ39OIifTT7tbyBDTZ3osG944utQRna22mC1c-XFawhXDgIfEilQAsDGfi7wt9nc9_9sWGwc/s640/Screenshot.png" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><span><br />Hodges Explanation of a Hundred Magistrates, Thomas. Rowlandson, 1815,</span><br />
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<span style="font-size: medium;"><span>A yokel in a long smock stands before three elderly Justices of Peace. One of the justices says, How dare you Fellow to say it is unfair to bring you before one hundred Magistrates when you see there are but three of us.</span><br />
<span>The yokel tugs at his hair and replies, Why please your Worship you mun know – when I went to school they taught I that a one and two O’s stood for a hundred – so do you see your Worship be One and the other two be Cyphers!</span><br />
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<span>By the nineteenth century, there were three types of courts for a criminal to be brought to justice: Magistrates' Courts ( Quarter Sessions and Petty Sessions), Assize Courts, and the Court of King's (or Queen's) Bench. Courts of Petty Sessions were introduced in the 18th century as there was too much work for the Quarter Sessions (which only met four times a year) to handle. At this time the county of Essex was split into administrative units known as Hundreds. Each Hundred covered a number of parishes. For each Hundred there was a Petty Sessions which dealt with minor criminal offences. Petty Sessions dealt with minor cases such as drunkenness, poaching and vagrancy. After the Summary Jurisdiction Act of 1848, all summary trials had to take place at formally constituted Petty Sessions, before at least two magistrates. Meetings became more regular and laws passed that required the proceedings to be recorded.</span></span></div>
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American Revolution</span></h3>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHxn-AiPcDVOAnO_kg8c7uthV8TwJtjUUe9hhCy1BZTU6bD4pV47zIg2foh5d89QhHj8IdICEfqfdDq5JV-uv9xtV9BWS2QsFsTZYvFdO5U9bvJ5afnpPPChZzisWOeJUdSRkf2coN58OZ/s1600/A1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHxn-AiPcDVOAnO_kg8c7uthV8TwJtjUUe9hhCy1BZTU6bD4pV47zIg2foh5d89QhHj8IdICEfqfdDq5JV-uv9xtV9BWS2QsFsTZYvFdO5U9bvJ5afnpPPChZzisWOeJUdSRkf2coN58OZ/s640/A1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: justify;"><span style="font-size: medium;"><span>Lord North, Edmund Burke, Charles Fox, the Prince of Wales, and others attempting to break into the royal treasury. Political cartoon by unidentified illustrator from 1787.</span><br />
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<span>Lord North was Prime Minister of Great Britain from January, 1770 to March, 1782. His early successes as Leader of the House and his efforts to cut the national debt brought him the confidence of a faction-ridden Parliament and the favor and friendship of King George III. But his failure to subdue the American colonies and the subsequent loss of the Revolutionary War brought an end to his ministry and forever darkened his name in history. For the first three years of the North ministry, the American colonies appeared calm. North had decided to retain the duty on tea imported into the American colonies. The colonists were of course angered by what they saw as an encroachment upon their own legislatures' prerogatives.Lord North's efforts to rescue the East India Tea Company from bankruptcy lead to the Boston Tea Party. Under the original proposal, the surplus inventories of tea would be shipped directly to the colonies. Consignees would be appointed to sell the tea in America. The duty on tea would have been removed. North, however, was unwilling to remove the tea duty. In May of 1773, the Tea Act passed the House of Commons with little opposition.</span><br />
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<span>As information about the Tea Act filtered into the colonies, public opinion changed from placid to bitter resentment. In Boston, the first tea shipment arrived in November. Patriots would not allow the ship to unload its cargo, and the despised governor of Massachusetts, Thomas Hutchinson, would not permit the ship to sail from the harbor without paying the duty. The impasse came to an end on the night of 16 December when Boston patriots, dressed as Indians, boarded the ship and dumped the tea chest into Boston harbor. Word of the Boston Tea Party reached London on 20 January, 1774. Public opinion turned sharply against the colonists, especially Boston. The news was received bitterly by the North ministry. A policy of coercion was decided upon and Lord North drafted into legislation the Coercive Acts. Lord North intended on making a lesson of Massachusetts with the belief that the other colonies would not support her, but his assumptions were wrong. The moderates in the other colonies pledged their support to Massachusetts and called for a Continental Congress. Tensions mounted between the colonies and Great Britain. General Thomas Gage, now governor of the insolent colony of Massachusetts, warned in his letters of the impossibility of enforcing the Massachusetts Government Act without additional troops. By December, North realized that Great Britain was on the verge of war with her colonies. In January, he proposed a peace commission. He offered to eliminate the tea tax so long as the colonies promised to pay the salaries of civil authorities regularly. But it was too late. Events now overtook the hope of a peaceful reconciliation. On 16 April, 1775, a skirmish on the Lexington Green between Gage's troops and patriots transformed the American crisis into the American war. Bunker Hill followed later that summer. Lord North was forced to declare the colonies in a state of rebellion.</span></span></td></tr>
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<tr><td class="tr-caption"><span style="font-size: medium;"><br />British officers, in a child-like manner, demonstrate skills in hopes of securing a command for the war with the American colonies. Library of Congress Prints and Photographs Division Washington, D.C.</span></td></tr>
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<span style="font-size: medium;">Britannia lamenting her present state, her shield and broken lance by her side, "What a situation am I in sold by an American purchased by France Spain. Oh, wheres my Pitt." Four men are standing before her, from left, an American holding in his right hand a lance topped with liberty cap and in his left a sword with which he threatens her, next a Frenchman urges him to "frighten her." A Spaniard is standing next to the Frenchman with his back to Britannia, he wears a low hat and a cloak, and on the far right is a Dutchman. Library of Congress Prints and Photographs Division Washington, D.C.</span></div>
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<span style="font-size: medium;">This Gillray etching is a satire on the suspension of gold payments by the Bank of England. Prime minister William Pitt was forced to implement the issue of paper money when the Bank announced a gold shortage, due to loans it had made to finance the war with France. Rumors circulated that the Bank's coin was merely being held in reserve to send to the Continent in support of the war. Hence the significance of the locked chest, and the coins in the pockets of the lady's paper money dress. </span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div>
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<span style="font-size: medium;">In Gillray's cartoon, he nicknamed the Bank of England the "Old Lady of Threadneedle Street", the first recorded use of the nickname. The tag has stuck ever since – and in his satire, Political Ravishment, the Old Lady's in danger. "Murder! Murder!" she cries. "Rape! Murder! O you villain! What, have I kept my honour so long to have it broke up by you at last? O murder! Rape! Ravishment! Ruin! Ruin! Ruin!!!"</span></div>
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<tr><td><span style="font-size: medium;">The Able Doctor, or America Swallowing the Bitter Draught. 1774. London Magazine. British Cartoon Collection.</span></td></tr>
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<span>Following the colonists’ defiant display at the Boston Tea Party, the majority of England was surprised, bewildered, and angered by the colonists’ actions. After much debate in the Parliament, King George III assumed an active role in deciding punishment for the rebellious and costly colonists by personally advising Lord North, the Prime Minister of Britain at the time. This resulted in the “Coercive Acts,” passed in March 1774, which were intended to quell the colonists and force them into submission.</span><br />
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<span style="font-size: medium;">VIRTUAL REPRESENTATION 1775 Lord Bute aiming a blunderbuss at a man representing colonial America; a member of Parliament, pointing at the American, tells Bute "I give you that man's money for my use", to which the American responds by saying, "I will not be robbed". On the right, blindfolded, Britannia is about to stumble into "The pit prepared for others" while behind her, in the background, "The English Protestant town of Boston" is in flames. On the left kneels a monk holding a gibbet and a cross, behind him stands a Frenchman with sword raised; perched on a cliff and forming the backdrop to Bute, the monk, and the Frenchman, is the city of Quebec.</span></div>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span>News from America, or the Patriots in the dumps</span><br />
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<span style="font-size: medium;">Lord North standing on a platform holding letter announcing the British capture of New York by General William Howe. A distraught woman "America" holding a liberty cap, sits at the base of the platform; others present react to the news. Confident that most Americans would welcome him, General Howe arrived in Boston on 25th May, 1775. By then the first shots of the American Revolution had already been fired, and American militia besieged Boston. The town of Charlestown had been destroyed by British naval gunfire and Joseph Warren, the popular President of the Massachusetts Provincial Congress, had been killed. General Howe was stunned. The battle had made the possibility of a negotiated settlement much more remote by increasing the fury of the colonists while at the same time giving them confidence in their ability to fight the King’s regiments on even terms.</span></div>
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<span style="font-size: medium;">When it became obvious that only military force would break the stalemate, General Howe turned his full attention to the occupation of New York. With the arrival of yet more reinforcements, he believed his army was strong enough to successfully assault the rebel defences. In planning his offensive in New York Howe ignored his own often-stated belief that the quickest way to end the war was to destroy the Continental Army. A bloody victory now would not serve his purpose. Instead, he adopted a strategy of conquering ground rather than killing colonists. His strategy was to discourage the rebels by mounting a steady, irresistible advance through their farms and fields and forcing them from New York in much the same way he had been compelled to leave Boston. From Long Island, General Howe forced the rebels from Manhattan, across the Hudson, through New Jersey and to the banks of the Delaware River, not far from the colonial capital of Philadelphia. Here, General Washington’s foresight in taking all the boats on the river to the far side with his retreating army forced an end to the pursuit.</span></div>
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<span style="font-size: medium;">The rebel victories, though small, destroyed General Howe’s hopes of ending the war by spring. Encouraged by George Washington’s success, new recruits came forward to replace those who left his army. The British commander-in-chief abandoned most of New Jersey, along with his plan to pacify its inhabitants. He admitted that there now seemed no hope of suppressing the rebellion without crushing the American army. Washington, however, had already reached the same conclusion and was determined to preserve his troops rather than risk all on the outcome of a single battle. From the spring of 1777 until General Howe resigned his command and returned home in 1778, Sir William won several more victories, but he was never again able to catch the rebel army in the sort of trap he had let it escape from on Long Island.</span></div>
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<span style="font-size: medium;">This cartoon relates to The Treaty of Paris, which marks the official end of The American Revolutionary War, and the War of the Spanish Succession. With the Treaty of Paris, Great Britain acknowledged American independence. John Bull, representing England, is throwing up his arms in despair as a portly Dutchman, a Spaniard, and a Frenchman, are still nagging and a farting devil is flying away with a Map of America in his hands. In the background is a battle scene at Gibraltar. John Bull is teased first by a French man, who offers him snuff. Great Britain relinquished very little to the French, who were to carry their grievances into the Napoleonic Era. The Spaniard gestures toward Gibraltar, where a naval battle rages. In the treaty, Spain gave up Gibraltar, but regained Florida and Minorca. The Dutch, represented by the ill dressed man on the right, continued their negotiations into 1784.</span></div>
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<span style="font-size: medium;"><span><div class="post-body entry-content" style="line-height: 1.4; position: relative; width: 770px;"><span><br /></span></div>Count de Rochambeau, French General of the Land Forces in America Reviewing the French, 1781</span><br />
<span>Comte de Rochambeau played a major role in helping America win independence during the American Revolution. He is considered to be one of the Founding Fathers of the United States of America for his role in winning the Revolutionary War and securing American independence from Britain.</span><br />
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<span style="font-size: medium;"><span>The presidential election of 1800 is generally considered the nastiest in American history. The race between Federalist John Adams and Republican Thomas Jefferson was raucous, bitter, and unpredictable. The Adams' Federalists were divided and made a poor campaign. According to the Constitution, presidential electors were required to vote for two persons without indicating which office each was to fill, the one receiving the highest number of votes to be President and the candidate standing next to be Vice President.</span><br />
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<span>In the 1796 election Adams had defeated Jefferson in the Electoral College, but only by the narrow margin of 71 to 68. With the second most votes Jefferson became vice president with no responsibilities besides presiding over the Senate. Adams sought to involve Jefferson in his new administration, but Jefferson declined any participation. In the election of 1800, Aaron Burr, the Republican candidate for Vice President, had received the same number of votes as Jefferson; as neither had a majority the election was thrown into the House of Representatives, where the Federalists held the balance of power. Although it was well known that Burr was not even a candidate for President, his friends and many Federalists began intriguing for his election to that high office. Had it not been for the vigorous action of Hamilton the prize might have been snatched out of Jefferson’s hands. Not until the thirty-sixth ballot on February 17, 1801, was the great issue decided in his favor.</span></span></div>
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<span style="font-size: medium;"><span>Peter Pencil, Intercourse or Impartial Dealings, 1809</span><br />
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<span>President Jefferson is being held up for money by Napoleon and King George. Critics of Jefferson believed that he had paid too much for Louisiana and was prepared to pay too much for the Floridas. This cartoon also satirizes the failure of Jefferson's use of the embargo and restrictions on trade as a curb on French and British depredations of American shipping.</span><br />
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<span style="font-size: medium;">Cruikshank, The Happy Effects of that Grand System of Shutting Ports Against the English, 1808</span></div>
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<span style="font-size: medium;">President Jefferson stands on a dais addressing a group of disgruntled Members of Congress. Before Jefferson is a table covered with papers inscribed 'Pettition and Pettition New York'. Napoleon is hiding behind Jefferson's presidential chair whispering; "You shall be King hereafter". Jefferson addresses the assembly: "Citizens - I am sorry I cannot call you my Lords Gentlemen!! - This is a Grand Philosophical Idea - shutting our Ports against the English - if we continue the Experiment for about fifteen or twenty years, we may begin then to feel the good 'Effects' - in the mean time to prevent our sailors from being idle. I would advise you to imploy them in various works of husbandry and by that means we may gain the protection of that great and mighty Emperor King Napoleon!! </span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">A small dog, John 'Bull' (its collar so inscribed), barks "Bow Wow" at the President. The Congressmen say: "How are we to Dispose of our produce; My warehouses are full; Yea friend thou may as well tell us to cut of our nose to be revenged of our face [a Quaker in a broad-brimmed hat]; My famely is Starving'; my Goods are Spoiling; It was not the case in Great Washintons time; we must speak to him in more 'forceble language'.</span></div>
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<span>William Charles, "A Boxing Match, or Another Bloody Nose for John Bull," Lithograph, New York, 1813.</span><br />
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<span>The Anglo-American War of 1812 or the American'Second War for Independence, was directly related to the Napoleonic conflict. In British eyes the Americans had stabbed them in the back while they they were fighting Napoleon. Britain relied on a maritime economic blockade to defeat France. When American merchants tried to breach this blockade, the British introduced new laws, the ‘Orders in Council’, to block them, and when British warships stopped American merchant ships, they forcibly impressed any British sailors they found into the Royal Navy.</span><br />
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<span style="font-size: medium;">James Madison's Tax Policies During the War of 1812 .</span></div>
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<span style="font-size: medium;"><span>Madison holds an iron rod bearing a banner which proclaims the War of 1812 popular slogan “Free Trade Sailors Rights.” The downtrodden taxpayer on whose back Madison stands replies,</span><br />
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<span style="font-size: medium;">“None of your Boesting / Mr. Jammy say I / Tax, Tax upon our / Backs is the unanimous cry / it was by your Iron Rod that / we became Rule’d. / Till every Cent out of / our Pockets is foold.”</span></blockquote>
<span style="font-size: medium;">James Madison (1751-1836) was the principal architect of the United States Constitution, the Secretary of State under President Thomas Jefferson, and the fourth president of the United States. As president, Madison continued to support aggressive trade measures against Britain and requested a declaration of war against Great Britain in 1812 when commercial pressure failed to achieve a change in British policy. The war expenses added to the economic problems, and Congress was forced to find additional sources for funding. Taxes on houses, land, and slaves were enacted in 1813, 1815, and 1816, with additional duties on liquor licenses, auction sales, carriages, and refined sugar, among other items. During the War of 1812, Madison faced almost treasonous opposition from merchants and public officials in New England. But he refused to limit civil liberties or declare martial law, as he was urged to do by supporters</span></div>
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<span style="font-size: medium;"><span><div class="post-body entry-content" style="line-height: 1.4; position: relative; width: 770px;"><span><br /></span></div>President James Madison fleeing from Washington, D.C., which is being burned by the British, during the War of 1812.</span><br />
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<span>Reaching Washington on the evening of August 24, the British found a city largely deserted, with the only resistance being ineffective sniper fire from one house. The first order of business for the British was to attack the navy yard, which they burned. British troops next arrived at the US Capitol, which was still unfinished. According to later accounts, the British were impressed by the fine architecture of the building, and some of the officers had qualms about burning it. According to legend, Admiral Cockburn sat in the chair belonging to the Speaker of the House and asked, "Shall this harbor of Yankee democracy be burned?" The British Marines with him yelled "Aye!" Orders were given to torch the building. </span></span></div><div class="post-body entry-content" style="color: #1f1c1c; font-family: Calibri; line-height: 1.4; position: relative; width: 770px;"><span style="font-size: medium;"><br /></span></div><div class="post-body entry-content" style="line-height: 1.4; position: relative; width: 770px;"><span style="font-size: medium;"><span style="color: #1f1c1c; font-family: Calibri;">The British troops worked diligently to set fires inside the Capitol, destroying years of work by artisans brought from Europe. With the burning Capitol lighting the sky, troops also marched to burn an armory. At about 10:30 pm, approximately 150 Royal Marines formed up in columns and began marching westward on Pennsylvania Avenue, following the route used in modern times for inauguration day parades. The British troops moved quickly, with a particular destination in mind. By that time President James Madison had fled to safety in Virginia, where he would meet up with his wife and servants from the president's house.</span><br />
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<span style="font-size: medium;"><span>A figurative portrayal of the presidential race of 1824. A crowd of cheering citizens watch as candidates (left to right) John Quincy Adams, William Crawford, and Andrew Jackson stride toward the finish. Henry Clay has dropped from the race and stands, hand on head, on the far right saying, "D--n it I cant save my distance--so I may as well "draw up."" He is consoled by a man in riding clothes, "Well dont distress yourself--there'll be some scrubbing by & then you'll have a chance." Assorted comments come from the crowd, reflecting various sectional and partisan views.</span><br />
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<span>A Westerner with stovepipe hat and powder horn: "Hurra for our Jacks-"son."" Former President John Adams: "Hurra for our son "Jack.""</span><br />
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<span>Two men in coachmen's livery: "That inne-track fellow [Crawford] goes so well; that I think he must have got the better of the bots [boss?]." and "Like enough; but betwixt you I--I dont think he'll ever get the better of the "Quinsy.""</span><br />
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<span>A ragged Irishman: "Blast my eyes if I dont "venter" a "small" horn of rotgut on that "bald filly" in the middle [Adams]."</span><br />
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<span>A Frenchman: "Ah hah! Mon's Neddy I tink dat kick on de "back of you side" is worse den have no dinner de fourt of july."</span><br />
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<span>In the left background is a platform and an inaugural scene, the "Presidential Chair" with a purse "$25,000 per Annum" (center) and an imaginative portrayal of the Capitol in the distance.</span></span></div>
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<span style="font-size: medium;">The major figures in American national politics in 1838 are gently satirized, each characterized as riding a favorite issue or "hobbyhorse." At the lead (far left) is President Martin Van Buren, riding a horse "Sub-Treasury," which he calls his "Old Hickory nag." The artist refers to Van Buren's independent treasury program, a system whereby federal funds were to be administered by revenue-collecting agencies or local "sub-treasuries" rather than by a national bank. The Independent Treasury Bill was perceived as an outgrowth of predecessor Jackson's anti-Bank program. Another hobbyhorse, "United States Bank" (center), is shared by Whig senators Henry Clay and Daniel Webster, leaders of congressional opposition to Jackson and Van Buren's respective fiscal agendas. Clay says, "Either you or I must get off Dan, for this horse wont carry double!" Webster responds, "Dash my Whig if I get off Hal!" Directly behind Van Buren Democratic Senator Thomas Hart Benton rides a horse "Specie Currency," an allusion to Benton's championing of hard money economics. </span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">Benton was identified with administration efforts to curb the use of currency in favor of "specie" or coin, and to increase the ratio of gold to silver in circulation. He says, "My Golden Poney carries more weight than any of them!" Behind Clay and Webster is South Carolina senator John C. Calhoun, advocate of state's rights and the driver of Southern nullification of the "Tariff of Abominations." On the right are William Henry Harrison, in military uniform and riding an "Anti-Masonic" hobby, and Massachusetts Congressman John Quincy Adams on his "Abolition" mount. Harrison's horse is named after the party which supported his 1836 bid for the Presidency. When he says, ". . . unless there is another Morgan abduction, I'm afraid he'll [the horse] lose his wind!" he alludes to the suspicious 1826 death of William Morgan (purportedly at the hands of Masons) which fueled considerable anti-Masonic sentiment in the United States. Adams laments, "This horse, instead of being my Topaz, is my Ebony."</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgru-M0slZULmAFO7XH3b8ioyhEpc-WSwoWA06LQjN6kELlio4OkumTcwfr9r6JigbVYlV2PErFh78sPkNh6hVPeyFDPE4llMUMXTdUWwGPujCnBFyH7qEvWdp6HPI8TEDAa_aKscNWma8/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="463" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgru-M0slZULmAFO7XH3b8ioyhEpc-WSwoWA06LQjN6kELlio4OkumTcwfr9r6JigbVYlV2PErFh78sPkNh6hVPeyFDPE4llMUMXTdUWwGPujCnBFyH7qEvWdp6HPI8TEDAa_aKscNWma8/w483-h463/a.jpg" style="border: none; position: relative;" width="483" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;"><br />This 1859 Punch cartoon is captioned ''What? You young Yankee-noodle, strike your own father!''</span></td></tr>
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<span><span style="font-size: large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Four" style="color: #7f8866; text-decoration: none;"></a><br /></span>
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The "Citizen King" and the Royal Pear: </span></h3><h3 style="margin: 0px; position: relative;"><span style="font-size: x-large; font-weight: normal;">The case against Charles Philipon</span></h3>
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<span style="color: #1f1c1c; font-family: Calibri;">After the Revolution of July 1830 Charles Philipon (1800-1862), a caricaturist and a talented journalist , founded La Caricature, the first modern illustrated satirical weekly paper. During four years of its publication, the paper was constantly prosecuted, fined, and censored. In 1832, before La Caricature's closure Philipon started a daily paper, Le Charivari , which printed a new drawing every day. Philipon frequently criticized King Louis-Phillipe the "Citizen King" whose pear-shaped head he exploited to the full in the Poire Royale or the Royal Pear series. He wound up in jail several times. The pear quickly became the commonly-recognized symbol of Louis-Phillipe and his entire regime. At the time, in France calling a person a pear was tantamount to calling him a buffoon. As part of his defense, Philipon sketched a series of drawings that transformed the king’s head into a pear. He explained that if the king’s face resembled a pear, then all pears should be subject to a fine. The sarcastic tone of Philipon’s argument was lost on the judge who charged Philipon with a fine of two thousands francs and six months in jail. But the artist was unrepentant and on November 17, 1831, three days after the trial, La Caricature published an account of the proceedings, and in the following week, Philipon published the drawings from the trial as a lithograph. However, the issue was seized by the government.</span><br />
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<tr><td><span style="font-size: medium;"><span>Charles Philipon's account of the court proceedings with respect to his portrayal of King Louis-Phillipe as a pear.</span><br />
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<span>Here is a translation; THE PEARS , Made in the Paris Court of Assizes by the Director of LA CARICATURE. Sold to pay the 6000 francs fine of the newspaper Le Charivari. At the request of a large number of subscribers, we present today in Le Charivari, the pears which served as our defense in the case where La Caricature was sentenced to six months’ imprisonment and a 2,000 francs fine. If, to recognize the monarch in a cartoon, you do not expect it to have a resemblance, you will fall into the absurd [?]. Look at these shapeless sketches, to which I limited my defense.</span><br />
<span>[Beneath the 1st drawing] This sketch looks like a Louis-Philippe, do you condemn it?</span><br />
<span>[Beneath the 2nd drawing] Then we must condemn this one, which resembles the first.</span><br />
<span>[Beneath the 3rd drawing] Then condemn another, which resembles the second.</span><br />
<span>[Beneath the 4th drawing] And finally, if you are consistent, you can not absolve this pear, which resembles the preceding sketch.</span><br />
<span>Thus, a pear, a bun, and all the grotesque heads in which chance has maliciously placed this sad resemblance, you can inflict on the author five years imprisonment and a fine of five thousand francs!! Admit it, gentlemen, this is a peculiar freedom of the press!!</span></span></div>
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<tr><td><span style="font-size: medium;"><span>Gargantua, Honoré Daumier , 1831</span><br />
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<span style="font-size: medium;"><span>One of the most important political cartoonists in Philipon's paper was Honoré Daumier (1808-1879). In late 1831 the publishing business La Maison Aubert submitted one of his cartoons "Gargantua" to the "depot legal" for publication and put it on display in the window of the shop. It was soon seized, along with other prints done by Daumier, by the Paris police. They ordered the owner of the publishing house to destroy the lithographic stone and all the remaining proofs. In February 1932 Daumier, the owner of the publishing house, and the printer, were all brought to trial for arousing hatred and contempt of the king's government, and for offending the king's person. In the trial the argument was over whether "Gargantua" represented the king personally or if it was a symbolic representation of the king's swollen budget. All three of the men were convicted, but only Daumier served a prison term.</span><br />
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<span>Philipon's example was followed all over Europe. In 1841 Punch, in Britain was established which introduced cartoonists such as John Leech (1817-1864) and John Tenniel (1820-1914), Harry Furniss (1854-1925). (Edward) Linley Sambourne (1844-1910), Bernard Partridge (1861-1945), and, Leonard Raven-Hill (1867-1942). In 1848 Kladderadatsch was established in Berlin followed by Die fliegende Blätter in 1845, and later on Punsch and Simplicissimus, in Munich. Simplicissimus introduced cartoonists like Olaf Gulbransson, Bruno Paul, Thomas Theodor Heine, and Blix</span></span></div>
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<tr><td><span style="font-size: medium;"><span><br />Friedrich Wilhelm IV doesn't accept the crown offered by the Frankfurt Parliament. The cartoon shows the allegorical Germania reprimanding the democratic leader Heinrich von Gagern: "What are you whimpering about, you little jack in the box?" to which he replies: "I've carved your little one a crown and he doesn't want it!"</span><br />
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<span style="font-size: medium;">The February 1848 revolution in France, that had overthrew the monarchy of Louis Philippe and established the Second Republic, had also triggered a series of uprisings in South West Germany, spreading unevenly but rapidly to many other German lands and aiming to replace perceived injustices of the old, existing order. Popular grievances, which sustained the insurrections, differed from state to state in accordance with diverse conditions, but they usually included economic deprivation, a desire to abolish seigneurial dues and privileges, resentment of taxes, criticism of officialdom, an expectation of legality and equality before the law, a call for political rights of free assembly, association, speech and conscience, and the demand for a representative government and assembly.</span></div><div style="text-align: left;"><span style="font-size: medium;"><span><br /></span>
<span>In 1848, National Assembly in Frankfurt was preoccupied with the minutiae of the constitution, including its prefatory declaration of basic rights, but they were, in effect, debating the form which the new Nationalstaat should take.The creation of a nation-state, it was widely believed, required the erection of a suitable political superstructure to suit a pre-existing national culture. The movement of history towards unification seemed inevitable and natural. Friedrich Wilhelm IV linked constitutional and parliamentary concessions to the greater cause of the German nation, but having concurred in the imposition of a conservative Prussian constitution, he proceeded on 28 April 1849 to reject the title of ‘Kaiser of the Germans’, which he had already confided privately had a ‘whorish smell of revolution’.</span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9eGTNIp7CeHzBOIoqp9jCg_TOrdLD7lX9x0LuAX21z66ZaXl4HVQLO6CSAf0TWUIWDQ_NltGA81fEv-S0gQumYaMUIWAQ0WjyEMDovWRYjmrEh5-A6pr-bIpbZfaH_jaMc75uDsI0-xbI/s1600/metternich+cartoon.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="496" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9eGTNIp7CeHzBOIoqp9jCg_TOrdLD7lX9x0LuAX21z66ZaXl4HVQLO6CSAf0TWUIWDQ_NltGA81fEv-S0gQumYaMUIWAQ0WjyEMDovWRYjmrEh5-A6pr-bIpbZfaH_jaMc75uDsI0-xbI/s640/metternich+cartoon.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;"><span>Metternich flees Vienna, March 1848</span><br />
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<span style="font-size: medium;"><span>The revolutions of 1848 ignited the countries of Europe in a way that would not be repeated until 1989. Violence broke out because legal and parliamentary movements for change were frustrated. The only countries where revolution was avoided were those where adequate concessions were made in time, such as Great Britain, Belgium, and the Netherlands, or where opposition was negligible, such as Russia. Nobilities and middle classes demanded constitutional and representative instead of arbitrary and bureaucratic government. The revolution in France transformed German politics. A mass demonstration at Mannheim on 27 February and a march on Karlsruhe, the capital of Baden forced Grand Duke Leopold to concede a free press, trial by jury, and a people's militia on 29 February, and to appoint liberal ministers on 2 March.</span><br />
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<span>The revolution in Vienna on 13-15 March 1848, as well as the revolution in Paris, helps to explain why Frederick William IV stooped to make concessions.The Lower Austrian Estates, which met on 13 March, were besieged by students and workers, from inside and outside the city walls, to urge them to press for reforms. Finally Metternich, the "last great master of the principle of balance," became the target of angry mobs. Forced to resign, he went into exile in England before returning to Vienna in 1858. He died there a year later.</span></span></div>
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<span style="font-size: medium;">Der Deutsche Michel bis zum Jahre 1841, after a drawing by R. Sabatky, hand-colored lithograph published in Mannheim, Germany by Korwan.</span></div>
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<span>A sleeping Michel wearing a patchwork shirt with the names of various German states such as Saxony, Baden and Bavaria, is not the government, but the control and exploitation of Michel’s land and goods by the neighbouring nations hinges on his innate drowsiness. They do not put him to sleep, but try to make sure that he stays this way.. His mouth is fastened by a padlock. To his right is the Austrian Chancellor Metternich who is drawing blood from Michel’s arm, the blood turning to gold in the bowl. A bulldog, representing John Bull of England, removes a money purse from his pocket, while a French soldier cuts off his sleeve. Michel’s head is being caressed by a Russian cossack. Above the group is a vignette representing soldiers drilling and marching, a man holding a violin and raising a glass to toast (“Es lebe de Rhein”), a battlefield scene with a man standing with one leg on another man (“Es lebe der deutsche Kraft”), and a large cannon with gun crew. In the clouds, Napoleon can be seen with a spyglass.</span><br />
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<span>A 1843 article in the Berlinische Zeitung had this to say about the cartoon: around “one single figure, which alone is in total passivity, all the others are engaged in the most lively activity, which has no other purpose than to make sure this poor figure remains passive.” In other words, the double meaning of Michel’s sleepiness and the Powers’ efforts to prevent him from waking up was well understood. The cartoon is far from being simply descriptive. Addressed to an audience that was to find itself satirized and shamed for its sleepy absence of patriotic energy required to defend the burgeoning German nation, the image’s purpose was to prompt Michel’s awakening.<br /><br /></span></span></td></tr>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span><br />Dear Fatherland Be at Peace, The German Michel has awakened</span><br />
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<span style="font-size: medium;">Of all national stereotypes, the German Michel has the most ancient lineage. Indeed Michel predates the second oldest, John Bull (in the History of John Bull, 1727), by almost two centuries and Marianne of France and Uncle Sam of America by almost a further century. This is significant, given the remarkably late emergence of Germany as a nation state in Europe. Initially, Michel stood for the oppressed subject of an authoritarian system. This was well expressed in a cartoon, published in the Munich satirical journal, Leuchtkugeln, in the revolutionary period, featuring Michel and his oppressors. </span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span>The cartoon depicted silhouettes of ‘poor Michel’, with downcast head and limp cap, chained by the combined forces of the ‘system’: throne, altar, military and bureaucracy. The graphic images were interspersed with satiric verses, which point to the (political) moral. The motif of der deutsche Michel as the victim of oppression, who, however, internalises the attitudes of his masters, is omnipresent in the literature and cartoons of the 1840s. It was only in the Wilhelmine era (apart from a brief period of weeks in the summer of 1848, when the German revolutionary troops were fighting the Danes in Schleswig-Holstein), that Michel became identified with the ambitions and resentments of German nationalists.</span><br />
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<span style="font-size: medium;">Napoleon's ill-fated attempt to conquer Russia in 1812 was followed by the consolidation of a powerful alliance against him, consisting of Russia, Prussia, Britain, and Sweden. The allies defeated Napoleon at Leipzig in 1813. A hundred years later "When Germany Awoke: The people and Events of the Wars of Liberation," appeared in 1913 to commemorate the liberation war of 1813. </span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">Here the awaken German Micheal reminds the French invader of the events of a hundred years ago , and warns him to be gentle since François (perhaps German Army general Hermann von François) can't be irritated. The Cock (US Rooster) had long been part of French national culture, largely because the Latin words for cock and inhabitant of Gaul are similar (Gallus v gallicus). In the Middle Ages it was widely depicted in French churches and is recorded in 14th century Germany in references to France.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjZKZO0yebs8MpmLwL5eGNZS5-kyiZZg1L1aOcdEl7VWmPbT_4xHaQ6A5oe4uCttgBjsHA7TpL7kYM2XZ9YZ0ViArR_HZyMf0FFM8m4FLywi6FzPV23FrAG-L5459ZR7xG3ggUcqq73aE/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="418" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjZKZO0yebs8MpmLwL5eGNZS5-kyiZZg1L1aOcdEl7VWmPbT_4xHaQ6A5oe4uCttgBjsHA7TpL7kYM2XZ9YZ0ViArR_HZyMf0FFM8m4FLywi6FzPV23FrAG-L5459ZR7xG3ggUcqq73aE/s1600/a.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;"><span>The Brave Seven!</span><br />
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<span style="font-size: medium;">Following the outbreak of revolution in Germany in March 1848, two features marked what was a new stage in Michel’s evolution. Firstly, his figure suddenly slimmed down, his pose and gait were transformed, as the erect figure of a typical young German artisan suddenly confronted his oppressors, prince, army and police. Secondly, as reflected for example, in an extended series of cartoons with accompanying text which had begun to appear in 1847 in the Munich journal Leuchtkugeln and continued until the summer of 1848, ‘Michel’ began to attribute his political insignificance to the jealous machinations of Germany’s neighbours. </span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">These neighbours included both the great powers, France, England and Russia, and also a number of smaller states, such as the Netherlands and also Denmark, whose role in Schleswig-Holstein in the summer of 1848 proved to be such a powerful catalyst of nationalist fervour in the German Confederation.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM_9QWWReyfPtjGrrMDiBKovjI_NwyRrTELRVhBj8WIJZW4ymYgqWMAYHj5NjYhGjyzZkEHKf4eGJb1cGvOruMM45GfxuB-xOuEs9oKbIl7nz6lvVYJLporAAOeUt833beDuBwg9qXHh8/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="528" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM_9QWWReyfPtjGrrMDiBKovjI_NwyRrTELRVhBj8WIJZW4ymYgqWMAYHj5NjYhGjyzZkEHKf4eGJb1cGvOruMM45GfxuB-xOuEs9oKbIl7nz6lvVYJLporAAOeUt833beDuBwg9qXHh8/w449-h528/a.jpg" style="border: none; position: relative;" width="449" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;"><span><br />A German cartoon illustrates what it believed to be the hypocrisy of the British forcing a reluctant China to buy its opium from the Opium Wars of 1839 - 1842.</span><br />
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<span style="font-size: medium;">The first Opium War (1839–42) was between China and Britain, and the second Opium War (1856–60), also known as the Arrow War or the Anglo-French War in China, was fought by Britain and France against China. The Opium Wars arose from China’s attempts to suppress the opium trade. British traders had been illegally exporting opium to China, and the resulting widespread addiction was causing serious social and economic disruption in the country. In 1839 the Chinese government confiscated all opium warehoused at Canton by British merchants. The antagonism between the two sides increased a few days later when some drunken British sailors killed a Chinese villager. </span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">The British government, which did not trust the Chinese legal system, refused to turn the accused men over to the Chinese courts. Hostilities broke out, and the small British forces were quickly victorious. The Treaty of Nanjing (Nanking), signed Aug. 29, 1842, and the British Supplementary Treaty of the Bogue (Humen), signed Oct. 8, 1843, provided for the payment of a large indemnity by China, cession of five ports for British trade and residence, and the right of British citizens to be tried by British courts. Other Western countries quickly demanded and were given similar privileges.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVTTLIMDftdGsEExS4z7tYxELP5c9p7bblSlrhXYQzPxDoRFk-PayqLpe0rLlNord_QhTHdmNz3u8HCHy7k0FYRco-rKx2Td9jNIKj00bRiromfpT95pupestubbYzFO5YlYxNvsPChLQ/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVTTLIMDftdGsEExS4z7tYxELP5c9p7bblSlrhXYQzPxDoRFk-PayqLpe0rLlNord_QhTHdmNz3u8HCHy7k0FYRco-rKx2Td9jNIKj00bRiromfpT95pupestubbYzFO5YlYxNvsPChLQ/s1600/a.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
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<span style="font-size: medium;"><span>In this line-up, China is just the dead map to be cut up by the Powers; it has no agency of its own. The US commands center stage and establishes a new obstacle for the Powers: its new trade treaty with the Qing dynasty secured the right to trade over the entire Qing territory. The US now had a vested commercial interest in preventing China from being cut up. In this moment of ultimate weakness, the territorial integrity of China is maintained by the antagonism between the Powers and the Americans. This was to play a significant role in a mechanism that the Qing were able to use skillfully and very successfully.</span><br />
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<span>Following the foreign military intervention in 1900 to lift the siege of the Peking legations by the Boxers and Muslim rebels, the court, which had supported the anti-foreign action, fled Peking. In a dramatic reversal, it accepted the proposal from a number of high Han Chinese officials to implement a wide-ranging “reform of governance” Xinzheng. This included the reform (1902) and later abolishment (1905) of the Imperial Examination System 科舉 (Keju); reforms in the schools and the military; a fully-fledged Ministry of Foreign Affairs; and eventually, the first steps toward a constitution and a parliament. While the government tried hard to keep the public discussion under control, it had no control over the key transcultural contact zones such as Hong Kong, Shanghai or Yokohama, where, since 1901, a veritable media explosion had been taking place that swept newspapers, periodicals and even images into those areas of China that were furthest from these centers. These media quickly abandoned the reluctance still visible in Tse Tsan Tai’s cartoon and took on the court directly.</span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglCzovoGqpG360l1S0mbDT4OKh-KKBLnZo1bo9SrPsDhQw1wOn2CpdIcR4yVmWYEQQHNjXwm0Z4N8rXoUV-9wVqcj3uohxWNIli-xYFqVrciiC9J664TchRkKcYPZDgxCKYeulTrgUmJM/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglCzovoGqpG360l1S0mbDT4OKh-KKBLnZo1bo9SrPsDhQw1wOn2CpdIcR4yVmWYEQQHNjXwm0Z4N8rXoUV-9wVqcj3uohxWNIli-xYFqVrciiC9J664TchRkKcYPZDgxCKYeulTrgUmJM/s640/a.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><span>The Real Trouble Will Come with the ‘Wake’, 1900.</span><br />
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<span style="font-size: medium;"><span>Developing a strategy to deal with a sleeping China was not just a challenge for those committed to the country’s betterment, but also for the Powers, because the newcomers, Russia, Japan, Germany and Italy, all rushed to the table thinking in traditional colonial terms. The option of a partition of China was considered far too risky and too costly for the dominant British and their American allies. A flurry of conferences between 1898 and 1900 was designed to find a consensus for the Powers or to impose certain rules how to deal with China.</span><br />
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<span>The Boxers and their Muslim allies had started the siege of the Peking legations in June 1900. After heavy fighting, a relief contingent consisting of units from different Western countries broke through to the city and eventually overcame the Boxer resistance on August 14. The Manchu Court had already fled. This news did not make it into the August 15 issue of Puck, but the defeat of the Boxers, who had the support from the Court, had been palpable. For all practical purposes, Peking was occupied, the Court was on the run and China was as “dead” as the dragon in this image. The title of the cartoon contains a pun. There had been much talk in the past about the sleeping and awakening of China. Now with the death of the dragon, a “wake” ceremony is called for, but instead of the wake’s participants being in silent mourning, they confront each other fully armed, especially Russia (the bear) and England (the lion). </span></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">The real problem that these Powers face is not the awakening of China—this is a threat from the past—but what will happen during the “wake” after its death. The Powers will try to stop each other from taking a chunk of the dragon. The inscription shows the double nervousness about the awakening and the wake. The face of the dragon is reminiscent of contemporary American posters that denounced Chinese immigrants.[172] The perspective of both image and text is that of the foreign Powers—in this case that of the US eagle—sternly looking on this scene from the top left. There is a danger that the Powers will go to war over this dead giant.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3dZROs-Go1U7A579vM3u-R8XRCQipXcivTyxD1XhaOkjrizmlEvXPhEYYv2dZUMlcEZs1gPEIBnrUDcmnEpkBh9MNDxc2sI4FpKqdBAiTaGkV4lDvBjHcdb3seXgzu6aygVK7Pr31jDA/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3dZROs-Go1U7A579vM3u-R8XRCQipXcivTyxD1XhaOkjrizmlEvXPhEYYv2dZUMlcEZs1gPEIBnrUDcmnEpkBh9MNDxc2sI4FpKqdBAiTaGkV4lDvBjHcdb3seXgzu6aygVK7Pr31jDA/s640/a.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><span>Taking a Neutral Stance 局外中立, 1904.</span><br />
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<span style="font-size: medium;">Russia (on the right) walks off with a preciously adorned horse (Manchuria, part of China’s territory), while Japan (in the middle) looks on in irritation. The Chinese Manchu official kneels in front of the foreign powers with an assurance that he will take a neutral stance in this conflict, which was heading towards war. The Chinese “nation/citizens”, guomin, in the left lower corner are firmly asleep while Russia walks away with their property.</span></div>
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<span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Five" style="color: #7f8866; text-decoration: none;"></a><br /></span>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Five" style="text-decoration: none;"><span style="color: #e06666; font-size: x-large; font-weight: normal;">The capitulation of Sedan; Napoleon III Wilhelm I of Prussia</span></a></h3>
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<span style="color: #1f1c1c; font-family: Calibri;">Since 1866, when Prussia had defeated Austria and won the leadership in Germany, Napoleon III of the Second French Empire had longed to crush Prussia, which he considered an upstart power. Meanwhile Bismarck, the chancellor of Prussia, felt that a war was necessary to unify Germany</span><br />
<span style="color: #1f1c1c; font-family: Calibri;">The Franco-Prussian War, waged between France and the German states under the leadership of Prussia, from July 15, 1870, dramatically changed European history. The rapid and overwhelming victory of Prussia in this conflict made possible the creation of a unified German Empire. Prussian would first fight and destroy the armies of the emperor Napoleon, then the newly raised armies of the Third republic. The war also marked the final step in Germany's rise to the position of a major continental power . Napoleon III surrendered to Wilhelm I, king of Prussia, on Sept. 2, 1870, after the battle at Sedan. The battle marked the decisive defeat of the French in the Franco-Prussian War and led to the fall of the Second French Empire, which was replaced by the Third Republic. As part of the settlement, the territory of Alsace-Lorraine was taken by Germany, which would retain it until after World War I. The war provided a rich range of characters for the caricaturists of that era.</span><br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfpq9ZrPbiJA_JuOpTBJ4Vth4wF_iW8_qbcHUmGl2c8ObNyoLzRD70wqRp-yKzcp8ybkK3uKmb-gdvHqxUwe0RGAjNxAZJvyUHjtxDXBbPI9uOGUvartM3Sxf5irfFgP4Mdy7_magQ3Qo/s1600/Guity+novin.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfpq9ZrPbiJA_JuOpTBJ4Vth4wF_iW8_qbcHUmGl2c8ObNyoLzRD70wqRp-yKzcp8ybkK3uKmb-gdvHqxUwe0RGAjNxAZJvyUHjtxDXBbPI9uOGUvartM3Sxf5irfFgP4Mdy7_magQ3Qo/w412-h444/Guity+novin.png" style="border: none; position: relative;" width="412" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><span><br />The capitulation of Sedan, Honoré Daumier, 1870</span><br />
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<span style="font-size: medium;"><span>The Capitulation of the French Army at Sedan, September 2, 1870 proved fatal to the French Empire. On Saturday, Count Palikao officially recognized a great disaster, and during a midnight sitting he acknowledged to the Chamber the whole truth, which, on the following morning, was communicated through the Journal Officiel to all Paris. A sitting was ordered for noon on Sunday, and all Saturday night the leaders of parties made their preparations. The idea of Count Palikao was to form a Provisional Government, with himself as its head, and to support the Chamber in assuming the control of affairs. The idea of the Right was to proclaim Napoleon IV., with the Empress as Regent, and the Chamber, protected by Palikao, as the final authority. The idea of General Trochu was to effect a fusion with the Left, turn the National Guards upon the Corps Legislatif, decree the overthrow of the dynasty, dismiss the Chamber, and establish some kind of a Provisional Dictator- ship. On the one side, the troops in Paris were ordered to defend the Legislature ; on the other, the National Guards were ordered to surround it.</span><br />
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<span>Napoleon fell, Russia, Austria, and Italy all arming. It is extremely doubtful, however, if Russia will help a Republic which must sympathize with Poland ; Austria distrusts a State without an army, and Italy seems intent upon taking possession of Rome. The news from Italy is unusually confused and contradictory, but it seems to be certain that the cry throughout Italy is "Rome or a Republic !" that Florentines have been officially warned of a possible transfer of the capital ; that the King has decided on a military occupation of Rome ; and that a considerable army is collecting on the frontier. The Catholic Powers apparently are in no position to interfere, and Prussia, which is not trustworthy about Rome, is too much occupied. There remains England, whose position is as yet scarcely intelligible, unless assurances have been received that Germany will, on territorial questions, be moderate .</span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBKjssM4nzd5JEBjg9bvAAgeroPBeb0phQ7GmWQnpWM0WGd1X0ti5PqGUZFwjAQKi7H5p2EyMxsZwWNqx7dhYj3QcuAYLW6CHWVoknuh5udeTnb9TVNPuViMMOtkcE8-MiawHb-BOfrSc/s1600/Guity+novin.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBKjssM4nzd5JEBjg9bvAAgeroPBeb0phQ7GmWQnpWM0WGd1X0ti5PqGUZFwjAQKi7H5p2EyMxsZwWNqx7dhYj3QcuAYLW6CHWVoknuh5udeTnb9TVNPuViMMOtkcE8-MiawHb-BOfrSc/w405-h540/Guity+novin.png" style="border: none; position: relative;" width="405" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><span><br />Louis Bonaparte Napoleon III and Wilhelm l of Prussia, 1870.</span><br />
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<span style="font-size: medium;"> The two are depicted as drunken buffoons, betraying the moral and spiritual ideals fought for in the French Revolution.</span></div>
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<tr><td><span style="font-size: medium;"><span><br />Un Bain de Sang! Napoléon Charles Louis De Frondat, 1870</span><br />
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<span style="font-size: medium;">The German Emperor, Wilhelm I, sitting in a tub of blood with the head of the French Emperor Napoleon III. The title reads; Bloodbath, you see it will drown both of us!</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnCd9Modyn7rZZaqq2QR7JN8I_qVNKyOT6Z4NDanWcKE7HIo_jtN2url62KRs3EhxviPutefyJVuaz4EATgrFt4T6ReQiK2McOcjepzKZHSQoparxCecc_9kBemJ8cjtNY4ZgB5BgUpJk/s1600/Guity+novin.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnCd9Modyn7rZZaqq2QR7JN8I_qVNKyOT6Z4NDanWcKE7HIo_jtN2url62KRs3EhxviPutefyJVuaz4EATgrFt4T6ReQiK2McOcjepzKZHSQoparxCecc_9kBemJ8cjtNY4ZgB5BgUpJk/s640/Guity+novin.png" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><span><br />This Kladderadatsch cartoon by Wilhelm Scholz is entitled “Good Advice is Costly” --<i>Guter Rath is theuer</i>.</span><br />
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<span style="font-size: medium;">The caption reads: “Bismarck (leading Alsace and Lorraine): Dear Reichstag, we have the two lads back again, but now tell me where and how we should accommodate them!” While Bavaria would have happily taken over custodianship of the two provinces seized from France in 1871, this cartoon correctly foresees a struggle for authority between Germania (representing Germany’s martial origins) and the Reichstag, whose members saw an opportunity to import newer, liberal traditions into the governance of the territories. Agreement on a constitution for Alsace-Lorraine was achieved very belatedly in Imperial Germany – in 1911</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkCqmLaX6BbimWYTr-9TmXZ1c0PyxUoc7VX9Xns1to10T9eyJ_5fYZl3txzRXI9HBmCb6Pq62kQum_v7FDXdYE_YEfxBM-9MzoYUjXeXa8XcYI1VSKZfQdVp7aYcoIgyMySvOwaf2oCoQZ/s1600/1866_1202_dumas_550.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkCqmLaX6BbimWYTr-9TmXZ1c0PyxUoc7VX9Xns1to10T9eyJ_5fYZl3txzRXI9HBmCb6Pq62kQum_v7FDXdYE_YEfxBM-9MzoYUjXeXa8XcYI1VSKZfQdVp7aYcoIgyMySvOwaf2oCoQZ/s640/1866_1202_dumas_550.jpg" style="border: none; position: relative;" width="422" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><span><br />Alexandre Dumas, André Gill, Cover of La Lune, December 2, 1866</span><br />
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<span style="font-size: medium;">Dumas' caricature is from The Man of the Day series by André Gill, who became known for his work for the weekly four-sheet newspaper La Lune, edited by Francis Polo. Gill worked for La Lune from 1865 to 1868. When La Lune was banned, he worked for the periodical L'Éclipse from 1868 to 1876. Gill also drew for famous periodical Le Charivari. In 1823, Alexandre Dumas, who was of a mixed race aristocratic background, became the clerk of the Duc d`Orléans -- later King Louis Philippe, because of his elegant handwriting. But, he was liberal and had republican sympathies, as he greeted the Revolution of 1848 with enthusiasm and even ran as a candidate for the Assembly. After the coup d'état in 1851 and the seizure of power by Louis-Napoléon Bonaparte, Napoleon III, Dumas escaped to Brussels, as he was not looked upon favorably by the newly elected President. Dumas supported Victor Hugo who was also a liberal opponent of Napoleon III and was exiled by him.</span></div>
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<span style="color: #1f1c1c; font-family: Calibri;">The late 1840s and early 1850s were a period of feverish political change. The revolution of 1848 felled the Orleans monarchy and led to the creation of the Second Republic—which, in turn, led to the brief elected presidency, and subsequent installation as emperor, of Napoleon III. In the 1850s, as the old Paris of narrow streets and ramshackle houses gave way to the broad boulevards and uniform apartment blocks planned by Napoleon III and carried out by Georges-Eugène Haussmann, Charles Baudelaire wrote an epitaph for the city he remembered:</span><br />
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<span style="font-size: medium;">Paris changes! but nothing of my melancholy as lifted. New palaces, scaffoldings, blocks, old outer districts: for me everything becomes allegory and my cherished memories weigh like rocks. </span></blockquote>
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<span style="font-size: medium;">Then too, before the Louvre an image presses down on me: I recall my great swan with his crazy movements, as if in exile, ridiculous, sublime, gnawed by ceaseless craving! and think of </span></blockquote>
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<span style="font-size: medium;">you, Andromache (from a great spouse’s arms, fallen — mere chattel — under superb Pyrrhus’s thumb) bent in ecstasy over an empty tomb, Hector’s widow, alas! wife of Helenus! </span></blockquote>
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<span style="font-size: medium;">I think of a negress, wasted, consumptive, trudging the mud, wild eyed, looking for faraway palms of glorious Africa behind an immense wall of fog; of whoever has lost what can never be found again, ever! of those steeped in tears, suckling Pain like a kind she-wolf; of starved orphans dried like flowers! So in the forest of my mind’s exile an old Memory sounds a clear note on the horn! I think of sailors lost on desert islands, of prisoners, of the vanquished! . . . and of still others!</span></blockquote>
<span style="font-size: medium;"><span style="color: #1f1c1c; font-family: Calibri;">— Charles Baudelaire, Les Fleurs du mal, “Tableaux parisiens</span><br />
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<span style="color: #1f1c1c; font-family: Calibri;">In 1863 Charles Baudelaire wrote three essays on caricature, ‘ On the Essence of Laughter ’, ‘ Some French Caricaturists ’, and ‘ Some Foreign Caricaturists ’, in which he provided perhaps the first sustained defense of the value of caricature as a serious art, worthy of study in its own right. From the theory of the comic formulated in De l'essence du rire to his discussions of Daumier, Goya, Hogarth, Cruikshank, Bruegel, Grandville, Gavarni, Charlet, and many others, Baudelaire suggested that exaggeration reveals what lies beneath the surface of society. It needs to be exposed so that the ‘darker workings of human nature can be dealt with’ ‘The painter [...] will be he who can extract from the present-day life it’s epic quality, and make us see and understand [...] how great and poetic we are in our in our cravats and patent leather boots’Baudelaire divided caricature into two types: i). the significative comic who parodied human behavior in polite society whose reliance was on a mere observation of social facts, who is in effect honouring, instead of challenging the status quo, and; ii). the absolute comic , who is driven by the grotesque, revealing a malicious intent, who relied upon the hysterical laughter, that is more interesting, and makes a stronger point . ‘He locates its origin in what he calls satanic laughter, or the feeling of superiority one gets when laughing at the misfortune of others’</span><br />
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<span style="color: #1f1c1c; font-family: Calibri;">For Baudelaire the art of modern life with its characteristics; grotesque, ironic, violent, farcical, fantastic, and fleeting reveals what lies beneath the surface of society. This caricatural aesthetic needs to be exposed so that the ‘darker workings of human nature can be dealt with’. Fascinated by the dualism and ambiguity of laughter, in relation to human types that he viewed as allegorical figures full of the experience of modern times that could be represented by a pictorial shorthand, of symbolic meaning and moral value, he insisted that this representation has radical implications for such emblems of modernity as the city and the flâneur who roams the streets.</span><br />
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<span style="font-size: medium;">‘The modern city is the space of the comic, a kind of caricature, presenting the flâneur , like the laugher, with an image of his own dualism, self- ignorance, and otherness’.</span></blockquote>
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<span style="color: #1f1c1c; font-family: Calibri;">The modern city is the space of the comic, a kind of caricature, presenting the flaneur with an image of dualism, one's position as subject and object, implicated in the same urban experiences one seems to control. This idea that one’s experience of life, of existing in a place and contributing to the allegory of a culture invests the idea of modernity with a give and take. If you are both the laugher and the object of laughter you prevent the ‘subjective construction and appropriation of the world’ that is referred to as modernism.</span><br />
<span style="color: #1f1c1c; font-family: Calibri;">In this vain, the theory of the comic invests the idea of modernity with reciprocity, one's status as laughter and object of laughter, thus preventing the subjective construction and appropriation of the world that has so often been linked with the project of modernism.</span><br />
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<span style="color: #1f1c1c; font-family: Calibri;">‘Comic art reflects what Walter Benjamin later defined as Baudelairean allegory, at once representing and revealing the alienation of modern experience’. For Baudelaire the caricature and the grotesque are not only a visual phenomenon but one of allegory, forms of endless combinations and implausible hybrids. It might be possible, as Walter Benjamin suggested after Baudelaire, that allegory, could take over the role of abstract thought . An allegory is a narrative which has both a literal meaning and a representative one. There are two main types of allegory: i). the historical or political, in which historical persons and events are referred to; and; ii). the allegory of ideas, in which abstract concepts and the story has a didactic purpose. Baudelaire transforms the dualism of the comic into a peculiarly modern unity--- the doubling of the comic artist enacted for the benefit of the audience, the self-generating and self-reflexive experience of the flaneur in a ''communion'' with the crowd.</span><br />
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<tr align="left"><td><span style="font-size: medium;"><br />Le Chevalier de la Mort (The knight of death), caricature of the German Kaiser Wilhelm 1871. The objects of quite a number of biting caricatures by French artists were the Prussian efforts to become one of the Great Powers in Europe and Bismarck's endeavors to unite the German Reich. The goals of the German politicians were to be revealed with physiognomic and phrenological means.</span></td></tr>
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<tr align="left"><td><span style="font-size: medium;"><br />L'Homme A La Boule, Jules Renard, 1871. Count Otto von Bismarck balances on a the world with one spurred foot entering France, and wearing only his underpants which are marked with the German imperial eagle.</span></td></tr>
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<span>Having secured the creation of a united German Empire following the successful outcome of the Franco-Prussian War in 1871, Bismarck was keen to consolidate Germany's position via the construction of alliances with other major powers.In so doing Bismarck was acknowledging that France would remain a threat, one set upon avenging her humiliating defeat in ceding Alsace and Lorraine to Germany at the conclusion of the 1870-71 war.</span><br />
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<span>Bismarck set about the establishment of numerous alliances with, in 1873, the creation of the Three Emperors League. This agreement tied Germany, Austria-Hungary and Russia to each other's aid in time of war. The agreement however only lasted until 1878 with Russia's withdrawal; Bismarck then agreed a new Dual Alliance with Austria-Hungary in 1879. The Courts of Austria-Hungary, of Germany, and of Russia, animated by an equal desire to consolidate the general peace by an understanding intended to assure the defensive position of their respective States, have come into agreement on certain questions</span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjW8mDLDglbqTWocdtCJqXw3BzgRjxUTsO7W9SYVHx5qRSqb2lMXZfNCI5k6sijGTdiHbJ_eYZNvQYRTq6tGq-X9PWUuqZPOP_v8Jok4MQUIEkEB519KyDF2BNKlfoZ8t8j_JdafjN7BY/s1600/b.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjW8mDLDglbqTWocdtCJqXw3BzgRjxUTsO7W9SYVHx5qRSqb2lMXZfNCI5k6sijGTdiHbJ_eYZNvQYRTq6tGq-X9PWUuqZPOP_v8Jok4MQUIEkEB519KyDF2BNKlfoZ8t8j_JdafjN7BY/s640/b.png" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><span>Bismarck offers slices of Africa to European powers at the Berlin conference.</span><br />
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<span style="font-size: medium;">Bismarck’s life’s work was the unification, through conquest and treaty, of an archipelago of German-speaking states (with the conspicuous exception of Austria). In 1870 Prussia humiliated France in the Franco-German War. Bismarck’s army took Emperor Napoleon III prisoner and starved Paris into submission. The Prussians did a triumphal march through the streets of Paris. Bismarck was on a roll. In 1871 the hold-out states of southern Germany joined a Prussian-led federation with Kaiser Wilhelm I as head of state. In many ways this prosperous new country was authoritarian, but it was also a democracy with active political parties. </span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">Even in the flush of triumph, however, the master politician saw problems ahead. As Prussia expanded and became Germany, it lost its original character – a highly-centralised, largely Protestant state. Catholics – mostly in the Rhineland, southern Germany and in the Polish-speaking East – now constituted about a third of the new nation. Bismarck believed that he needed to press hard for unity of language, religion and education, drawing all of society under government control.</span></div>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span><br /> "Between Berlin and Rome" from Kladderadatsch, 16 May 1875. <br /><div style="text-align: left;"><span style="color: #1f1c1c;">The caption reads: "The last move was certainly very unpleasant for me; but that doesn't yet mean the game is lost. I have one more very fine move up my sleeve!" "It will also be the last, and then you are mated in a few moves - at least for Germany."</span></div></span>
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<span style="font-size: medium;">Although Prussia was an authoritarian society without a bill of rights, it was not a dictatorship. Harsh restrictions on Catholics were passed democratically after debates in a parliament. Prussia’s progressive intellectual elite supported something which was clearly unjust: suppression of freedom of religion in the name of protecting freedom of thought. In 1864 Pope Pius IX published the Syllabus, a denunciation of the errors of modern thought, and in 1870 the First Vatican Council proclaimed papal infallibility. The infallibility was interpreted as an attack on the principle of secular government. To Bismarck, the troubled reign of Pius IX seemed like a golden moment to assert control. In July 1871 the assault began with the abolition of the Catholic bureau of worship and control of government-Church relations was handed over to Protestant bureaucrats. In November Bismarck passed the Kanzelparagraph (the Pulpit Law) which severely penalised criticism of the government by the clergy. In March 1872, all schools were placed under government control. In July 1872 the Jesuits (and later other religious orders) were expelled or interned. In December 1872 he broke off diplomatic relations with the Vatican. The pressure on Catholics intensified in May 1873 with the so-called May Laws (or Falk Laws). These were four drastic measures designed to crush the hierarchy and subject the Church totally to government control. At the same time, Bismarck fostered relations with the Old Catholics and tried to establish them as an alternative to the Catholic hierarchy. </span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">In 1875 the fight intensified. A “Breadbasket Bill” was passed which suspended all grants to dioceses if the clergy had not complied with the new laws. All religious orders were dissolved, except socially useful ones involved in nursing and social work. Civil marriage was made obligatory. All Church property was confiscated and ownership was transferred to parish laymen acting as trustees. By 1878 the Catholic Church appeared to be in a sorry state. Most of its bishops were in exile; thousands of parishes had no priest. It had lost most of its property and power. But in fact Bismarck’s Kulturkampf had run out of steam and most of his measures were about to be dismantled. </span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">Although Papal infallibility had not been popular with many German Catholics, nearly all of them closed ranks and presented a united front. In 1870 Catholics formed the Centre Party under the leadership first of Hermann von Mallinckrodt and then of Ludwig Windthorst, two politicians who were remarkable for their eloquence and shrewdness. Their party grew rapidly into a major political force.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhaeUhaC7zRJEvYFAE_Xq9yihd9FApuQkWEQAGSa62alwzdUdlWpe8LJWYGqUjm6OPskFdLhEvvEILqzWAD8UiqTg2gDrR4fsI86S_Dw1r1QI70R8cZOgsTfuh1xIQHXCCuUUYAxVufXI/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhaeUhaC7zRJEvYFAE_Xq9yihd9FApuQkWEQAGSa62alwzdUdlWpe8LJWYGqUjm6OPskFdLhEvvEILqzWAD8UiqTg2gDrR4fsI86S_Dw1r1QI70R8cZOgsTfuh1xIQHXCCuUUYAxVufXI/w554-h458/a.jpg" style="border: none; position: relative;" width="554" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: medium;"><br />While Chamberlain cries out that the Indian cloth of the royal mantle is on fire - a reference to the outbreak of nationalist violence in India in 1897 - two English officers gleefully stamp it out. Britain's army was mindful of how events spiraled out of country in the lead up to the 1857 Mutiny and decided to become more proactive in using force with even minor political disturbances.</span></td></tr>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><span><br />After revolting against the unpopular regime of King Otto I in October 1862, the question who would succeed that unfortunate monarch on the Greek throne had been discussed with great ardour in Britain – not least since it was likely to recalibrate the European balance of powers in the intractable Eastern Question. But while Queen Victoria’s second son, Prince Alfred (1844-1900) had been ruled out by the logics of international power politics, the Greek people had fallen for his middy’s uniform and simple dignity, when he had visited Greece and the British protectorate of the Ionian Islands on one of his many cruises in 1859. Prince Alfred never had the slightest inclination to become King of Greece. He loved his life as a midshipman in the Royal Navy, and had before him the prospect of inheriting the small, but idyllic duchy of his childless German uncle.</span><br />
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<span>A veritable “Alfred movement” swept the country, equating the “Sailor Prince” with the liberal protection of British super power and in Greece’s first modern referendum, they elected the unsuspecting Prince as their sovereign. Queen Victoria’s simple reaction that it could “never be” (15 November 1862) “on family and political grounds” decided the matter. Once the Greek throne had been rejected in Alfred's name, it was offered to various other minor princes. Among them was his very own uncle, Duke Ernst, who appeared to be the next best choice given that no son of Queen Victoria’s was available. As it turned out, Duke Ernst’s conditions were untenable (he wanted to remain Duke of Coburg and install a regency in Greece). But even though the storm passed, both he and Prince Alfred remained alert to the uncomfortable necessity of making arrangements for the future.</span><br />
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<span>After having been advertised to an embarrassing number of princelings, the throne of Greece was bartered away to an inexperienced younger Prince of Denmark in March 1863. King George I, whose main advantages were actually his close relationship with the Prince of Wales and the British gift of the Ionian Islands. In August 1893, Prince Alfred’s dynastic fate finally caught up with him. Barely missed by his English countrymen, and tepidly welcomed by his German subjects, he followed the coffin of his uncle to the dull idyll of Coburg. He died there, only seven years later, from the consequences of excessive alcohol consumption and a licentious lifestyle.</span></span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE1yFs_Ti2kNpGQxE8nfIsJyHVCp9BG6VMpIo4honcWNu4fv918-QdT79Rk8u2oV7AXUVR-m6Wq3RxIj9YNFHAvdfwqdcSYMrP_jBL4ynDWG7m5W5we_CMOsVXeDYMiRZELNgodJhjG7g/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE1yFs_Ti2kNpGQxE8nfIsJyHVCp9BG6VMpIo4honcWNu4fv918-QdT79Rk8u2oV7AXUVR-m6Wq3RxIj9YNFHAvdfwqdcSYMrP_jBL4ynDWG7m5W5we_CMOsVXeDYMiRZELNgodJhjG7g/s1600/a.jpg" style="border: none; position: relative;" width="618" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: medium;"><br />The succession of Queen Victoria by her son King Edward did little to stem the flow of antagonistic commentary on the British role in the Boer War. This cartoon shows"Baby" Edward, a male version of his squat mother, viewing the blood oozing from the South African section of his new toy, the world.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio9hgjQdLybqokYLwl0FncVlhlmUbZ8juiLwTbFa-x0h_Eeufiyll5OmuqQ1uIyAkGaZHdU28fxHRPHxa1hT2Xnm51ycFiRSNrZG45N4xvL116RF8pfXY2SgnqF12UyLj64aGizlbR4x-J/s1600/Carmichealjpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="735" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio9hgjQdLybqokYLwl0FncVlhlmUbZ8juiLwTbFa-x0h_Eeufiyll5OmuqQ1uIyAkGaZHdU28fxHRPHxa1hT2Xnm51ycFiRSNrZG45N4xvL116RF8pfXY2SgnqF12UyLj64aGizlbR4x-J/w592-h735/Carmichealjpg" style="border: none; position: relative;" width="592" /></span></a></td></tr>
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<span style="font-size: medium;">"Cry 'Havoc!' and let slip the dogs of war." This words are said by Mark Antony to Caesar's corpse in Shakespeare's Julius Cesar. English foreign policy was described as "splendid isolationism", a policy of remaining aloof from alliances with other powers while exercising its influence to encourage a balance of power on the continent. So long as the continental powers checked each other, England was secure on the other side of the Channel.</span></div>
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<span style="font-size: medium;">Throughout much of the 19th century, Russia seemed to pose the greatest challenge to English imperial interests. Periodic Russian expansion towards the Balkans and the Straits of the Dardanelles (the Ottoman Empire) posed a potential threat to the English trade route to India. English and Russian imperial interests also clashed in Persia, in Afghanistan and in northern China. There were also conflicting imperialistic goals between England and France in Africa .</span></div>
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<span style="font-size: medium;">War erupted in 1877 when the Bulgars rose up against their Turkish rulers and Russia intervened on their side. The Russians defeated the Turks, and would have driven them almost entirely out of Europe had the other great powers not intervened. England threatened war against Russia, and Bismarck, concerned that Austria and Germany might be drawn in, convened a peace conference. In 1878, at the Congress of Berlin, the Russians were coerced into relinquishing their gains in the recent war with Turkey. Bulgaria's independence was recognized and the Austrian government made a claim for Bosnia.</span></div>
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<span style="font-size: medium;">Bernard Gillam was born in England in 1859. A contemporary of Nast's who drew for the rival Puck magazine. During the 1884 presidential campaign, he did a parody of a famous painting by Gerôme, with Blaine being exposed before Chicago pols with his body tattooed with all his various scandals. This cartoon is believed to have played a significant role in the victory of Grover Cleveland in that election. Blaine threatened to sue but was persuaded by his political friends to back down. Ironically, Gillam was a Republican who voted for Blaine in 1884.</span></div>
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<span>The United States had treaty rights to establish a naval base on the island of Samoa, Presient Cleveland reacted strongly when Germany tried to install a puppet monarch. President dispatched three warships to Samoan waters, a bellicose action that led to a determination by Bismarck that something be done to head off the threat of a confrontation between Germany and the United States. The Germans suspended hostilities against Mataafa, and a new conference on Samoa was called to meet at Berlin in late April. Cleveland and Bayard accepted Bismarck's proposal for a tripartite conference which resulted in a tripartite protectorate over the islands signed by Germany, Britain, and the United States.</span></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div>
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<tr align="left"><td><span style="font-size: medium;"><br />Gunboat Diplomacy, By Raven Hill, 'Punch', September 2, 1911 Britain and France projected strength in their entent cordiale. The Kaiser backed down, and the French occupied Marocco. In exchange, France relinquished a chunk of the congo to Germany.</span></td></tr>
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<tr align="left"><td><span style="font-size: medium;"><br /><br />Dropping the Pilot, Sir John Tenniel, Punch, March 1890. German Emperor Wilhelm II looks anxiously at the departing of his Chancellor Otto von Bismarck. The reference to Bismarck as a "pilot" was from an earlier cartoon "The Champion Pilot of the age" from the Puck magazine in which, the cartoonist Joseph Keppler depicted Bismarck on a ship, having brought it out to the high seas. In the background, the cartoonist depicted the French ship of state in distress. This symbolized Bismarck's accomplishment of forming the German Kaiserreich by means of the Franco-Prussian War.</span></td></tr>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span>Cartoon by John Tenniel in *Punch* before war broke out: a Cossack threatens the Turkish sultan (July 23, 1853)</span><br />
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<span style="font-size: medium;">By 1850 Russian hopes of turning Turkey into a protectorate ran high. Had Russia succeeded, it would probably have displaced Britain as the strongest international power. Fear of Russian expansion was almost an obsession among some British policy-makers, including Lord Palmerston and his loyal supporter Sir Stratford Canning, the British ambassador in Constantinople. Canning had spent most of the previous 20 years encouraging reform in Turkey so that it could resist Russia more effectively. The Russians discouraged change, supporting the traditionalists and anti-reformists at the Ottoman court. One Turkish ambassador was told by the Tsar that the Turks should not bother to learn European languages</span></div>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><br />Sultan Abdülaziz was welcomed with great interest in Paris by Napoleon III . From Paris the Sultan went directly to London, where his party was welcomed by the Prince of Wales (later Edward VII) and was received with great applause. The European journey” took 46 days between 21 June 1867 and 7 August 1867.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDR0WzMj7BzQTa3Isrxqiu-r4Ngcp9x7cZLe0MJ-7efTNz8RQl5MDwDEYpAKkob7JDFbxWUcAaH9jC7J4vhP7IUEQtVxFet-LdshzCsDxC74vMKlwwSaEUodM_UENaJKTvrCfKKmfPUHeS/s1600/p-13948.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDR0WzMj7BzQTa3Isrxqiu-r4Ngcp9x7cZLe0MJ-7efTNz8RQl5MDwDEYpAKkob7JDFbxWUcAaH9jC7J4vhP7IUEQtVxFet-LdshzCsDxC74vMKlwwSaEUodM_UENaJKTvrCfKKmfPUHeS/s640/p-13948.jpg" style="border: none; position: relative;" width="392" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><span><br />Abdul Aziz Sultan of Ottoman empire. Girls on his knees. '<i>Ote-toi de la que je m'y mette</i>'. Vanity Fair, 1869.</span><br />
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<span style="font-size: medium;"><span>Sultan Abdul Aziz succeeded his brother Abdul Mejid in 1861 and ruled until 1876. The urging of France, Britain, and Austria enabled the progressive ministers Mehmet ‘Ali Pasha and Mehmed Fuad Pasha to reorganize the High Council to improve justice and education. In 1868 Midhat Pasha, was appointed president of a Council of State that included Christians to prepare a budget and promote reforms. Husain Awni Pasha worked on education in order to improve the army. Nonetheless Abdul Aziz was reactionary and autocratic. Whereas the Tanzimat had aimed at justice, now the young Turks wanted liberty and constitutional government. The first political party in Turkish history called the Patriotic Alliance or Young Ottoman Society was formed in 1865 as a secret society based on the Carbonari in Italy. In Namik Kemal who came from a family of Ottoman officials, began working for the Institute of Translation and translated and published an open letter to the Sultan by the Egyptian prince Mustafa Fazil demanding a constitution. Exiled to the provinces, Namik Kemal went to London and then to Paris with some other young radicals. In 1867 Abdul Aziz was the first sultan to visit Paris and London, where he came across these radicals. In June 1868 Kemal and Ziya Pasha began publishing their Turkish newspaper Hurriyet, which means freedom.</span><br />
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<span>Namik Kemal translated French works into Turkish, and he wrote a series of “Letters on Constitutional Regime” to expound his liberal philosophy. He believed in the political sovereignty of the people and that the rights of individuals should be based on justice. He argued that Islam is compatible with republican government, and he proposed a council of state to draft bills and administer the laws, a national assembly to legislate and control the budget, and a senate to moderate the legislative body and the executive power by protecting the liberties of the people. Kemal argued that the superiority of modern civilization could no longer be doubted, and he urged Muslims to have faith in liberty and progress. He was the first Turkish writer to point out how the West had penetrated their economy, and he criticized the current financial, administrative, and educational conditions. Although he wanted to apply Western science, technology, economy, press, and education, he criticized the Tanzimat legal reforms for undermining the Muslim community. He argued that adopting the separation of state from religion was a serious error that opened the way for European interference. He became a patriotic romantic and urged an Islamic constitution. His patriotic drama Vatan (Fatherland) portrayed the heroic defense of Silistria and was performed at Istanbul in 1873. The audience was so moved by the play that the first three performances were followed by shouting and public demonstrations, causing Sultan Abdul Aziz to close the play, ban Kemal’s newspaper, and deport him to Cyprus for three years.</span><br />
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<span>Mehmed Fuad died in 1869, and after the death of Mehmet ‘Ali in 1871 Sultan Abdul Aziz felt he was free from the reformers and could pursue his absolutist tendencies. He made his ministers directly responsible to him instead of to the grand vizier. He emulated the European luxuries he had observed and spent money building ironclad warships and railroads. In twenty years the Ottoman debt had risen from £4,000,000 to £200,000,000. More than half of the empire’s revenues were now going to pay its charges. In 1873 drought in Anatolia led to famine, and many taxes could no longer be collected. Tax farming, which had been declared abolished in the reforms of 1839 and 1856, was once again banned. A bad harvest and extortions for taxes erupted into insurrection in Herzegovina in June 1875 and spread to Bosnia, causing civil war between Muslims and Christians. Abdülaziz was deposed by his ministers on May 30, 1876, his death a few days later was attributed to suicide.</span></span></div>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span>“The Turk and the Christians”, The Greco-Turkish War, W. A. Rogers .</span><br />
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<span style="font-size: medium;"> </span></div><div style="text-align: left;"><span style="font-size: medium;"><span>The Thirty Days’ War, took place against a background of growing Greek concern over conditions in Crete, which was under Turkish domination and where relations between the Christians and their Muslim rulers had been deteriorating steadily. The outbreak in 1896 of rebellion on Crete, fomented in part by the secret Greek nationalistic society called Ethniki Etairia, appeared to present Greece with an opportunity to annex the island. By the beginning of 1897, large consignments of arms had been sent to Crete from Greece.</span><br />
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<span>On January 21 the Greek fleet was mobilized, and in early February Greek troops landed on the island, and union with Greece was proclaimed. The following month, however, the European powers imposed a blockade upon Greece to prevent assistance being sent from the mainland to the island. They took this step to prevent the disturbance from spreading to the Balkans. Thwarted in their attempt to assist their compatriots in Crete, the Greeks sent a force, commanded by Prince Constantine, to attack the Turks in Thessaly (April). By the end of April, however, the Greeks, who were inadequately prepared for war, had been overwhelmed by the Turkish army, which had recently been reorganized under German supervision. The Greeks then yielded to pressure from the European powers, withdrew their troops from Crete, and accepted an armistice on the mainland (May 20, 1897).</span><br />
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<span>A peace treaty, concluded on December 4, compelled Greece to pay the Turks an indemnity, to accept an international financial commission that would control Greek finances, and to yield some territory in Thessaly to Turkey. Subsequently, the Turkish troops also left Crete, which had been made an international protectorate, and an autonomous government under Prince George, the second son of the Greek king, was formed there (1898). Crete was finally ceded to Greece by the Treaty of London (1913), which ended the First Balkan War.</span></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div>
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<tr><td><span style="font-size: medium;"><br /><span>Peace Rumors. Let Us Have (A) Peace (Piece). [The Turk wishes he was Christian]. Thomas Nast,Wood engraving, 1877. Published by Harper's Weekly. June 30, 1877. <br />
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The cartoon , accuses Europe of supporting Russia during the Russo-Turkish War simply because they wanted a piece of the Ottoman Empire. It was not a far cry from the truth considering how the empire was broken up following the end of the war. Nor was it an illusion that the Russian Czar had initiated warfare in order to liberate orthodox Christians from the Islamic empire. In fact, this notion was highly publicized in the Russian news. In this cartoon the Sultan of Turkey can do nothing but watch as the European nations cut up the map depicting his territory - England is shown through John Bull (foreground, back turned), Otto von Bismarck represents Germany (left), and Alexander II represents Russia (right). The figure between Russia and Germany might be Patrice de MacMahon, Duke of Magenta and President of France.<br />
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By the end of the 18th Century the situation of the Ottoman Empire was deplorable. Nearly all the pachas of Asia were no longer bound to the Sultan except by some tributes and formulae of respect; the Persians and the Kurds menaced the eastern frontiers; the Mamelukes tyrannised over Egypt; Syria was in open revolt; the pachas and peoples of Turkey in Europe appeared to be no better subjected than those of Asia.The implications of the decline of Ottoman power and the vulnerability and attractiveness of the empire's vast holdings became collectively known to European diplomats in the nineteenth century as "the Eastern Question." In 1853 Tsar Nicholas I of Russia described the Ottoman Empire as "the sick man of Europe." The problem from the viewpoint of European diplomacy was how to dispose of the empire in such a manner that no one power would gain an advantage at the expense of the others and upset the political balance of Europe.</span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div>
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<span style="font-size: medium;"><span>Triple Alliance was secret agreement between Germany, Austria-Hungary, and Italy formed in May 1882 and renewed periodically until World War I. Germany and Austria-Hungary had been closely allied since 1879. Germany had allied itself with Russia and Austria-Hungary in the Three Emperors' League, but Austria-Hungary and Russia were not the best of friends, partly because they were at odds over the Balkans and partly because Russia represented the Pan-Slavic movement, whose program threatened the very existence of Austria-Hungary.</span><br />
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<span>After the slow death of the Three Emperors' League that lasted until 1890 Germany refused to renew its reinsurance treaty with Russia, and Russia in consequence sought a rapprochement with France. Bismarck negotiated the Triple Alliance with Austria-Hungary and Italy. Because of the long-standing hostility of Austria-Hungary toward Russia, however, he also negotiated a secret "Reinsurance Treaty" with the Russians. According to the terms of the treaty, Germany and Russia would remain neutral in the event that either nation was at war. France and Britain were bitter colonial rivals, and Bismarck counted on this rivalry to prevent any French-British co-operation. In an effort to maintain cordial relations with the British, he also refused to involve Germany in any colonial ventures.</span><br />
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<span>In 1890, Kaiser Wilhelm II dismissed Bismarck and within five years had abandoned Bismarck’s carefully constructed diplomatic policies. He did not renew the Reinsurance Treaty with Russia and embarked upon an ambitious colonial policy and expansion of the German navy that provoked British hostility. By 1895, France and Russia had formed a military alliance. In 1905, Britain and France, both alarmed by Germany’s increasing naval power and aggressive colonial policies, negotiated the "Entente Cordiale." This treaty included provisions for military co-operation in the event that either signatory entered a war with Germany. Europe was then dominated by two power blocs, the Triple Entente: France, Russia and Britain, and the Triple Alliance: Germany, Austria-Hungary, and Italy.</span></span></div>
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<span style="color: #1f1c1c; font-family: Calibri; font-size: medium;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><div style="text-align: left;"></div></td></tr></tbody></table><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-family: Calibri; font-size: 14.52px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td class="tr-caption" style="font-size: 12.8px;"><div style="text-align: left;"><span style="font-size: large;"></span></div></td></tr></tbody></table><span style="color: #1f1c1c; font-family: Calibri;"><br /></span><br style="color: #1f1c1c; font-family: Calibri; font-size: 14.52px;" /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-family: Calibri; font-size: 14.52px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGt9mZ7bimOBuejAXfF_7iHnAzz1V4frxT9vMWuVbpiEFW7Li3EG6SeewdlsDfDtiTmG2sBYC6IrBPmw7FGHUV9zy1gHFyOGX5J79v3C_N-XJQ8Tl6mLXV55vA3Sg0YEdGCHaJFIbmy5M/s1600/a.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGt9mZ7bimOBuejAXfF_7iHnAzz1V4frxT9vMWuVbpiEFW7Li3EG6SeewdlsDfDtiTmG2sBYC6IrBPmw7FGHUV9zy1gHFyOGX5J79v3C_N-XJQ8Tl6mLXV55vA3Sg0YEdGCHaJFIbmy5M/s640/a.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 11.616px;"><div style="text-align: left;"><span style="font-size: large;">When World War I broke out in the summer of 1914, Italy declared itself neutral in the conflict, despite its membership in the so-called Triple Alliance alongside Germany and Austria-Hungary since 1882. Over the course of the months that followed, Italy and its leaders weighed their options; wooed by both sides, they carefully considered how to gain the greatest benefit from participation in the war.</span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;">The decision to join the fray on the side of the Allies was based largely on the assurances Italy received in the Treaty of London, signed in April 1915. By its terms, Italy would receive the fulfillment of its national dream: control over territory on its border with Austria-Hungary stretching from Trentino through the South Tyrol to Trieste. In addition, the Allies promised the Italians parts of Dalmatia and numerous islands along Austria-Hungary's Adriatic coast; the Albanian port city of Vlore (Italian: Valona) and a central protectorate in Albania; and territory from the Ottoman Empire.</span></div><span style="font-size: large;"><br /></span><br /><table style="text-align: center;"><tbody><tr><td><br /></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 5px; position: relative; text-align: center;"><tbody><tr><td><br /><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicbq33CqxHsJi7F-1h7IPHzTw7Vn5MwhTd60ULmE9RFkacxzGmPzlArK0w1ZYtTZMLarVzcw1fi7pSGjSc32fi_R94r5JgI-SlLUC_My3msmpeopKmr5V0EYP11ZzHO12vk2uJAqC3410/s640/b.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; margin-left: auto; margin-right: auto; padding: 0px; position: relative;" width="480" /></td></tr><tr><td class="tr-caption" style="font-size: 12.8px;"><div style="text-align: left;"><div style="font-size: medium;"><span style="font-size: large;"><br /></span></div><div style="font-size: medium;"><span style="font-size: large;">The Ottoman Empire joined the Central Powers to form the Triple Alliance with the signing of the August 1914 Turco-German Alliance. The Ottomans had lost territory in Crimea to Russia, and Russia was encroaching in the Caucasus. In the Balkan wars she had lost Rumania, Bulgaria, Serbia, Montenegro, Albania and Greece. The Ottoman Empire also was losing territory in North Africa, with Italy taking Libya in the Italo-Turkish War of 1911-1912. Through the assistance of the Turks, the Germans threatened an offensive against the Suez Canal, which was abortive, but served the purpose of requiring British preparation for its defense. Germany saw more than mere military advantage in the Turkish adventure. She was reaching out into the British world which stretched across Persia towards India</span><br /><br style="font-size: x-large;" /><span style="font-size: large;">The British had to offset the threat of Germans, and with Russians in retreat from the Balkan and losing their faith in the Allies, they needed to bring Italy in on the side of the Allies. Italy had joined (reluctantly) with Germany in the so-called Triple Alliance out of a fear of France, which had formed an alliance with Britain that made Britain responsible for the mutual defense of the English Channel, and freed the French fleet to concentrate in the Mediterranean, possibly against Italy. Italy was worried about the intentions of a victorious Austria Hungary, from which she had taken Lombardy and Venice in the 19th century. So when Britain and France offered her Tyrol and Trieste from Austria, She jumped at the bait and switched sides</span></div><div><span style="font-size: large;"><br /></span></div></div><br /></td></tr></tbody></table><span style="font-size: large;"><span style="font-size: small;"><br /></span></span><br /><span style="font-size: large;"><br /></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgzuxmabV0yH1N7xuSBTKC8B1EFeZZzXrEjZAEkYwLVJ4rrz_aJoUxDk2M4PYYlPLSN0kvEij6rnNn2mJrKKMbylaYv6uvcKawY0sq0lKNKWu9OVhFhqp-Zh_fspVFmF05fGEz4ZHDSUM/s1600/a.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgzuxmabV0yH1N7xuSBTKC8B1EFeZZzXrEjZAEkYwLVJ4rrz_aJoUxDk2M4PYYlPLSN0kvEij6rnNn2mJrKKMbylaYv6uvcKawY0sq0lKNKWu9OVhFhqp-Zh_fspVFmF05fGEz4ZHDSUM/s640/a.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><div style="text-align: left;"><span style="font-size: large;">This German cartoon is making a jest at the Triple Entente. It shows Germans 'cooking' the English, French and the Russians. The Triple Entente among Great Britain, France, and Russia which was formed during the first decade of 20th century, and led to the outbreak of the First World War was the personal creation of King Edward VII of Britain. It was King Edward who engineered the Entente Cordiale between Britain and France in 1903-04, and who then went on to seal the fateful British-Russian Entente of 1907. It was King Edward who massaged Theodore Roosevelt and other American leaders to help bring about the U.S . -U. K. "special relationship," which dates from the time of his reign.</span></div></td></tr></tbody></table><span style="font-size: large;"><span style="font-size: xx-small;"><br /></span></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4NR_KbkE3vwQeJ-cjiVp2-K7tDGINJS8UTF79czUkFWPU7efrroAMasuFF61U0-rEtG0fQIxMsogMS97sF7V8xxllf7tinNs4BwKN8f2bDPTxMyacRYZXGxYjtGBPrVMGw8Gvy4yLDxI/s1600/63745e678adb4e6b87ec5682ed8259d4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4NR_KbkE3vwQeJ-cjiVp2-K7tDGINJS8UTF79czUkFWPU7efrroAMasuFF61U0-rEtG0fQIxMsogMS97sF7V8xxllf7tinNs4BwKN8f2bDPTxMyacRYZXGxYjtGBPrVMGw8Gvy4yLDxI/s640/63745e678adb4e6b87ec5682ed8259d4.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="441" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">Bulgaria declares its independence and its prince Ferdinand is named Tsar, Austria-Hungary, in the person of Emperor Francis Joseph, annexes Bosnia and Herzegovina, while the Ottoman Sultan Abdul Hamid II looks on helplessly.</span><br /><div style="text-align: left;"><span style="font-size: large;">Sultan Abdul Hamid II, born in 1842 and ascending to throne on 31 August 1876 following his brother, Murad V, who was deposed because of early symptoms of mental illness, named Midhat Pasha as Grand Vizier, who wrote the Ottoman Constitution. It recognised the Sultan a caliph, guardian of the Islamic faith and sovereign of all Muslim subjects in 1876. All subjects, regardless of faith or belief were named Ottomans (Osmanlı). Amongst other things, the constitution provided equality before the law for subjects regardless of religion, Christians were able to work for state authorities, security of property was assured, sanctity of life was ensured, vassals were banned, and a free press was implemented, as were reforms of a social, cultural and administrative nature.</span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;">However, Midhat Pasha was deposed, arrested and exiled in 1877. The Sultan took side with the Old Turks, under whose influence the parliament was dissolved in 1878. In 1908, the Sultan escaped a plot against his life only by chance, in which 28 people were killed in front of Yildiz mosque.In 1908 when after a meeting between Tsar Nicholas and the English King Edward VII in Reval, there were talks of possible plans by the European powers to divide up the Ottoman Empire. Shortly after this meeting, there was an uprising in Macedonia and the Turkish military units gradually aligned themselves on the side of the Young Turks, to which the Albanian soldiers also aligned, having been the regime’s main supporters. In July 1908, the Young Turk military units and their allies forced Sultan Abdul Hamid II to restore the constitution of 1876 and parliament.</span></div><div style="text-align: left;"><span style="font-size: large;">Bulgaria took advantage of the weakened Ottoman Empire after the Young Turk Revolution and on 5 October 1908,prince Ferdinand declared Bulgaria’s independence in contravention of a number of points of the Treaty of Berlin, which stated that north Bulgaria would become an independent principality under the sovereignty of the Sultan, and that the southern part of Bulgaria would have a Christian ruler with a statute subject to inspection by an international commission. Austria-Hungary did not oppose Bulgaria’s act, instead taking advantage of the step to annex Bosnia and Herzegovina.</span></div></td></tr></tbody></table><span style="font-size: large;"><span style="font-size: xx-small;"><br /></span></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrQeUkGxw6VsQ2hdj486y0A0GGjP74fXd7wxuy5SwvvY9qLWekC0Z4zsIAaXWIuBSlGXb7Sqjl44cbV8eCNiSHo1b51ytvBAIGbd3-SeYoFD7dppakuAhVMHrrcmYcoDt6hwFhItSgUiI/s1600/63745e678adb4e6b87ec5682ed8259d4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrQeUkGxw6VsQ2hdj486y0A0GGjP74fXd7wxuy5SwvvY9qLWekC0Z4zsIAaXWIuBSlGXb7Sqjl44cbV8eCNiSHo1b51ytvBAIGbd3-SeYoFD7dppakuAhVMHrrcmYcoDt6hwFhItSgUiI/s640/63745e678adb4e6b87ec5682ed8259d4.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="420" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;"> Student protesters and demonstrators chanting “Long Live Crete, Long Live Greece” and Sultan Abdul Hamid II advises: "Gentlemen, Students, the Great Turk can very well respond: Be concerned about what is happening at your own borders!". He refers to German treatment of Alsace and Lorraine, Ėdouard Pépin, Le Grelot (No. 1351, Paris) 28 February 1897</span></td></tr></tbody></table><span style="font-size: large;"><img border="0" height="407" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLE6hwqlZKLha34bW3JK0dnDr7VuPKtgEbZxwV-HTSqlTaJDldCt1ZjlMmxVxqM5FkqucIRSmC45WY6PUHQ6zVhy68xMNJZ_yYzpqzqqqtKsp3lvLMDallYJ_Wfi58Bn_Z6GU6p3W9EJ4/w315-h407/f3fa9bf975f246c69611d474f655a58c.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="315" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLE6hwqlZKLha34bW3JK0dnDr7VuPKtgEbZxwV-HTSqlTaJDldCt1ZjlMmxVxqM5FkqucIRSmC45WY6PUHQ6zVhy68xMNJZ_yYzpqzqqqtKsp3lvLMDallYJ_Wfi58Bn_Z6GU6p3W9EJ4/s1600/f3fa9bf975f246c69611d474f655a58c.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">Sultan Abdul Hamid II wiping his bloody sword on the Constitution, D'ostoya, L’Assiette au Beurre 29 August 1908</span></td></tr></tbody></table><span style="font-size: large;"><br /></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNCXzz8_FiXAOzHRL2rQkL5tYnxeT9UV2Oz1B0yDbQqqojUwmVoOhk-w80t3_B1ud4g5aQX17qgf3jUAkc7JLocUJ6U3g2WdD1GgNr121FeVx5OgpChoKIfVxQQwIWEOIPPjPXaWs67lw/s1600/8dde09502cb0486eb3ba3a5aec2b7fd5.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNCXzz8_FiXAOzHRL2rQkL5tYnxeT9UV2Oz1B0yDbQqqojUwmVoOhk-w80t3_B1ud4g5aQX17qgf3jUAkc7JLocUJ6U3g2WdD1GgNr121FeVx5OgpChoKIfVxQQwIWEOIPPjPXaWs67lw/s640/8dde09502cb0486eb3ba3a5aec2b7fd5.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="434" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">Reshad Efendi, proclaimed as Sultan Mehmed V and his deposed brother Abdul Hamid II, Charles Léandre, Le Rire, 15 May 1909</span></td></tr></tbody></table><span style="font-size: large;"><span style="font-size: xx-small;"><br /></span></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi15oulDoFG68jupqizvbYJxOvda2S4rL88f_YLXU08vqZzI9lBndMDk1d1Rd1mWUUy3sRbAkgn8mBhVp_VF1KMbyJQaAaRPUoZKSMTWzyLDLke45z6OhSEOMBkUjB7vpAp5OVFEUZ9w58/s1600/a.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi15oulDoFG68jupqizvbYJxOvda2S4rL88f_YLXU08vqZzI9lBndMDk1d1Rd1mWUUy3sRbAkgn8mBhVp_VF1KMbyJQaAaRPUoZKSMTWzyLDLke45z6OhSEOMBkUjB7vpAp5OVFEUZ9w58/s1600/a.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="490" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">The Young Turks Dispose of the Body of Abdul-Hamid</span><br /><div style="text-align: left;"><span style="font-size: large;">In 1908, Sultan Abdulhamid II was overthrown as a result of a military coup orchestrated by the Young Turks movement ending his 33 years long reign. In the next ten years following his abdication, the Ottoman Empire was torn apart. Most of the Young Turks had been sent for education to Europe, mostly France. The Young Turks movement originated in 1865, when Ebüzziya Tevfik, an Ottoman intellectual, and six of his friends met up at Yenikoy and continued to the Belgrade Forest. The aim of this movement was to ‘‘take the empire from the Old Ottomans (referring to the Sultan) and fix up their politics and policies’’. The key members of this movement were Cemil Topuzlu, Dr. Marko Pasa, Emanuel Karasu and Talat Pasa. They pursued Pan-Turanian goals in order to consolidate Turkish rule in the remaining territories of the Ottoman Empire and to expand the state into the so-called Turanian lands including Azerbaijan, and Turkmenistan. </span></div><div><span style="font-size: large;"><br /></span></div></td></tr></tbody></table><span style="font-size: large;"><span style="font-size: xx-small;"><br /></span></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7sBkXgUbzuxuoJjZNO4M8dRL4tUkF42Q72KcM4zDXBHKc7OG3ziRQPEs-GLf2O_DxADLPHmFWeitAkvzgjFoTaODNs6o3DgebOJD-lp_Lfh7VhG-fq97FylIUcI9KOIouJ95OO5OSKIs/s1600/a.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7sBkXgUbzuxuoJjZNO4M8dRL4tUkF42Q72KcM4zDXBHKc7OG3ziRQPEs-GLf2O_DxADLPHmFWeitAkvzgjFoTaODNs6o3DgebOJD-lp_Lfh7VhG-fq97FylIUcI9KOIouJ95OO5OSKIs/s640/a.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">Mustafa Kemal Atatürk, The Multiple Dictator, Mavi Boncuk, Punch, November 7 1923</span><br /><blockquote class="tr_bq"><span style="font-size: large;"> Mustafa Kemal Pasha- " O I AM A COOK AND A CAPTAIN BOLD AND THE MATE OF THIS FANCY BRIG AND A BO'SUN TIGHT AND A MIDSHIPMITE AND THE CREW OF THE CAPTAIN'S GIG"</span></blockquote><div style="text-align: left;"><span style="font-size: large;">Mustafa Kemal Atatürk has been elected the President of the new Turkish Republic. Atatürk was already president of the Assembly. President of the Cabinet and President of the Popular Party</span></div></td></tr></tbody></table><span style="font-size: large;"><span style="font-size: xx-small;"><br /></span></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKAP5JYaJZ2TJ89nepb4P4rqxs_lT1u5-IzZK0hVpg9j0VefLHFdoRI0auy8KdyioK38uCR-aer_Rx9X9WBEyKvoQdULyhzKxkNaZX6riytK_6W7eWete0O4JmU_bmf5YKDyOooEnqTn4/s1600/63745e678adb4e6b87ec5682ed8259d4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="526" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKAP5JYaJZ2TJ89nepb4P4rqxs_lT1u5-IzZK0hVpg9j0VefLHFdoRI0auy8KdyioK38uCR-aer_Rx9X9WBEyKvoQdULyhzKxkNaZX6riytK_6W7eWete0O4JmU_bmf5YKDyOooEnqTn4/w368-h526/63745e678adb4e6b87ec5682ed8259d4.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="368" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">"Towards the Beykoz conference. Pasha: What's up Kosti the soupman, where are you going with your stuff? Kosti the soupman: to the new conference, to play my puppet.", by Sedat Simavi (1896-1953) showing Constantine I of Greece and Mustafa Kemal, leader of the Turkish forces of Anatolia. July 1922</span><br /><div style="text-align: left;"><span face="raleway, helvetica, sans-serif" style="color: #333333;"><span style="font-size: large;">The state of Turkey was headed by Mustafa Kemal’s People’s Party, which later became the Republican People’s Party. The end of the War of Independence brought new administration to the region, but also brought new problems considering the demographic reconstruction of cities and towns, many of which had been abandoned. The Greco-Turkish War left many of the settlements plundered and in ruins.</span></span></div><div style="text-align: left;"><span face="raleway, helvetica, sans-serif" style="color: #333333;"><span style="font-size: large;"><br /></span></span></div><div style="text-align: left;"><span face="raleway, helvetica, sans-serif" style="color: #333333;"><span style="font-size: large;">After the Balkan Wars, Greece had almost doubled its territory, and the population of the state had risen from approximately 3.7 million to 4.8 million. With this newly annexed population, the proportion of non-Greek minority groups in Greece rose to 13%, and following the end of the First World War, it had increased to 20%. Most of the ethnic populations in these annexed territories were Muslim, but were not necessarily Turkish in ethnicity. This is particularly true in the case of ethnic Albanians who inhabited the Çamëria region of Albania.</span></span></div><div style="text-align: left;"><span face="raleway, helvetica, sans-serif" style="color: #333333;"><span style="font-size: large;"><br /></span></span></div><div style="text-align: left;"><span face="raleway, helvetica, sans-serif" style="color: #333333;"><span style="font-size: large;">The 1923 population exchange between Greece and Turkey stemmed from the "Convention Concerning the Exchange of Greek and Turkish Populations" signed at Lausanne, Switzerland, on 30 January 1923, by the governments of Greece and Turkey. It involved approximately 2 million people (around 1.3 million Anatolian Greeks and 500,000 Muslims in Greece), most of whom were forcibly made refugees and de jure denaturalized from their homelands.</span></span></div><div style="text-align: left;"><span face="raleway, helvetica, sans-serif" style="color: #333333;"><span style="font-size: large;"><br /></span></span></div><div style="text-align: left;"><span face="raleway, helvetica, sans-serif" style="color: #333333;"><span style="font-size: large;"><br /></span></span></div></td></tr></tbody></table><span style="font-size: large;"><span style="font-size: xx-small;"><br /></span></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDpCAzcpZtiX3G6BTTrOmE5foFXuNwfP4oyejg8OQ81BP31Cc99A7YRj0UBqi0HX3wpveVMS9IXIbgb7pkm4wKhJnb_V6LkK3dOEREsU9tBg1vO1arQcbCPe9Evwa3iIPDA_8uHD-P-u0/s1600/a.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDpCAzcpZtiX3G6BTTrOmE5foFXuNwfP4oyejg8OQ81BP31Cc99A7YRj0UBqi0HX3wpveVMS9IXIbgb7pkm4wKhJnb_V6LkK3dOEREsU9tBg1vO1arQcbCPe9Evwa3iIPDA_8uHD-P-u0/s640/a.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">The New Turkey, 'The Dallas News', 1922</span><br /><div style="text-align: left;"><span style="font-size: large;">Mustafa Kemal Atatürk proclaims the abolition of the Ottoman Empire and the establishment of the new Turkish Republic.</span></div></td></tr></tbody></table><span style="font-size: large;"><span style="font-size: xx-small;"><br /></span></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSVL9nJnthML_vd3moTY9L7G6_Ziiqe2UZY-9r22EmdIwxDGmE73F37YlTFbuAfMZF0ZegwoO2UTsM8vAE6Y6yvoujilT7GHOE2QA2wq_HBHRx-a5HNEDEuZnP3U9qi1iKPk2-Gy_R4N4/s1600/b.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSVL9nJnthML_vd3moTY9L7G6_Ziiqe2UZY-9r22EmdIwxDGmE73F37YlTFbuAfMZF0ZegwoO2UTsM8vAE6Y6yvoujilT7GHOE2QA2wq_HBHRx-a5HNEDEuZnP3U9qi1iKPk2-Gy_R4N4/s640/b.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="640" /></span></a></td></tr><tr><td><div style="text-align: left;"><span style="font-size: large;">The elite members of the Imperial Club show little enthusiasm for their new member. The cartoonist pokes fun at the Japanese's inappropriate mix of old and new attire: full western frock coat combined with traditional wooden geta on his feet, umbrella held awkwardly under the arm; buck-toothed grin and slitted eyes are easily identifiable racist stereotypes.</span></div></td></tr></tbody></table></td></tr></tbody></table><br /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6F8DZZ6-tv9RyVfFeiuCNNYcvQFjx_mdln8ClsX-rBD83XjQXDOsObgwWnY3B7cKj_2ySmKR2PxnaGQZkFDW2Mwec05shXpxNGrGq6yB47FS7njHMN93B7XkM9IQt_OIgoAKTD2v4aZoS/s1600/panther.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6F8DZZ6-tv9RyVfFeiuCNNYcvQFjx_mdln8ClsX-rBD83XjQXDOsObgwWnY3B7cKj_2ySmKR2PxnaGQZkFDW2Mwec05shXpxNGrGq6yB47FS7njHMN93B7XkM9IQt_OIgoAKTD2v4aZoS/s400/panther.jpg" style="border: none; position: relative;" width="255" /></span></a></td></tr><tr><td class="tr-caption"><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">One aspect that particularly rankled the Japanese was the blatant way Russia and her henchmen in the Intervention played the race card. It may not have been coincidental that right at this time, a great deal of literature about the "Yellow Peril" found its way into print.The Germans were among the most active and inventive purveyors of the Yellow Peril myth; the term "Yellow Peril" was coined by Kaiser Wilhelm himself. The Kaiser's feelings on race are on record and consistent; he also bandied about the terms "Black Peril" (black Africans) and "Slav Peril" to undergird the theory that the Reich was encircled by enemies, justifying ever-greater military expenditures.<br /><br />It is said that politics makes strange bedfellows, and in the wake of Russia's duplicity in the Tripartite Intervention, Great Britain reached out to Japan. Japan's capital ships had been built in Britain and many of her leading naval commanders studied in British naval academies and served with the British fleet. So it was that in 1902 Britain signed her first ever foreign alliance: the Anglo-Japanese Pact of 1902. This was certainly aimed at Russia, Britain's rival in the "Great Game"</span></div></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAlWxdWdxBdEDZSeG4ISLsSZT5ipWjOuVvwRMzd7fsxqk-j90jvqHaGFpiBRostAqvJZ2uv4CqlU9cuRNP7VzzHFCBH1SGyRYbQvARBCt5RvkJKRfXH3_xMs-i9MNXAGYJ28zXNtcar70u/s1600/A.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="845" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAlWxdWdxBdEDZSeG4ISLsSZT5ipWjOuVvwRMzd7fsxqk-j90jvqHaGFpiBRostAqvJZ2uv4CqlU9cuRNP7VzzHFCBH1SGyRYbQvARBCt5RvkJKRfXH3_xMs-i9MNXAGYJ28zXNtcar70u/w631-h845/A.jpg" style="border: none; position: relative;" width="631" /></span></a></td></tr><tr align="left"><td class="tr-caption"><div style="text-align: center;"><span style="font-size: medium;"><br /></span></div><div style="text-align: center;"><span style="font-size: medium;">Emperor of Japan and his British and American well-wishers according to a Russian cartoon.</span></div><div></div><span style="font-size: medium;">At the beginning of the Russo-Japanese War, no one outside Japan had envisaged a Russian defeat. Indeed, the very existence of the Tennō’s empire appeared endangered. The Japanese victory, however, was immediately recognized as a turning point in world history. For the first time in modern history an Asian nation had defeated a European great power. Japan immediately became an important actor in world politics. The impact of the war took on a regional and global character, opening the way to a new constellation of powers and becoming a prelude to World War I.</span></td></tr></tbody></table><span><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-family: Calibri; font-size: 11.616px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWEdPDIv3mi2OwoX_tyOGbrOEJXvAU1xXvZg-lff9PE7mMb1W8hMMppq9N6PgYBeXh9lLZ8J0L2gxSDhCBr7XAJ8yq864hp5zBzk82Ky2pyKfljHFb3xHQvyYsNDAZYcoAOFUDKylEE0M/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWEdPDIv3mi2OwoX_tyOGbrOEJXvAU1xXvZg-lff9PE7mMb1W8hMMppq9N6PgYBeXh9lLZ8J0L2gxSDhCBr7XAJ8yq864hp5zBzk82Ky2pyKfljHFb3xHQvyYsNDAZYcoAOFUDKylEE0M/s640/a.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></span></a></td></tr><tr><td><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;">The Russians had entered Manchuria region during the Sino-Japanese War of 1894–95 and, along with Germany and France. This was part of the “Triple Intervention” that forced Japan to give up its demands for ports in South Manchuria and the Liaodong Peninsula in the wake of its victory in China. Russia moved into the area and took control of Port Arthur, a warm water port with strategic and commercial significance. A Japanese attempt to stage a coup in adjacent Korea was thwarted in part by the Russian presence in the region, and the two nations’ divergent interests appeared more and more likely to clash.<br />In 1904, the Japanese attacked the Russian fleet at Port Arthur before the formal declaration of war was received in Moscow, surprising the Russian navy and earning an early victory. Over the course of the next year, the two forces clashed in Korea and the Sea of Japan, with the Japanese scoring significant, but costly, victories. War casualties were high on both sides. At the battle over Mukden, the Russians lost 60,000 soldiers and the Japanese lost 41,000 soldiers. The military costs were high as well. A Russian fleet made the long trip from the Baltic Sea around Africa and India, only to be half destroyed by the Japanese upon its arrival in Northeast Asia. By 1905, the combination of these losses and the economic cost of financing the war led both countries to seek an end to the war.</span></div></td></tr></tbody></table><div dir="ltr" style="color: #222222; font-family: Calibri; font-size: 11.616px;" trbidi="on"><span style="font-size: large;"><span style="font-size: xx-small;"><br /></span></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTFivtG0HGxjTUWJ8NT5o4MGfseGQHmXQWgBz2WR3gUBAq6EL3kTG6hrxBaF4LYBCV3QwzkI5ihQJgkzpC2p5vhXad7ymORv3xNmRSnIxYFr-OA8GkRNxcM57nAHrmXgTQziPQynU_ojM/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTFivtG0HGxjTUWJ8NT5o4MGfseGQHmXQWgBz2WR3gUBAq6EL3kTG6hrxBaF4LYBCV3QwzkI5ihQJgkzpC2p5vhXad7ymORv3xNmRSnIxYFr-OA8GkRNxcM57nAHrmXgTQziPQynU_ojM/s1600/a.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="640" /></span></a></td></tr><tr><td style="text-align: left;"><span style="font-size: large;"><br />The Japanese asked U.S. President Roosevelt to negotiate a peace agreement, and representatives of the two nations met in Portsmouth, New Hampshire in 1905. For the sake of maintaining the balance of power and equal economic opportunity in the region, Roosevelt preferred that the war end on terms that left both Russia and Japan a role to play in Northeast China. Though excited by the Japanese military victories, Roosevelt worried about the consequences to American interests if Japan managed to drive Russia out entirely.<br /><br />The Treaty ultimately gave Japan control of Korea and much of South Manchuria, including Port Arthur and the railway that connected it with the rest of the region, along with the southern half of Sakhalin Island; Russian power was curtailed in the region, but it was not required to pay Japan’s war costs. Because neither nation was in a strong financial position to continue the war easily, both were forced to compromise in the terms of the peace. Still, the Japanese public felt they had won the war, and they considered the lack of an indemnity to be an affront. There was a brief outbreak of protests and rioting in Tokyo when the terms of the agreement were made public. Similarly, the Russian people were also dissatisfied, angry about giving up half of Sakhalin.</span></td></tr></tbody></table><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs8kdujzq0qS2r6uxh0EtzFCCJJuR0Y2Wg246nTTMAuR6XcO7_immi2nmrijlQswGDNXKhOwzuG3QE19ImMyr7Qy8ZPDUhv8DtQKC_xMdeYrZ7o-50St_X4QngbqNfPIxKwTD9ybHNs4A/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs8kdujzq0qS2r6uxh0EtzFCCJJuR0Y2Wg246nTTMAuR6XcO7_immi2nmrijlQswGDNXKhOwzuG3QE19ImMyr7Qy8ZPDUhv8DtQKC_xMdeYrZ7o-50St_X4QngbqNfPIxKwTD9ybHNs4A/s1600/a.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="436" /></span></a></td></tr><tr><td><div style="text-align: left;"><span style="font-size: large;">The negotiations centered on access to ports and territories in Manchuria and Korea, control of Sakhalin Island, and the question of who was responsible for paying war costs. The chief aims of the Japanese negotiator included first control in Korea and South Manchuria, then the negotiation of an indemnity and control of Sakhalin 6. The Russians wanted to maintain Sakhalin Island, refused to pay a war costs indemnity to the Japanese, and hoped to maintain their fleet in the Pacific. The indemnity issue, along with the dispensation of Sakhalin Island, were the major sticking points in the negotiation, although given its financial straits in 1905, Russia was likely unable to pay an indemnity even if required by a treaty to do so.</span></div></td></tr></tbody></table><span style="font-size: large;"><br /></span></div><span style="font-size: x-large;"><span style="color: #222222; font-family: Calibri; text-align: center;"><span><br /></span></span><br style="color: #222222; font-family: Calibri; text-align: center;" /></span><h2 style="color: #cccccc; font-family: "Josefin Sans"; font-stretch: normal; font-weight: normal; line-height: normal; margin: 0px; position: relative;"><span style="color: #b45f06;"><span style="font-size: x-large;">Persia in the Great Game</span></span></h2><span style="color: #222222; font-family: Calibri; font-size: large; text-align: center;"><span style="font-size: xx-small;"><br /></span></span><br style="color: #222222; font-family: Calibri; font-size: 11.616px; text-align: center;" /><div style="color: #222222; font-family: Calibri; font-size: 11.616px;"><span style="font-size: large;">Caught between imperialist Russia and British India. Persia played smartly in in their Great Game thus preserving her independence while faced with completely unfavorable odds gainst her. Russia forced Fath-Ali Shah to sign the Treaty of Golestan, acknowledging the Russian annexation of Georgia and surrendering a large chunk of the traditionally-Iranian south Caucasus, in 1813. The Czar using the modern warfare technology with heavy guns was able to compel the Shah to sign this humiliating treaty at the same time as the majority of his army was fending off the Napoleon Bonaparte's army. Russia eyeing the enormous wealth of British India attacked Iran again in the 1820's, and by 1828 had pounded the Iranians so badly that they signed the Treaty of Turkmanchai, in which Persia surrendered all claims north of the Aras River. This area now comprises Armenia and the Republic of Azerbaijan. Fath-Ali Shah's grandson, Muhammad Shah, succeeded him in 1834. At the behest of the Russians, he launched two unsuccessful attacks on Herat during the next 15 years.<br /><br />The Central Asian region including Afghanistan was a zone of triangular contest between British Empires and Russian Czars. Czarist Russia and Britain in India were waging an undeclared war and containing each other in Central Asia and Afghanistan. These powers were struggling for establishing their hold in the region. As the Great Game intensified, the British and Russian demarcated the border between Afghanistan and Central Asia in 1884, when Russia annexed southern Tajikistan. Following its policy of annexation, in 1968, Russia annexed northern portion of present day Tajikistan and made it a part of Turkmenistan, a Russian controlled province.<br /><br />In the old Great Game Afghanistan was the hub of conflict for British and Russian Empires. Element of uncertainty and distrust prevailed between both powers. The British had fear that Russia may threaten British Balochistan via Turkmen region to Herat and may animate the Kabul against British. On the other hand Russians were viewing that British would undermine them in Central Asia. Nasser al-Din Shah (r. 1848-1896)who modernized Iran's postal and banking systems (there's an irony here, considering the Persian roots of both), and established technical schools, played the European power against each other to preserve Iran's independence.</span></div><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe8MvzmIOBPsbJrRVPMvCnNP2CmWlQp9il2XaTU-Go6NJqkquANZtwVigGA0EDgPvuwP2fV1T0dtFruTvSpHeNmneZ8Y2aZAuWzsEJDIu57oOdh4kZ5YIdFOMVGS6ByeO_8z3v-oeb-dvS/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhe8MvzmIOBPsbJrRVPMvCnNP2CmWlQp9il2XaTU-Go6NJqkquANZtwVigGA0EDgPvuwP2fV1T0dtFruTvSpHeNmneZ8Y2aZAuWzsEJDIu57oOdh4kZ5YIdFOMVGS6ByeO_8z3v-oeb-dvS/s640/A1.JPG" style="border: none; position: relative;" width="424" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Soveriigns, No11, ( Nasser-Ed-Din-Shah), "He endowed Persia with a National Debt," by SPY (Leslie Ward), Vanity Fair, July 5, 1873.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><div class="separator" style="clear: both;"></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBTk7pHQpDFBgMjg_dV-XwJxHSSNKxKl15DjNFulhDwBW0ePgxuLgiMA6iQ-uBHePH79zcyCGSULWVojFGmunw-36MmLAlVios24KqbFNMtmrjbU_U1bPmghmwt3myjgoyzvZK-QPyadg8/s1600/A1.JPG" style="color: #992211; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="668" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBTk7pHQpDFBgMjg_dV-XwJxHSSNKxKl15DjNFulhDwBW0ePgxuLgiMA6iQ-uBHePH79zcyCGSULWVojFGmunw-36MmLAlVios24KqbFNMtmrjbU_U1bPmghmwt3myjgoyzvZK-QPyadg8/w463-h668/A1.JPG" style="border: none; position: relative;" width="463" /></span></a></div></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">May, Philip William, Nāṣer al-Dīn Shah, 1889<br /></span><div style="text-align: left;"><span style="font-size: medium;">Although a younger son of Moḥammad Shāh, Nāṣer al-Dīn was named heir apparent through the influence of his mother. Serious disturbances broke out when he succeeded to the throne on his father’s death in 1848, but these were quelled through the efforts of his chief minister, Mīrzā Taqī Khān, Amir Kabir (Great Leader). Under Taqī Khān’s influence, Nāṣer al-Dīn began his rule by instituting a series of needed reforms. Taqī Khān, however, was later forced from power by his enemies, who included Nāṣer al-Dīn’s mother, and was disgraced, imprisoned, and finally murdered. In 1852 an attempt was made on Nāṣer al-Dīn’s life by two Bābīs (members of a religious sect considered heretical). Unable to regain territory lost to Russia in the early 19th century, Nāṣer al-Dīn sought compensation by seizing Herāt, Afg., in 1856. Great Britain regarded the move as a threat to British India and declared war on Iran, forcing the return of Herāt as well as Iranian recognition of the kingdom of Afghanistan.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Tumc2dqsgtUXq5b3Q2vZ-VmFkiBd1cgizGTapVHYph9CtHn9AwC2Au0ygMNouAGEyC6N3obsD0GwzDHfzbvSSyzP5dj461b5Dv5BSIcuzQ0zEr-BLidtF_8JJheBVc_DfrMMFTxxfKjA/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="441" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2Tumc2dqsgtUXq5b3Q2vZ-VmFkiBd1cgizGTapVHYph9CtHn9AwC2Au0ygMNouAGEyC6N3obsD0GwzDHfzbvSSyzP5dj461b5Dv5BSIcuzQ0zEr-BLidtF_8JJheBVc_DfrMMFTxxfKjA/w623-h441/A1.JPG" style="border: none; position: relative;" width="623" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Queen Victoria receiving the Shah of Persia at the Sovereign's Entrance, Windsor Castle, June 20. Published in an extra supplement to the Illustrated London News, 28 June 1873.<br /></span><div style="text-align: left;"><span style="font-size: medium;"><br />Nasir al-Din Shah traveled to Russia in 1878 and was impressed by their Cossacks. The next year Russian officers began training the new Persian Cossack Brigade. Amin al-Sultan his chief minister was a skilled politician and pursued a pro-British policy until 1892. In 1889 Nasir al-Din Shah went to Europe for the third time. He approved a lottery promoted by Malkum Khan; but he found opposition at home because gambling is forbidden by the Qur’an. The Shah cancelled the lottery, and Malkum Khan was able to sell his concession before the British were informed. Malkum was dismissed from his positions and lost his titles. He began criticizing the Iranian government in the reformist newspaper Qanun (Reform Law), which he founded in London and smuggled into Iran. The slogan “Unity, Justice, and Progress” was printed at the top, but he made personal attacks on Amin al-Sultan. Malkum quoted the merchant Qazvin who asked, “By what laws does the government sell our national rights to foreign racketeers?” The answer Malkum gave is that the Shah should call together a national assembly “to formulate laws that would initiate social progress.”</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq5x99PTpmpkOMBJ8pldPEmwB3Zw-H_zfvgJNzT4kvsG8aYaIyoaYhzK__cK04T_wxnMlzsNuXlU9rEhH_jZXEbpe9CGcIKrzBU52o_bVoXo2ahwxhy2d_8-ARBcjNm_am6kloSDMhRMrl/s1600/A22.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq5x99PTpmpkOMBJ8pldPEmwB3Zw-H_zfvgJNzT4kvsG8aYaIyoaYhzK__cK04T_wxnMlzsNuXlU9rEhH_jZXEbpe9CGcIKrzBU52o_bVoXo2ahwxhy2d_8-ARBcjNm_am6kloSDMhRMrl/s640/A22.JPG" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Zichy Mihaly Horse-Guardsmen Meeting Nasir-al-Din Shah<br /></span><div style="text-align: left;"><span style="font-size: medium;">Sayyid Jamal al-Din al-Afghani, a Muslim reformer who helped to reconcile secularist reforms with the ‘ulama (learned Muslims), from an Azeri-speaking village in Afghanistan, traveled to India during the Mutiny of 1857-58, developing a hatred of British imperialism. He wrote “Refutation of the Materialists” and gained a reputation for supporting Islam, though he emphasized its social aspects. Jamal al-Din criticized the intolerance of religion that stifles science and serves political despotism, but he praised philosophy that frees one from beliefs. During the 1870s he educated young men in Egypt. Then in Paris he edited the Arabic newspaper al-‘Urwa al-Wuthqa, which promoted pan-Islamism. He went to London to try to influence British policy in Egypt, but he failed and returned to Persia. The Minister of the Press persuaded the Shah to invite Jamal al-Din to Tehran; but his anti-British ideas offended the Shah, who forced him to leave in 1887.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUno3B77sRYpVLftXcvmBzLsrSabsDiyj2tCHYwQiRRtT8e8a8SiFG4jj9nhiVRy48Ozc4CHGQ29sgybFeknEXqb-ZWq4z3TGD098MrHTA3tY7SomIIRSqenCQ-ZCW7fNWz3wVDNoUdNNm/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="415" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUno3B77sRYpVLftXcvmBzLsrSabsDiyj2tCHYwQiRRtT8e8a8SiFG4jj9nhiVRy48Ozc4CHGQ29sgybFeknEXqb-ZWq4z3TGD098MrHTA3tY7SomIIRSqenCQ-ZCW7fNWz3wVDNoUdNNm/w803-h415/A1.JPG" style="border: none; position: relative;" width="803" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Introduction of Grand Princess Maria Alexandrovna to Shah Nasiral Dinin the Winter Palace</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY0xCF0hW_AcwZwDIaZDYaNdjeVqeuVA_3Wg-2kMV29pvzDZRpOEDu106i0udhnpjf9UQ-mLM___FFPmbIYB3bCSbT_Cdw1GfcwxLN7EfKq3OQhMX3CImVTVQPEifBrLGPkFoIbEgQ9L6d/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="868" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY0xCF0hW_AcwZwDIaZDYaNdjeVqeuVA_3Wg-2kMV29pvzDZRpOEDu106i0udhnpjf9UQ-mLM___FFPmbIYB3bCSbT_Cdw1GfcwxLN7EfKq3OQhMX3CImVTVQPEifBrLGPkFoIbEgQ9L6d/w575-h868/A1.JPG" style="border: none; position: relative;" width="575" /></span></a></td></tr><tr align="left"><td class="tr-caption"><span style="font-size: medium;"><br />Qajar King Nasseredin Shah kisses Queen Victoria's Hand in Curtsy upon arrival at Buckingham Palace Reception in honor of the Persian Shah's State first Visit. Nasseredin Shah and Queen Victoria long reign strongly shaped their respective countries history. Victoria oversaw Britains Industrial Revolution ( not without it's share of Dickensian transformations) where as Nasseredin Shah opened Persia to Western economic and cultural Influence, and ideas that were to actually undermine his absolute reign in subsequent years following his assassination in 1848 with the 1906 Constitutional Revolution.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlRrChsMaT4Wabjh_AfBFQIjr8GM8RTQglE39laDxe5KHyu9n9P-fVSB1vfGkFsq2rHov5sAXn8BHgKCSlHJWgxxjSxmfWbwC7wIGL2OObfGY6zrogC30RTiIt7ESV8kGvFRu7ZbzfSwEC/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="599" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlRrChsMaT4Wabjh_AfBFQIjr8GM8RTQglE39laDxe5KHyu9n9P-fVSB1vfGkFsq2rHov5sAXn8BHgKCSlHJWgxxjSxmfWbwC7wIGL2OObfGY6zrogC30RTiIt7ESV8kGvFRu7ZbzfSwEC/w805-h599/A1.JPG" style="border: none; position: relative;" width="805" /></span></a></td></tr><tr align="left"><td class="tr-caption"><span style="font-size: medium;"><br />At six o'clock on the evening of 31 May 1873, Shah Nasir al-Din of Persia, fourth king of the Qajar dynasty, and his entourage arrived at Potsdam Station in Berlin, where they were greeted by the German Emperor Wilhelm I, Crown Prince Friedrich, Chancellor Bismarck and Field Marshal Moltke. Welcomed by the cheering of thousands, the shah entered Berlin along Unter den Linden, sitting in an open carriage next to the kaiser. The Persian monarch returned to the German capital to be received by the Hohenzollern monarchs in the summers of 1878 and 1889. He was the first Persian head of state ever to have visited Europe. Some years later his son and successor, Muzaffar al-Din, was also received in Berlin. He entered the capital in June 1902 and passed through Germany in 1900 and 1905, although he was not formally received on these two occasions. The shahs' sojourns in Germany were part of their six European tours, which also brought them to various other European courts. Nasir al-Din dined with the tsars at the Winter Palace of St Petersburg, enjoyed receptions given by King Leopold II in Brussels and banquets with the Austrian Emperor Franz Joseph at Schönbrunn Palace, and attended the World's Fairs in Vienna (1873) and Paris (1878 and 1889).</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwSuE_YzuEIufTGJFM0Df8dp3Xj91QuRFFFa3GXQ5ImIFVQve5suX3KEwWOy7W0m9gS9LHn2rgy0EsELcu7uMzr32_DPOBttH7OR3pKNJ9KLtKHcwzvrJApCyB9XCesNyO2govPcCSFB7f/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwSuE_YzuEIufTGJFM0Df8dp3Xj91QuRFFFa3GXQ5ImIFVQve5suX3KEwWOy7W0m9gS9LHn2rgy0EsELcu7uMzr32_DPOBttH7OR3pKNJ9KLtKHcwzvrJApCyB9XCesNyO2govPcCSFB7f/s640/A1.JPG" style="border: none; position: relative;" width="470" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Nassar Al-Din, Shah, was given admittance to the Order of the Garter by Queen Victoria, he committed Iran to help England against Russian design for India, By Tenniel, 'Punch', July 5, 1873.<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">Doctors advised the Shah to travel, and the British government loaned the Shah £300,000 so that he could visit London for medical treatment. Amin al-Sultan arranged loans of £3,000,000 at five percent interest from Russia in 1900 and 1902 to repay previous loans. These proved to be financially disastrous. Persia’s annual revenue was about £1,500,000, but in three years they borrowed and spent almost that much. In 1888 Persia gave the Caspian fisheries to Russia. That year Henry Drummond Wolff arrived from London,and he managed to gain economic concessions</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_BvNQEsmWDhezqRU-CACUJDfI2oUNtwFGzzLLsFmUleZL7NjNVONyFzrnk0PaO6vwT7T8DvFRDZ0sQJZT_iGnS3R-KRj_883ub7xiy4mb_cT_YilsNp2H_lQcn2yX8xIiS1dbg1g4p4RV/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_BvNQEsmWDhezqRU-CACUJDfI2oUNtwFGzzLLsFmUleZL7NjNVONyFzrnk0PaO6vwT7T8DvFRDZ0sQJZT_iGnS3R-KRj_883ub7xiy4mb_cT_YilsNp2H_lQcn2yX8xIiS1dbg1g4p4RV/s400/A1.JPG" style="border: none; position: relative;" width="243" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Baron George de Reuter. 'The Wicked Baron'. Educated Cambridge. Director: Imperial Bank of Persia. Vanity Fair<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">Nāṣer-al-Din Shah granted an unprecedented concession in 1872 to Baron Julius de Reuter, a British subject of German origin. The concession, which covered the entire territory of Persia, gave Reuter the exclusive rights and monopoly, for seventy years, to exploit all mineral resources including, but not limited to, coal, iron, copper, lead, and petroleum, and to construct and operate roads, railways, telegraph lines, water canals, irrigation systems, and customs services. Reuter’s concession was cancelled a few years later because of strong political pressure and opposition from the Czarist government, as well as a number of eminent Persians. Reuter never accepted the cancellation of his concession and repeatedly filed claims for compensation. Eventually, as a result of the intervention by the British minister in Tehran, Nāṣer-al-Din Shah granted a new concession to Reuter in 1889, which became known as the Bānk-e Šāhi (Imperial Bank of Persia) concession. Under this new concession the bank had the right to exploit all mineral resources throughout the country, except gold, silver, and other precious metals.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVNXjAV2HhKZDle9zpp6Z-vss1wAuDavK00h0JZHnGJJaRUTstTHYfrqlOh3kXl3qYN2GFHyhkKWnPSI1ZqOJT-ViOafNGw293T0sXYVtUbAdNEO2V98oSSnXZ5PRimTWem8QmNH1Eqe-5/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="385" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVNXjAV2HhKZDle9zpp6Z-vss1wAuDavK00h0JZHnGJJaRUTstTHYfrqlOh3kXl3qYN2GFHyhkKWnPSI1ZqOJT-ViOafNGw293T0sXYVtUbAdNEO2V98oSSnXZ5PRimTWem8QmNH1Eqe-5/s640/A1.JPG" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">'Feline Rapprochement', By Tenniel, 'Punch', June 23, 1873 The British lion, the Persion cat and the Russian bear representing "The Great Game"<br /></span><div style="text-align: left;"></div><div style="text-align: left;"><span style="font-size: medium;">The Shah opened the Karun River to international navigation. The Russians complained they were supposed to approve any transport concessions, but the Iranian government claimed it was not a concession. Wolff won a settlement of Baron Julius de Reuter’s claims that allowed Reuter’s bank the exclusive right to issue banknotes, and extensive mineral rights were included. This was called the Imperial Bank of Persia and had its headquarters in Tehran with several branches in various cities. The Russian Bank competed by making loans to prominent people, and they received road concessions.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhn7UyF94WGYtLiJSYEGn7nB923CZz88ojj6e_RjukZ9mhaNhY6CIe244gMNCdycfVFhhc09lFODuJ8ci3y8vf2dJ1ndqdr8eUZ-1xjUfiZF02s9UKFHIqILZiBxbIJ-04B5Y0W9jDeyBJ/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhn7UyF94WGYtLiJSYEGn7nB923CZz88ojj6e_RjukZ9mhaNhY6CIe244gMNCdycfVFhhc09lFODuJ8ci3y8vf2dJ1ndqdr8eUZ-1xjUfiZF02s9UKFHIqILZiBxbIJ-04B5Y0W9jDeyBJ/s640/A1.JPG" style="border: none; position: relative;" width="486" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Illustration shows a man labeled "Persia" and a man labeled "Greece" drinking a toast from a punch bowl labeled "Renewal of Diplomatic Relations". Caption: A long time between drinks. 491 BC-1902 AD</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigCBnMV_3KhbcWyvwqmKmUUrdNV4CDMfwsiI0k7jHkUP8qxQl4TCNmt04uIY2VDlhcXbo3hY_g570MjzmStRQmsNdBkfFqKOpjhVO-vHssOvsKMp06wBjhcZlE7Uee-MwQMuk-YalqLTOe/s1600/HUEY+NEWTON2.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigCBnMV_3KhbcWyvwqmKmUUrdNV4CDMfwsiI0k7jHkUP8qxQl4TCNmt04uIY2VDlhcXbo3hY_g570MjzmStRQmsNdBkfFqKOpjhVO-vHssOvsKMp06wBjhcZlE7Uee-MwQMuk-YalqLTOe/s640/HUEY+NEWTON2.jpg" style="border: none; position: relative;" width="470" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">A 1910 issue of the German magazine Simplicissimus cover page titled 'The Persian Lion', showing a tamed, humiliated and impotent Persia being controlled by Britain and Russia.<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;"><br />In March 1890 the Shah gave the British subject Major Talbot a fifty-year monopoly over Iran’s tobacco production and sales in exchange for a gift of £25,000, annual rent of £15,000, and 25% of the profits for Iran, but later in the year the newspaper Akhtar exposed the secret and criticized the concession. Jamal al-Din’s disciples added their leaflets on this issue that affected many Iranians who were involved in the tobacco business. <span class="ssens">The incident—popularly termed the “Tobacco Rebellion”—is often considered to be the origin of modern Iranian nationalism. </span>When the tobacco company’s agents began to arrive in April 1891, a major protest was led by a religious l<span class="ssens"></span>eader from Shiraz. He was banished to Iraq and conferred with Jamal al-Din, who wrote to the top Shi’i ‘ulama, Hajji Mirza HasanShirazi. He put an interdict on smoking that was widely obeyed. A revolt in Tabriz forced the Government to suspend the tobacco operation, and the general strike spread to Mashhad, Isfahan, Tehran, Qazvin, Yazd, and Kirmanshah. The consumer’s boycott was supported by the Russians as well as Persians. By the end of 1891 a successful nationwide boycott on the sale and use of tobacco was in place. In Tehran troops fired on unarmed demonstrators,killing several, and the Government cancelled the concession in early 1892. The Iranian government contracted its first large foreign debt of £500,000 to the British-owned Imperial Bank, which authorized exorbitant pay to the company. As a result of this British fiasco the Russians became more influential.</span></div><span style="font-size: medium;"><br /></span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6taTbse1IhWfQ_H4XOlOXbdctS3s2r-jQtsLhYYJwDVipuk3LDIHUBkzdnYLjEAEVT42S2Tdlo_OF8XjjGkdwOTe_dMN_rSY13Xv8q8yHL7QmhIF6dRf2hNp5I_WlNrVZJj-fgDE_lMbZ/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="457" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6taTbse1IhWfQ_H4XOlOXbdctS3s2r-jQtsLhYYJwDVipuk3LDIHUBkzdnYLjEAEVT42S2Tdlo_OF8XjjGkdwOTe_dMN_rSY13Xv8q8yHL7QmhIF6dRf2hNp5I_WlNrVZJj-fgDE_lMbZ/s640/A1.JPG" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td><span style="font-size: medium;">Alexander II and Nasir al-Din Shah on a Parade in the Tsaritsyn Meadow.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><div style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span style="font-size: medium;">Finances were re-organized; tariffs on native merchants were increased; and reduced court expenditures affected the ‘ulama. Belgian administrators were invited to reform the customs, but Iranian merchants complained that Russians were favored. The Shah sold an oil monopoly to the Australian British subject William Knox-D’Arcy, and new road tolls were granted to the Imperial Bank of Britain. A French company loaned Persia £200,000 to buy arms. The Belgian Joseph Naus mediated a new customs tariff that was signed by Persia and Russia in the Treaty of Erzerum in November 1901, ratified in December 1902, and kept secret until February 1903. People protested against the Belgian administrators and the foreign concessions. In the summer of 1903. Secret societies grew and spread critical literature.</span></div><div style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"></div><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq88JHCC52RuVvG0yu80CyfMPyPo1d7w6W3hpTqFKjfN3o3Cc4Uudr8WiNkEHYvWETBZVgHTx1Q4ZyetatFMELsD0OL0wgKmGJkPLhteDlZU_SJigJyskbWvrsMBOWw9JoNXBiu8qFZwIk/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq88JHCC52RuVvG0yu80CyfMPyPo1d7w6W3hpTqFKjfN3o3Cc4Uudr8WiNkEHYvWETBZVgHTx1Q4ZyetatFMELsD0OL0wgKmGJkPLhteDlZU_SJigJyskbWvrsMBOWw9JoNXBiu8qFZwIk/s640/A1.JPG" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;"><span style="color: black; font-family: arial;">Reception of Nasr-ed-Din King of Persia during His Visit to St. Petersburg on 11-14 May 1</span><br /></span><div style="text-align: left;"><span style="font-size: medium;"><br />The Azerbaijani Fath ‘Ali Akhundov wrote Kamal al-Daula va Jalal al-Daula, a collection of letters criticizing conditions in Iran. In Tabriz intellectuals were led by bookstore owner Muhammad ‘Ali Khan and Sayyid Hasan Taqizada. The Society of Learning was organized in Tehran, and they founded the first national library. Five of the most important organizations were the Secret Center in Tabriz with its journal led by the merchant ‘Ali Karbala-yi, the Social Democratic Party of Iran formed in 1904 in Baku by émigrés led by Azerbaijani school-teacher Narim Narimanov, the Society of Humanity in Tehran founded by ‘Abbas Kuli Khan Qazvini, the Revolutionary Committee headed by Malik al-Mutakallimin, and the Secret Society founded by Nazem al-Islam Kirmani who wrote History of the Awakening of Iranians. In February 1905 the Secret Society listed several demands for reforms including better laws and courts of justice.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiShDFAr9WNSsiUCQXR_jtC1vGPOJzuuG0XHWIbIsVYx1jp1dJBb4AmPi3fVZ0t2X1mXwv7DjAJGaVD5YFrD6pnH3X-jhyZ7bkORiXGKectWmC_HXw05SZwC5eMx2tGRrQMqx5Y7XvbfTW8/s1600/HUEY+NEWTON1+.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiShDFAr9WNSsiUCQXR_jtC1vGPOJzuuG0XHWIbIsVYx1jp1dJBb4AmPi3fVZ0t2X1mXwv7DjAJGaVD5YFrD6pnH3X-jhyZ7bkORiXGKectWmC_HXw05SZwC5eMx2tGRrQMqx5Y7XvbfTW8/s400/HUEY+NEWTON1+.jpg" style="border: none; position: relative;" width="309" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;"><br /></span><div style="text-align: left;"><span style="font-size: medium;">Nasir al-Din Shah was assassinated in 1852. His oldest was excluded from the succession because his mother was of low birth, and the sickly Muzaffar al-Din became shah. He made no more foreign loans, and kept order, but he was not interested in political reform. He promoted music, art, and poetry, and he encouraged the translation of Western literature. The police force in Tehran was modernized, and city services were improved. The postal service expanded and began using stamps. The three progressive writers in Trabzon were extradited and executed at Tabriz. Jamal al-Din al-Afghani, the only person implicated by Rida Kirmani, became very ill with cancer and died in 1897.<br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxqWtGS2-H60UDC3I_0LIVHmjM_3cTHhqdGLy6yw8T2qnVuPCJS9EK0cvLPZmirv7R1Vy2cszLjCQ8I0NcR5HQ0OBTLY9tkcNGcHDkRsrIpE7UutPVISwB9p_08HETwV3Q1_i6OYRThfb2/s1600/A1.JPG" style="color: #992211; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxqWtGS2-H60UDC3I_0LIVHmjM_3cTHhqdGLy6yw8T2qnVuPCJS9EK0cvLPZmirv7R1Vy2cszLjCQ8I0NcR5HQ0OBTLY9tkcNGcHDkRsrIpE7UutPVISwB9p_08HETwV3Q1_i6OYRThfb2/s400/A1.JPG" style="border: none; position: relative;" width="308" /></span></a></div></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">LE RIRE 1900 N°300 Charles Leandre, Roubille, Willette, Mouzaffer-Ed-Dine Shah of Persia<br /></span><div style="text-align: left;"></div></td></tr></tbody></table><span style="font-size: medium;"><br /><br />In December 1905 the Governor of Tehran bastinadoed some sugar merchants for refusing to lower their raised sugar prices. They took sanctuary in the Royal Mosque of Tehran and were joined by mullahs and tradesmen. Imam Jum‘a helped the agents of ‘Ain al-Daula to disperse them. At Sayyid Muhammad Tabataba’i’s suggestion they moved to the Shahzada ‘Abd al-‘Azim shrine, where they were joined by 2,000 students, lower mullahs, merchants, and common people. They held out for 25 days, demanding a House of Justice (adalatkhana). The Shah dismissed the Governor and agreed to the demand in January 1906. When the government ordered Shaikh Muhammad Va‘iz expelled too, people protested, and on July 11 an officer killed a young sayyid. At his public funeral outside the mosque the Cossacks attacked the crowd, killing 22 and wounding more than a hundred. Many mullahs and others left Tehran and went to Qum, and the crowd protesting inside the British legation grew to 14,000 people organized by guilds. They turned the legation into an open-air school and heard lectures. They demanded that ‘Ain al-Daula be dismissed, and they asked for a representative assembly (majlis) also.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVD5EQkokmJAGWj6Di_bn5PT500FuRbDUpK0pOEKKEi_w_2A2F_HQ4FROzX5eSeE8YN-GXbVJoq8GrH6Pcpf7G12O1oNWY_Gko-6sk6cOI4-8X39Wp_JvCqrqdolm02LBu2spSJXIOhFng/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVD5EQkokmJAGWj6Di_bn5PT500FuRbDUpK0pOEKKEi_w_2A2F_HQ4FROzX5eSeE8YN-GXbVJoq8GrH6Pcpf7G12O1oNWY_Gko-6sk6cOI4-8X39Wp_JvCqrqdolm02LBu2spSJXIOhFng/s640/A1.JPG" style="border: none; position: relative;" width="468" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Auguste Roubille, Shah de Perse, ca. 1900, French Political Caricatures Collection. Mozaffer Ed-Dine Shah Qajar (1853-1907) was the fifth Qajarid Shah of Persia, ruling from 1896 to 1907.<br /></span><div style="text-align: left;"><span style="font-size: medium;">On August 5, 1906, Muzaffar al-Din Shah, faced with a general strike in Tehran, agreed to the Assembly (Majlis), which was elected by male voters from the six classes of Mujahids, Qajars, nobles, landowners, merchants, and guilds. Only males literate in Persian between the ages of 30 and 70 who were not in the Government and had not been convicted of a crime were eligible to serve in the Assembly. The first Assembly began meeting in October 1906, and a committee wrote the Fundamental Law that the Shah signed on December 30, five days before he died. He was succeeded by his son Muhammad ‘Ali. He recalled Amin al-Sultan (Atabak) from his travels, and he tried to find a compromise between the Shah and the conservatives in the Assembly. A radical assassinated Atabak on August 31, 1907, the same day that the British and Russians settled their issues in Iran as well as in Tibet and Afghanistan. The treaty was signed before the Iranians were even informed, causing riots in Shiraz, Isfahan, and Tabriz.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; height: 541px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center; width: 632px;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTu0-36m05taYJGPSUtqEjbUNMxM1x1oPY2qJI41_zoWTF8VIqjqK9719sqo9efdBa5oKqxMFjoS8NAtH2Q3VTt6InGu0wae4Zm7bUUGOXyNScobvb2QLCfdTwXFMG02nGTSbv0EAJFFKt/s400/Anglo_Russian_Division+of+Persia.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTu0-36m05taYJGPSUtqEjbUNMxM1x1oPY2qJI41_zoWTF8VIqjqK9719sqo9efdBa5oKqxMFjoS8NAtH2Q3VTt6InGu0wae4Zm7bUUGOXyNScobvb2QLCfdTwXFMG02nGTSbv0EAJFFKt/s400/Anglo_Russian_Division+of+Persia.JPG" style="border: none; position: relative;" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">The Anglo - Russian Entente and the Division of Iran 1907, By Sambourne, 'Punch', October 2, 1907<br /></span><div style="text-align: left;"><span style="font-size: medium;"><br /><br />Great Britain's interest in Persia began early in the nineteenth century. This interest led to friction with Russia, Persia's northern neighbour. The Anglo-Russian Agreement of 1907 helped to stabilize nearly a century of intermittent conflict between them. This agreement provided for a Russian sphere of influence in northern Persia while a neutral zone separated it from Britain's sphere of influence in south-eastern Persia. For Russia, Persia represented an area for future territorial annexation. Great Britain, on the other hand, sought no territory in Persia. Rather, its primary concern was not its commercial interests, or oil fields (which were discovered two years later), but the military security of India, its jewel in the East.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinaavWce9GY2DAuGwXZIxBYBc4sDw80Enx89EDP6MiqLUhk6icz04uAmReAOkmpx6rdcMg_csq2b0_vJaoPkWZ51dM_r71HcgchZj04RZKY4CrsmqHMlCAebXgWQEf_a07l3y44mxHpckY/s400/Sickman+of+Europe.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="668" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinaavWce9GY2DAuGwXZIxBYBc4sDw80Enx89EDP6MiqLUhk6icz04uAmReAOkmpx6rdcMg_csq2b0_vJaoPkWZ51dM_r71HcgchZj04RZKY4CrsmqHMlCAebXgWQEf_a07l3y44mxHpckY/w546-h668/Sickman+of+Europe.JPG" style="border: none; position: relative;" width="546" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">THE SALT-WATER CURE,<br />August 12, 1908. The Ottoman Emperor makes another specious effort to amend his constitution..<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">Shah of Persia. "Go on in, Abdul—just for the look of the thing. You can always come out if you don't like it."</span></div><span style="font-size: medium;"><br /></span><div style="text-align: left;"><span style="font-size: medium;">Sick Man of Europe. "Yes, I know. But one gets so wet!"</span></div><div style="text-align: left;"><span style="font-size: medium;"><br />Mozaffar o-Din's son Mohammad Ali Shah (reigned 1907-09), with the aid of Russia, attempted to rescind the constitution and abolish parliamentary government. After several disputes with the members of the Majlis, in June 1908 he used his Russian-officered Persian Cossacks Brigade to bomb the Majlis building, arrest many of the deputies, and close down the assembly. Resistance to the shah, however, coalesced in Tabriz, Esfahan, Rasht, and elsewhere. In July 1909, constitutional forces marched from Rasht and Esfahan to Tehran, deposed the shah, and re-established the constitution.The ex-shah went into exile in Russia.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj39KmgOa2BS53wc6IR7mTQe9rppG0WImp1qpf-D-woeEMyYFZFY2y5P6RvShtg6Wdqzw3FUZYS496rjCCA6z2uv2JluZ4LbwbkxnKGvItA5XOGC9mLttFxz_wR6rdpLT_mNZOsbbKDz6Ly/s1600/p-15943.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj39KmgOa2BS53wc6IR7mTQe9rppG0WImp1qpf-D-woeEMyYFZFY2y5P6RvShtg6Wdqzw3FUZYS496rjCCA6z2uv2JluZ4LbwbkxnKGvItA5XOGC9mLttFxz_wR6rdpLT_mNZOsbbKDz6Ly/s640/p-15943.jpg" style="border: none; position: relative;" width="382" /></span></a></td></tr><tr><td><span style="font-size: medium;">Benjamin Disraeli, British Prime Minister. (Later Earl of Beconsfield). 'He educated the Tories…', By Singe, Vanity Fair, 1869.<br /></span><div style="text-align: left;"><span style="font-size: medium;">Benjamin Disraeli first met Bismarck at the Russian ambassador’s residence in London in the summer of 1862, as leader of the Tory opposition. On this occasion, Bismarck, on the verge of assuming power, spelled out his plans for Prussian greatness under his leadership:<br /></span><blockquote><span style="font-size: medium;">I shall soon be compelled to undertake the conduct of the Prussian government. My first care will be to reorganize the army, with or without the help of the Landtag [the legislature] . . . As soon as the army shall have been brought into such a condition to inspire respect, I shall seize the first best pretext to declare war against Austria, dissolve the German Diet, subdue the minor states, and give national unity to Germany under Prussian leadership. I have come here to say this to the Queen’s ministers.</span></blockquote><span style="font-size: medium;">For clarity of intent, this is hard to beat. Afterwards Disraeli warned the Austrian envoy: “Take care of that man. He means what he says.”</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><div class="separator" style="clear: both; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQR36uMvKPqu5L5zJtVo_XKf4jLqkvaPEJHBd4EEsiyu5eqn1pImCaW5N2yXS52wCXIzTjDx5OipYFlnCecaNxyEDmpbnFRqi8CAXxfUj9i8-2NTVFqYvg1J-BVTTJNoy8tHdSdMz4yVLb/s1600/a1.jpg" style="color: #992211; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQR36uMvKPqu5L5zJtVo_XKf4jLqkvaPEJHBd4EEsiyu5eqn1pImCaW5N2yXS52wCXIzTjDx5OipYFlnCecaNxyEDmpbnFRqi8CAXxfUj9i8-2NTVFqYvg1J-BVTTJNoy8tHdSdMz4yVLb/s400/a1.jpg" style="border: none; position: relative;" width="350" /></span></a></div><span style="font-size: medium;"><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333;">Punch, New crowns for old ones!, 1876</span><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><div class="separator" style="clear: both; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span style="font-size: medium;">Benjamin Disraeli offers Queen Victoria the crown of Empress of India in exchange for the British crown, and in the process reduces the power of the British monarch.</span></div><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><div class="separator" style="clear: both; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRC8OanFR4axB43qOfOmo4M3gp9THVu0bJM7x38jRl2LufV7PFWsSZGi6mwrzA5IuiLpWqVbi205bMSgHm1ZlWPxPuAXte5odHt6G5W9YtzjZiWcrpVzLHQ34ALmW81b-3WxpHQOm-IKQf/s1600/A2.JPG" style="color: #992211; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRC8OanFR4axB43qOfOmo4M3gp9THVu0bJM7x38jRl2LufV7PFWsSZGi6mwrzA5IuiLpWqVbi205bMSgHm1ZlWPxPuAXte5odHt6G5W9YtzjZiWcrpVzLHQ34ALmW81b-3WxpHQOm-IKQf/s400/A2.JPG" style="border: none; position: relative;" width="389" /></span></a></div><span style="font-size: medium;"><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333;">The Royal Parrot, The Odd Fellow, 1841</span><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333;">In October, 1839, Queen Victoria's cousins Ernest and Albert paid her a visit, bringing with them a letter from their uncle Leopold, in which he recommended them to her care. They were at once upon intimate terms, and the Queen confided to her uncle that "Albert was very fascinating." Four days after their arrival she informed Lord Melbourne that she had made up her mind as to the question of marriage. The Queen described her betrothal as follows:</span><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><blockquote style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span style="font-size: medium;">"At half-past twelve I sent for Albert. He came to the closet, where I was alone, and after a few minutes I said to him that I thought he would be aware why I wished him to come, and that it would make me happy if he would consent to what I wished, namely, to marry me. There was no hesitation on his part, but the offer was received with the greatest demonstrations of kindness and affection. . . . I told him I was quite unworthy of him. . . . He said he would be very happy to spend his life with me."</span></blockquote><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7VpjQXNgc8Gr5-ah7yMizn1syT_anYZbqnyqDsAfBNrSDJybc9H8fOMCCEoF2qykqQmfJ9utM5CrA49XacBYkUS39wYjUd_XYvNtbESR71NknBMkomkGYnY_u55F-Dgn2CGaF9YQIzu67/s1600/p-4234.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7VpjQXNgc8Gr5-ah7yMizn1syT_anYZbqnyqDsAfBNrSDJybc9H8fOMCCEoF2qykqQmfJ9utM5CrA49XacBYkUS39wYjUd_XYvNtbESR71NknBMkomkGYnY_u55F-Dgn2CGaF9YQIzu67/s640/p-4234.jpg" style="border: none; position: relative;" width="392" /></span></a></td></tr><tr><td><span style="font-size: medium;">Leopold II, King of Belgium, holding bags of money! 'With France and Prussia pressing on each side', By Coide, Vanity Fair, 1869.<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">The most notable event in Leopold's career was the foundation of the Congo Free State. While still Duke of Brabant he had been the first to call the attention of the Belgians to the need of enlarging their horizon beyond sea, and after his accession to the throne he gave the first impulse towards the development of this idea by founding in 1876 the Association Internationale Africaine. He enlisted the services of Henry Morton Stanley, who visited Brussels in 1878 after exploring the Congo river, and returned in 1879 to the Congo as agent of the Comité d'Études du Haut Congo, soon afterwards reorganized as the "International Association of the Congo." This association was, in 1884-85, recognized by the powers as a sovereign state under the name of the État Indépendant du Congo.<br /><br />Leopold's exploitation of this vast territory, which he administered autocratically, and in which he associated himself personally with various financial schemes, was understood to bring him an enormous fortune; it was the subject of acutely hostile criticism, to a large extent substantiated by the report of a commission of inquiry instituted by the king himself in 1904, and followed in 1908 by the annexation of the state to Belgium.</span></div></td></tr></tbody></table><span><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><a href="https://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Six" style="color: #992211; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; text-decoration-line: none;"></a><span style="font-size: x-large;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span></span><h3 style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin: 0px; position: relative;"><a href="https://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Six" style="color: #992211; text-decoration-line: none;"><span style="font-size: x-large;">Thomas Nast, Abraham Lincoln and the Civil War</span></a></h3><span style="font-size: medium;"><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333;"><div class="post-body entry-content" style="line-height: 1.4; position: relative; width: 770px;"><span style="font-size: medium;"><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333;"><br /></span></span></div>Some of the most recognizable cartoons were published in Harper's Weekly, a New York City periodical that also featured sketches of war scenes and famous personalities - as well as news and serialized literature. Among its illustrators were Winslow Homer (who also worked for the Illustrated Times) and Alfred Waud. The leading illustrator of Harpers Weekly was Thomas Nast. Nast was the most influential American caricaturist in the mid- to late 19th century. Specializing in political cartoons. He was a staunch opponent of slavery and throughout the Civil War produced patriotic drawings urging people to help crush the rebels. Abraham Lincoln is reported to have said: "Thomas Nast has been our best recruiting sergeant. His emblematic cartoons have never failed to arouse enthusiasm and patriotism." Nast was also the artist who created the traditional image of Santa Claus and the Republican party's elephant symbol.</span><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsw3Oeg4Vt5Rt1D_Y0m9K2aP9ib05JX-A4jExrqCfYWkRvH_Z28eiJIMtP1m9nllh8WeRhQ9x-Fu8NDdQGkLp0Z6jSGimEPf-Q16ZrZcNRESM-rabNxbchoo8E4jKYWYkb6-A5Rp411INs/s1600/PoliticalCartoon1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsw3Oeg4Vt5Rt1D_Y0m9K2aP9ib05JX-A4jExrqCfYWkRvH_Z28eiJIMtP1m9nllh8WeRhQ9x-Fu8NDdQGkLp0Z6jSGimEPf-Q16ZrZcNRESM-rabNxbchoo8E4jKYWYkb6-A5Rp411INs/s640/PoliticalCartoon1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr align="left"><td><span style="font-size: medium;"><br />The pedlar and his pack, or the desperate effort, an over balance, James Akin, 1812. The editor of Philadelphia Democratic Press, John Binns, who had published handbills accusing candidate Andrew Jackson of arbitrary executions and other violent acts supports a load of coffins on his back, along with the figures of Henry Clay and incumbent President Adams.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnp9HZii51GFSTAmMc0RK4_PRtCZLEUHudMQLbBCWCCC_21W-D6bMLGdGlhd_PBAye8HMeIIFXDYc-vHPmFS2rryjBm2LZkvB5GHvQRy-cYhJV9G0JYWlZrAPEvNs258pJLQe5I6REOrQ3/s1600/lp891862.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnp9HZii51GFSTAmMc0RK4_PRtCZLEUHudMQLbBCWCCC_21W-D6bMLGdGlhd_PBAye8HMeIIFXDYc-vHPmFS2rryjBm2LZkvB5GHvQRy-cYhJV9G0JYWlZrAPEvNs258pJLQe5I6REOrQ3/s640/lp891862.jpg" style="border: none; position: relative;" width="472" /></span></a></td></tr><tr><td><span style="font-size: medium;"><br /><br />Black Recruit and Abraham Lincoln, London Punch, 1862</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvmyTFxmz7yDNID7xzVjZGexfnSpHDJU9hWpysNBqrwxc_TlQTH8HMXCg-5hqpKDVc-zoq0_kCjqw4ggc5wHtDYWfjh6Qbs5zBHf2F7gLUOjNSdJj0O-lrk5qG7tOe9yAknjpAWLgDwQBy/s1600/harpersweekly18671.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvmyTFxmz7yDNID7xzVjZGexfnSpHDJU9hWpysNBqrwxc_TlQTH8HMXCg-5hqpKDVc-zoq0_kCjqw4ggc5wHtDYWfjh6Qbs5zBHf2F7gLUOjNSdJj0O-lrk5qG7tOe9yAknjpAWLgDwQBy/s640/harpersweekly18671.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td><span style="font-size: medium;"><br /><br />We Accept the Situation, Thomas Nast for Harpers Weekly, 1867, An emancipated black voting for the first time versus a resentful, disenfranchised former Confederates.</span></td></tr></tbody></table><span style="font-size: medium;"><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-family: Calibri; font-size: 11.616px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2lXMZHOPIp1htoXhNGtNlDy0lnoIh1Iy3yDNQgzC50awA4H3_wA_UIDVv9D0_2WemPXCdG8uwAUCVeW5jF8CGH_1v84zFvwpS-N656BelXMv3VyFH3IHdA2e9_mnwmPKzTPj2eanuHmQ/s1600/a.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2lXMZHOPIp1htoXhNGtNlDy0lnoIh1Iy3yDNQgzC50awA4H3_wA_UIDVv9D0_2WemPXCdG8uwAUCVeW5jF8CGH_1v84zFvwpS-N656BelXMv3VyFH3IHdA2e9_mnwmPKzTPj2eanuHmQ/s640/a.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">The Spanish American War, President McKinley offering Uncle Sam different "dishes"</span><br /><div style="text-align: left;"><span style="font-size: large;">The loss of the last Spanish colonies in America and Asia was a consequence of the Spanish American War, a conflict which meant the end of an empire (Spain) and the rise of another one (the USA). This war had an important reflection on newspapers. Experts consider the Spanish-American War to be the first "media war". This conflict was widely covered by the USA newspapers. The press barons Joseph Pulitzer and William Randolph Hearst, had an important role in the development of the conflict. The way they presented the news contributed to inflame the public opinion in the USA and created the propitious conditions for war. Their newspapers, The New York World and The New York Journal, competed in sensationalism and are considered to be some of the first examples of yellow journa</span></div></td></tr></tbody></table><span style="color: #222222; font-family: Calibri; text-align: center;"><span style="font-size: xx-small;"><br /></span></span><br style="color: #222222; font-family: Calibri; font-size: 11.616px; text-align: center;" /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-family: Calibri; font-size: 11.616px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMtKGLgreifNdQFYy4poEWPmSXQXc9WAoV0uUUUo7QcpJI9FT-bXXzXqQs7hTmTyAsJB8mt3ZMq2qXzPsf7V6EFIETuXM08m3vzpeb_9MuBkSYAnpq9rX5khSJTf-gXgiSpN3MnQ6xYXg/s1600/a.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMtKGLgreifNdQFYy4poEWPmSXQXc9WAoV0uUUUo7QcpJI9FT-bXXzXqQs7hTmTyAsJB8mt3ZMq2qXzPsf7V6EFIETuXM08m3vzpeb_9MuBkSYAnpq9rX5khSJTf-gXgiSpN3MnQ6xYXg/s640/a.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">The Cuban Melodrama.' American cartoon by C. Jay Taylor, 1896, casting Uncle Sam as the hero, Spain as the villain, and Cuba as the damsel in distress.</span></td></tr></tbody></table><span style="color: #222222; font-family: Calibri; text-align: center;"><span style="font-size: xx-small;"><br /></span></span><br style="color: #222222; font-family: Calibri; font-size: 11.616px; text-align: center;" /><div style="color: #222222; font-family: Calibri; font-size: 11.616px;"><span style="font-size: large;">The Spanish-American War is often referred to as the first "media war." During the 1890s, journalism that sensationalized—and sometimes even manufactured—dramatic events was a powerful force that helped propel the United States into war with Spain. Led by newspaper owners William Randolph Hearst and Joseph Pulitzer, journalism of the 1890s used melodrama, romance, and hyperbole to sell millions of newspapers--a style that became known as yellow journalism.</span></div><span style="color: #222222; font-family: Calibri; text-align: center;"><span style="font-size: xx-small;"><br /></span></span><br style="color: #222222; font-family: Calibri; font-size: 11.616px; text-align: center;" /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-family: Calibri; font-size: 11.616px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSw_zZ5-9yebkn8U3Jkb7OijoA9tTA-ger4bjUQ0GSs_KjdxeqKkiMyjt09GDDFJMGnVRhzWqK-do17tCdhMN2jHnXxPhwV9ZUEI0giNCoaZIJpYfQWPBsXk04YDFwowVcIg9nlmmMHUs/s1600/a.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSw_zZ5-9yebkn8U3Jkb7OijoA9tTA-ger4bjUQ0GSs_KjdxeqKkiMyjt09GDDFJMGnVRhzWqK-do17tCdhMN2jHnXxPhwV9ZUEI0giNCoaZIJpYfQWPBsXk04YDFwowVcIg9nlmmMHUs/s640/a.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">President Theodore Roosevelt’ foreign policy: “Speak softly, and carry a big stick,” 1904</span><br /><div style="text-align: left;"><span style="font-size: large;">The United States victory in the Spanish-American War ushered in an era of unabashed American imperialism. During this time, the United States often used its “gunboat diplomacy ” to intimidate and to control weaker nations, particularly in Latin America and the Caribbean. Americans agreed that the newly prestigious U.S. Navy should have fueling stations around the world. Carried on a wave of national exultation, and congress approved the annexation of Hawaii on August 12, 1898.</span></div></td></tr></tbody></table><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4KyBpP-2XlPWv5rwkAuoH1LSGkL-WjnoJPsk8VjYGGxQ9hs4SoYI1OMl0QmcTYYJTYu-KaiaKCJPocj_G0RxZ7wvDLzvd73KiDBEHqe7IxNJ_jxR-1AfbZZN7_HcEd6d38mKw9WliI20n/s1600/a1.JPG" style="color: #992211; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="695" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4KyBpP-2XlPWv5rwkAuoH1LSGkL-WjnoJPsk8VjYGGxQ9hs4SoYI1OMl0QmcTYYJTYu-KaiaKCJPocj_G0RxZ7wvDLzvd73KiDBEHqe7IxNJ_jxR-1AfbZZN7_HcEd6d38mKw9WliI20n/w640-h695/a1.JPG" style="border: none; position: relative;" width="640" /></span></a></div></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">On April 13, 1906 a cartoon in the New York World featured Mark Twain dethroning Czar Nicholas II with his pen.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgz_mc7-Jmo4k2vCbIF-3MgZxKvsWM6ZeTnN7iKvabiB8GaHBehIIaA7BRUWKPiRi82GjY4gnhabBrSIcPzQOuBph0bEOocsFjY9gwrBUnXID9x6io3u-6P2GciIwwduQ-Dfn4XPMIAtg/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="870" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgz_mc7-Jmo4k2vCbIF-3MgZxKvsWM6ZeTnN7iKvabiB8GaHBehIIaA7BRUWKPiRi82GjY4gnhabBrSIcPzQOuBph0bEOocsFjY9gwrBUnXID9x6io3u-6P2GciIwwduQ-Dfn4XPMIAtg/w731-h870/a.jpg" style="border: none; position: relative;" width="731" /></span></a></td></tr><tr><td class="tr-caption"><div style="text-align: left;"><div style="text-align: center;"><span style="font-size: medium;">Theodore Roosevelt's "trust-busting" campaigns</span></div><div style="text-align: center;"></div><span style="font-size: medium;">The Sherman Antitrust Act of 1890 was the first measure passed by the U.S. Congress to prohibit abusive monopolies. At that time, Standard Oil and its affiliates controlled more than 90 percent of the oil refining capacity and most of the oil marketing facilities in the U.S. The Sherman Act authorized the federal government to institute proceedings against trusts in order to dissolve them, but Supreme Court rulings prevented federal authorities from using the act for some years. Theodore Roosevelt committed himself in 1901 and during both of his mandates to a strong war against monopolies, launching the federal government in 1906 in a lawsuit against the Standard. As a result of President Theodore Roosevelt's "trust-busting" campaigns, the Sherman Act began to be invoked with some success.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu0daF9CaQAaX4JN9q87ClymP2lpU0f3s83IqXv0PzYr3amXVYM-ac01AtJa5oL_ziAhqs_44l9m_02Gi4BBtuRbKFMJ3taPFtM4I_RcI8haalf4iVZ8pAJ6L0ezq6l0GuGQrrdE_1XoM/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu0daF9CaQAaX4JN9q87ClymP2lpU0f3s83IqXv0PzYr3amXVYM-ac01AtJa5oL_ziAhqs_44l9m_02Gi4BBtuRbKFMJ3taPFtM4I_RcI8haalf4iVZ8pAJ6L0ezq6l0GuGQrrdE_1XoM/s640/a.jpg" style="border: none; position: relative;" width="508" /></span></a></td></tr><tr><td class="tr-caption"><div style="text-align: left;"><span style="font-size: medium;">President Theodore Roosevelt was awarded the Nobel Peace Prize in 1906 for his work in the negotiations that led to the Treaty of Portsmouth ending the Russo-Japanese War in 1905.<br /><br />The negotiations to end the Russo-Japanese war began at Sagamore Hill when Roosevelt invited diplomats on both sides, Russia and Japan, to his home in Oyster Bay. After meeting with all of them, he sent the diplomats out on board of the presidential yacht Mayflower. Negotiations continued at and near a naval base in Portsmouth, because it was federal property and cool in the summer. Delegates also went back and forth to Oyster Bay to confer with the president. The peace treaty was signed at the US Navy base in Portsmouth. Thus the accord is called the "Treaty of Portsmouth".</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhzc9IPbdVxZjy6DTdhnVpHD4UUz0bqsxmylWYScZMT7xZ2RKJfcqG-RS-1UCBHsIZBz-HOqfSXhi-vzC7AxnRKqtEXWYepuvX6iEIwhPBHMWSux8hr1UXpjTPBNGhRXDHJHaxzakcHb79/s1600/anti-third-term.gif" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhzc9IPbdVxZjy6DTdhnVpHD4UUz0bqsxmylWYScZMT7xZ2RKJfcqG-RS-1UCBHsIZBz-HOqfSXhi-vzC7AxnRKqtEXWYepuvX6iEIwhPBHMWSux8hr1UXpjTPBNGhRXDHJHaxzakcHb79/s640/anti-third-term.gif" style="border: none; position: relative;" width="482" /></span></a></td></tr><tr align="left"><td><span style="font-size: medium;">Theodore Roosevelt and Anti-Third Term Principle, This cartoon satirize Roosevelt's reversal of his anti-third term promise and his assumption of leadership of the Progressive Party. Both La Follette and Roosevelt lost the Republican nomination to the incumbent, Taft, who still controlled the national convention delegates. Roosevelt, however, had swept 9 of the 12 states with primaries, including Taft's home state of Ohio. 1912</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-family: Calibri; font-size: 11.616px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td class="tr-caption"><div style="text-align: left;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; font-size: 10px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZKTY6-yX8sqRN6EUcR63wIWkqVTT5Fg-zcyhNwgXe6fynf8jPgDY5PP7qKpg7J9won-7QBEviWJpakai34QcScDLmoSwzrjr4013D-_tyuY9J7P3V7zskwnmc5fj6vRug3dRjWEpR8pg/s1600/a.jpg" style="margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="color: #cc0000; font-size: large;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZKTY6-yX8sqRN6EUcR63wIWkqVTT5Fg-zcyhNwgXe6fynf8jPgDY5PP7qKpg7J9won-7QBEviWJpakai34QcScDLmoSwzrjr4013D-_tyuY9J7P3V7zskwnmc5fj6vRug3dRjWEpR8pg/s1600/a.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="456" /></span></a></td></tr><tr><td><div style="text-align: left;"><span style="color: #cc0000; font-size: large;">For a year after the party's defeat in the congressional elections, Theodore Roosevelt remained silent. Then, near the end of 1911, America's political parties began to prepare for the presidential election that would be held the following year. Roosevelt was sure Taft could not be re-elected. </span></div><div style="text-align: left;"><span style="color: #cc0000; font-size: large;"><br /></span></div><div style="text-align: left;"><span style="color: #cc0000; font-size: large;">Taft had become very conservative. He had close ties to business interests. So, Theodore Roosevelt began to speak out again in opposition to many of the things President Taft was doing. Roosevelt wanted to be the presidential candidate of the Republican Party in the election of 1912. Earlier, this would have pleased Taft. He would have been happy to leave the White House. Taft believed he could win the Republican nomination for president. He still had the support of many party leaders. </span></div><div style="text-align: left;"><span style="color: #cc0000; font-size: large;"><br /></span></div><div style="text-align: left;"><span style="color: #cc0000; font-size: large;">Taft made a strong statement against the progressives. "They are seeking," he said, "to pull down the temple of freedom and representative government." A reporter asked Roosevelt to answer Taft's statement. Roosevelt said: "my hat is in the ring." That meant he was a candidate.</span></div><div style="text-align: left;"><span style="color: #cc0000; font-size: large;"><br /></span></div></td></tr></tbody></table><span style="color: #cc0000;"><span style="font-size: large;"><span style="font-size: xx-small;"><br /></span></span><br /></span><div class="separator" style="clear: both; font-size: 10px; text-align: center;"></div><span style="color: #cc0000;"><br /><br /><br /><span style="font-size: x-large;">JP Morgan</span></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-size: 10px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhNnFht1St7sOLnv-XJXEphRbaRZV_z7wUgS2DD-tDuoeulGsTLDGcg3gzTyL0sn_K__z9UCLIuR86KTd1zvyaIyJ5M4-mJ-BgEt8mVaysAu7Ch0XVbjlzlBCOQDZJpATdfCuNPNyw6Yk/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhNnFht1St7sOLnv-XJXEphRbaRZV_z7wUgS2DD-tDuoeulGsTLDGcg3gzTyL0sn_K__z9UCLIuR86KTd1zvyaIyJ5M4-mJ-BgEt8mVaysAu7Ch0XVbjlzlBCOQDZJpATdfCuNPNyw6Yk/s1600/a.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="424" /></span></a></td></tr><tr><td><span style="font-size: large;">Commercial Might Versus Divine Right, The Modern Trust King (J.P. Morgan) Brings Dismay to the Old Kings of Europe (King Edward VII of Britain & Kaiser William of Germany) </span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-size: 10px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx0ddNVsEIyTofLg1bMpi62Tjtt1sLtf8CTVfi0TwlM7tcBYsRGn405KL-KGb1WAVBT2yKyrUN9d-TuRGhJUTNTWObNvP4Qew6gfkAzTC7_CjF_E45XhZHq1a10Ia1Id_HxIuww1J4LzQ/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx0ddNVsEIyTofLg1bMpi62Tjtt1sLtf8CTVfi0TwlM7tcBYsRGn405KL-KGb1WAVBT2yKyrUN9d-TuRGhJUTNTWObNvP4Qew6gfkAzTC7_CjF_E45XhZHq1a10Ia1Id_HxIuww1J4LzQ/s1600/a.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="640" /></span></a></td></tr><tr><td><span style="font-size: large;">Theodore Roosevelt as a heavy-bottomed doll that keeps bouncing back, no matter how he is knocked down by the major financial powers.P Morgan, Rockefeller and Skull & Bones E. H Harriman</span></td></tr></tbody></table></div></td></tr></tbody></table><div class="separator" style="clear: both; color: #222222; font-family: Calibri; font-size: 11.616px; text-align: center;"></div><span style="color: #222222; font-family: Calibri; text-align: center;"><span style="font-size: xx-small;"><br /></span></span><br style="color: #222222; font-family: Calibri; font-size: 11.616px; text-align: center;" /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-family: Calibri; font-size: 11.616px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQlIWIf4OF3vGLCv_6C3gN2OvBk5lfo3bfddu9M4i4sqrSeBLQ9Qvmpkm_cOIDa4spNw3tVfCBjzrEAQUaQ0UE29tb6fcM5XNgkFiyosAgDRm1RMFBX7so5fUpyb7kR9FBdM_Cwegvht4/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQlIWIf4OF3vGLCv_6C3gN2OvBk5lfo3bfddu9M4i4sqrSeBLQ9Qvmpkm_cOIDa4spNw3tVfCBjzrEAQUaQ0UE29tb6fcM5XNgkFiyosAgDRm1RMFBX7so5fUpyb7kR9FBdM_Cwegvht4/s1600/a.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="640" /></span></a></td></tr><tr><td></td></tr></tbody><tbody><tr><td align="left"><span style="font-size: large;">Keppler, Udo J., artist. "Following the Piper. His Music Enchants the World." Color lithograph. <i>Puck,</i> September 17, 1902. Prints and Photographs Division, Library of Congress.<br /><br />JP Morgan hired Thomas Edison, a telegraph boy turned inventor, to install electricity in his 5th avenue Manhattan mansion. Morgan’s home became a lab for Edison’s experiments and a small generator was installed to power the home’s 400 light bulbs. Though his father Junius believed it a fad, electric light became a must have modern utility for the city’s elite. Against his father’s advice, Morgan invested everything in Edison to form the Edison Electricity Company. They created the world’s first power station and soon half of Manhattan’s connected.</span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-family: Calibri; font-size: 11.616px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhxkYAeO11vQRfH0KTZFSQaZ6xjjkiKbz4BywW_-X3a-svBQVTMLBvSPLptyVRQ6ICms6_L3LcitN0ck2FZVTwxDxdrwmRpmyLOaYqssoTUbjq4lOdyjU8tENTrQabuvFdzzjO1c8skV0/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhxkYAeO11vQRfH0KTZFSQaZ6xjjkiKbz4BywW_-X3a-svBQVTMLBvSPLptyVRQ6ICms6_L3LcitN0ck2FZVTwxDxdrwmRpmyLOaYqssoTUbjq4lOdyjU8tENTrQabuvFdzzjO1c8skV0/s1600/a.jpg" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="464" /></span></a></td></tr><tr><td><div style="text-align: left;"><span style="font-size: large;">J.P Morgan used his great wealth, power, and drive to control the finances and politics of the United States. In 1877, when Congress failed to adopt a military budget, Morgan stepped in, and gave $2.5 million to the military payroll, all of which was eventually paid back by the government, angering some Congressmen who grumbled that they had never approved the loan. In 1894, when the country was in danger of defaulting on its loans, Morgan demanded a meeting with President Grover Cleveland who eventually accepted his self-serving solution to the crisis. And then finally in 1907, when Theodore Roosevelt–who was no fan of big business or J. P. Morgan–was confronted with the collapse of several banking trusts, he saw no alternative but to involve the financial magnate. Morgan forced the presidents of the larger and more successful trusts to bail out the smaller, weaker ones–saving the country from financial disaster</span></div></td></tr></tbody></table></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk6X0BTpPsRuOhJMppHh6T0VVaU8LK7DqXc7XrnBmbbUCUytwJxHK4NiJJVPALwQ3PUNFdiBRFp_dqjSg1EbCn6AHM4zwFASnpsezZGZHkNl2VEuAfOi0jKw-vH3poyGR5h8DZ-DbvxRtI/s1600/a1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhk6X0BTpPsRuOhJMppHh6T0VVaU8LK7DqXc7XrnBmbbUCUytwJxHK4NiJJVPALwQ3PUNFdiBRFp_dqjSg1EbCn6AHM4zwFASnpsezZGZHkNl2VEuAfOi0jKw-vH3poyGR5h8DZ-DbvxRtI/s640/a1.jpg" style="border: none; position: relative;" width="580" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;">The US President Taft Handing the Problematical Mexican Situation to His Successor Woodrow Wilson,<br />Louis Glackens. 1913</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><div style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span style="font-size: medium;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiFAUfQoJy3kHpTiVrTF_UxzVPwL1VoXePxbxLkjaOAvIaEux06A9lzl6VnoDYx2q4Ask_54yEP77FCC77vePWnBhPUjBcyr4zfCvzk7mnXBl4vxzXAzbBou9b_DuCmsZDQ-WE9Yn_mzs/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiFAUfQoJy3kHpTiVrTF_UxzVPwL1VoXePxbxLkjaOAvIaEux06A9lzl6VnoDYx2q4Ask_54yEP77FCC77vePWnBhPUjBcyr4zfCvzk7mnXBl4vxzXAzbBou9b_DuCmsZDQ-WE9Yn_mzs/s640/a.jpg" style="border: none; position: relative;" width="521" /></span></a></td></tr><tr><td class="tr-caption"><div style="text-align: left;"><span style="font-size: medium;">The Treaty of Versailles was signed at the Paris Peace Conference of 1919. The main signatories of the treaty were the Big Four: the British Prime Minister, Lloyd George, the US President Woodrow Wilson, the French Prime Minister Georges Clemenceau and the Italian Prime Minister Vittorio Orlando. "Peace and future cannon fodder", a small child with a copy of the Treaty behind him and his head the sign "1940 class". The Big Four are seen walking past, and there is a caption: "The Tiger: Curious! I seem to hear a child weeping!".The final treaty was not popular. Many in Britain and France were angry that Germany hadn't been treated more harshly and that the German Kaiser hadn't been put on trial. Most Germans were humiliated and horrified by the treaty - disgusted at being made to take the blame for the entire war (the War Guilt clause - 231) and having to pay for it.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz3SrUV-E42jqDjAnfxL4l2H0KTuEzyZH8OV9JXWWzmYg3XP98hOTQ2H-vErRow9U7bAHfK0707vbgZ21qqQ3MUAmSBYrwIzH8LFECfUYe5C2zntpoll03vIq3d2rQN0IE4of-I4REmUM/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz3SrUV-E42jqDjAnfxL4l2H0KTuEzyZH8OV9JXWWzmYg3XP98hOTQ2H-vErRow9U7bAHfK0707vbgZ21qqQ3MUAmSBYrwIzH8LFECfUYe5C2zntpoll03vIq3d2rQN0IE4of-I4REmUM/s400/a.jpg" style="border: none; position: relative;" width="362" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Germany's view of the Versailles Peace Proposals, is captured in this cartoon in Simpliccimus issue of June 3, 1919. The American president Wilson, the French president Clemenceau and the British Prime Minister Lloyd George have condemned the country to death.</span></td></tr></tbody></table><span style="font-size: medium;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOkXAR8AyebT3x0NvNRtUqfsgRqYHGSocxsjihcfrZReyehokRe_Bf6HJaW5O3jc2JmWiQFtVzw4_I3sQpWX_th1cpILbw3ZlFncmpiCnUJ48XQxl-6PCtgKpuM07GLaxRnFTYsrUOQsQ/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOkXAR8AyebT3x0NvNRtUqfsgRqYHGSocxsjihcfrZReyehokRe_Bf6HJaW5O3jc2JmWiQFtVzw4_I3sQpWX_th1cpILbw3ZlFncmpiCnUJ48XQxl-6PCtgKpuM07GLaxRnFTYsrUOQsQ/s640/a.jpg" style="border: none; position: relative;" width="482" /></span></a></td></tr><tr><td class="tr-caption"><div style="text-align: left;"><span style="font-size: medium;">The Gaol bird is the broken-wing "peace" who is chained to the Treaty of Versailles. Clemenceau, Lloyd George and Wilson announce that she is free! The American politics were deeply divided with President Wilson at the helms of the Democratic Party and the Republican Party dominating the US Congress. Republicans used the Treaty as an opportunity to criticize Wilson for not consulting them about the Treaty. Americans were also queasy about president's vision for a League of Nations. Some Americans felt that the Treaty was lopsided against Germany and Britain and France were imposing harsh financial penalties on Germany to enrich themselves. In the end, the Congress rejected the Treaty of Versailles and the League of Nations.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br /><br /><a href="https://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Seven" style="color: #992211; text-decoration-line: none;"></a><br /></span><h3 style="margin: 0px; position: relative;"><a href="https://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Seven" style="color: #992211; text-decoration-line: none;"><span style="font-size: x-large; font-weight: normal;">The Great War</span></a></h3><span style="font-size: medium;"><br />Dutch artist Louis Raemaekers (1869–1956) has been called the Great Cartoonist of the Great War. According to president Theodore Roosevelt; The cartoons of Louis Raemaekers constitute the most powerful of the honorable contributions made by neutrals to the cause of civilization in the World War. Born in Roermond, in the Netherlands, Raemaekers, unconvinced by reports of German atrocities in invaded Belgium, crossed the border and returned home outraged. In the early years of WWI, Raemaekers, critical of the United States’ neutrality, in a number of drawings clearly asked for U.S. intervention. His scathing anti-German political cartoons gained rapid fame at home and abroad. By October 1917 more than two thousand newspapers on both sides of the Atlantic were printing his drawings on a regular basis . Raemaekers’s often provocative work resulted in his government’s threatening to place him on trial for jeopardizing Dutch neutrality. After the armistice, Raemaekers used his art to champion the League of Nations and, later, to sound the alarm against German and Italian fascism.</span></div><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFgNQHCjXkWOePfvyTqiHZIQnbG_XiKSq_kAJAi-fAUpZGLt03P-6l1w5yZsyBG6u6fZzs4UkF562z2v7D9fEON5ynOB7B59NVRoD_coTeNRoKdSRpWfROY9VBHGyfegGKhq4v5zPXkqS8/s1600/hila_WillTheyLast.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFgNQHCjXkWOePfvyTqiHZIQnbG_XiKSq_kAJAi-fAUpZGLt03P-6l1w5yZsyBG6u6fZzs4UkF562z2v7D9fEON5ynOB7B59NVRoD_coTeNRoKdSRpWfROY9VBHGyfegGKhq4v5zPXkqS8/s640/hila_WillTheyLast.jpg" style="border: none; position: relative;" width="502" /></span></a></td></tr><tr><td><span style="font-size: medium;">Will they last, Louis Raemaekers, c. 1915, Germany’s Kaiser Wilhelm II, the subject of Raemaekers’s many barbed caricatures, put a bounty on his head.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU_esbKSoQV0n-KpDS1R1EG-9siuq8dXu0j6Lf9SNwcosvqJKEw92myBYsupc0qdGQn9D726j3JIGNz8yN5JnEZH5iPpbVcjRQ1g7GMjygM3JZvLqIISCM_INuP-1_muDLReBPR5o5pm4b/s1600/Victoria.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU_esbKSoQV0n-KpDS1R1EG-9siuq8dXu0j6Lf9SNwcosvqJKEw92myBYsupc0qdGQn9D726j3JIGNz8yN5JnEZH5iPpbVcjRQ1g7GMjygM3JZvLqIISCM_INuP-1_muDLReBPR5o5pm4b/s640/Victoria.jpg" style="border: none; position: relative;" width="502" /></span></a></td></tr><tr><td><span style="font-size: medium;"><br />China imperialism cartoon-while Emperor Guangxu helplessly looks on, China as a pie is about to be carved up by Victoria (British Empire), Wilhelm II (German Empire), Nicolas II (Russian Empire), Marianne (France), and Meiji (Japanese Empire)</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLxiL-AHzsan-TRchI9VyTOSMCYHi88Jmv2xACT3ezt4q5S5yGzjrmaml0mNVA7iXASyBIN8FKIwIWolqmtogGxsp-RHqDwPtwusokavAR-kh5On43EiQRePLLj_EbZb-22wPjC50FU_NR/s400/Victoria.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLxiL-AHzsan-TRchI9VyTOSMCYHi88Jmv2xACT3ezt4q5S5yGzjrmaml0mNVA7iXASyBIN8FKIwIWolqmtogGxsp-RHqDwPtwusokavAR-kh5On43EiQRePLLj_EbZb-22wPjC50FU_NR/s1600/Victoria.jpg" style="border: none; position: relative;" /></span></a></td></tr><tr><td><span style="font-size: medium;"><br />Political cartoon by Frederick Opper from Puck magazine showing Queen Victoria and her family panhandling from John Bull on the steps of Buckingham Palace.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGKIYNLWwWHzYIaJM4aKxo8iKS2Dh7vPKC364GmnGA-C3_PHwKdXoxeqgbpShvySTbevg0PcFSsgtyzaPUqQt7YNpaTgCOWEEgC0vNoQdiBnp64bf6OaJFFhP0GGyOmw8mzSK6hDNw6XK8/s1600/A22.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGKIYNLWwWHzYIaJM4aKxo8iKS2Dh7vPKC364GmnGA-C3_PHwKdXoxeqgbpShvySTbevg0PcFSsgtyzaPUqQt7YNpaTgCOWEEgC0vNoQdiBnp64bf6OaJFFhP0GGyOmw8mzSK6hDNw6XK8/w429-h482/A22.JPG" style="border: none; position: relative;" width="429" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">SOLID, Entente Cordiale GERMANY: "Donnerwetter! It's rock. I thought it was going to be paper." (Aug. 2, 1911)<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">On March 31, 1905, Kaiser Wilhelm of Germany arrived in Tangiers to declare his support for the sultan of Morocco, provoking the anger of France and Britain in what will become known as the First Moroccan Crisis, a foreshadowing of the greater conflict between Europe's great nations still to come, the First World War.</span></div><div style="text-align: left;"></div><div style="text-align: left;"><span style="font-size: medium;">A Second Moroccan Crisis flared in April 1911, when the French pushed troops into the country, claiming to be defending the sultan against riots that had erupted in Fez but actually violating the terms of the Algeciras convention. In response, Germany sent its own warship, the Panther, which arrived in the port of Agadir on May 21, intensifying the enmity between the two nations and, by extension, their allies. Slightly more than two years before the outbreak of World War I, then, the two Moroccan crises left no doubt that the traditional power balance in Europe had shifted into large blocs of power, with Germany relatively isolated on one side—enjoying only lukewarm support from Austria-Hungary and Italy—and Britain, France, and Russia on the other.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNlFFUC1ZIcdC43WG0HeZS0lEmaX7-W1AnV-lPDI5NMcU89Zbm5LXxU5_P1LlwXexJZdpG8T_alvOuibtyLNIUhiy1uMRAavUg4KIBAmT5Zowh5dXMxxO2uXX7XqvZSLfF0ahbKGDNeprL/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNlFFUC1ZIcdC43WG0HeZS0lEmaX7-W1AnV-lPDI5NMcU89Zbm5LXxU5_P1LlwXexJZdpG8T_alvOuibtyLNIUhiy1uMRAavUg4KIBAmT5Zowh5dXMxxO2uXX7XqvZSLfF0ahbKGDNeprL/s640/a.jpg" style="border: none; position: relative;" width="488" /></span></a></td></tr><tr><td class="tr-caption"><div style="text-align: left;"><span style="font-size: medium;">The Entente Cordiale, an agreement between Britain and France, resolved a number of longstanding colonial disputes, and established a diplomatic understanding between the two countries, which however stopped short of binding either to any military undertaking in support of the other. France, keen to build a buffer against possible German aggression, signed the agreement in a bid to encourage an Anglo alliance with France. Similarly Britain was willing to encourage co-operation between the two countries with an eye on Germany's decision to expand her naval strength in competition with Britain.</span></div><div style="text-align: left;"></div><div style="text-align: left;"><span style="font-size: medium;">Germany, concerned over the signing of the entente agreement, determined to test its practical strength by provoking a crisis in Morocco in 1905, leading to the Algeciras Conference (1906). The entente was extended in 1907 to include Russia, culminating in the alliance that formally took on the Central Powers during World War One.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGBVZRj047bVtnDUYTMzFXpbPvJ5OzhJIJxrC0b48nTQ6PBhuYzch6nIjd4cs-GRF8COh3IyzNEMCUBjAuTPd00rFE3VQZjJzrdMG1ddyLMENojIttH16PJUhoW2Bzp2n5PL4o6WrIaeas/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGBVZRj047bVtnDUYTMzFXpbPvJ5OzhJIJxrC0b48nTQ6PBhuYzch6nIjd4cs-GRF8COh3IyzNEMCUBjAuTPd00rFE3VQZjJzrdMG1ddyLMENojIttH16PJUhoW2Bzp2n5PL4o6WrIaeas/s400/A1.JPG" style="border: none; position: relative;" width="297" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">UNCONQUERABLE, 1914<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">THE KAISER: "So, you see--you've lost everything."</span></div><div style="text-align: left;"><span style="font-size: medium;">THE KING OF THE BELGIANS: "Not my soul."</span></div><span style="font-size: medium;"><br /></span><div style="text-align: left;"><span style="font-size: medium;">On 2 August 1914, the day before Germany declared war on France, the German government wrote to the Belgian government demanding the right of free passage across Belgium for its troops, so that the latter could most efficiently invade France and reach Paris. Belgium's reply to what amounted to a German ultimatum (grant free passage or suffer occupation as an enemy of Germany) was delivered on 3 August 1914.</span></div><div style="text-align: left;"><span style="font-size: medium;"><br />Germany's invasion of Belgium on 4 August 1914 quickly prompted allegations of 'war crimes'. Some of them were confined to excesses committed in the military conflict. But the accusations of atrocities committed against civilians in occupied Belgium were far more damaging to the German cause. During the autumn of 1914, the British Foreign Office received a number of disturbing 'eyewitness' accounts from fleeing British subjects and Belgian refugees.</span></div></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjohHGBg31BgfVb04ddbpt3R8KKhutMsMhyphenhyphenlRF3wc7Z7_H9UDrLeBZqY_p48dWWVxyMqcyPaE5Ca2TBVJ1Tp5Wf4T9SiMeHyZwN6V3UQFbv8D6GDhqMY6TtVptw_ifM_Yb_uHbsSXfFUTpa/s1600/028.png" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjohHGBg31BgfVb04ddbpt3R8KKhutMsMhyphenhyphenlRF3wc7Z7_H9UDrLeBZqY_p48dWWVxyMqcyPaE5Ca2TBVJ1Tp5Wf4T9SiMeHyZwN6V3UQFbv8D6GDhqMY6TtVptw_ifM_Yb_uHbsSXfFUTpa/s400/028.png" style="border: none; position: relative;" width="325" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">THE EXCURSIONIST, November 1914<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">TRIPPER WILHELM: "First Class to Paris."</span></div><div style="text-align: left;"><span style="font-size: medium;">CLERK: "Line blocked."</span></div><div style="text-align: left;"><span style="font-size: medium;">WILHELM: "Then make it Warsaw."</span></div><div style="text-align: left;"><span style="font-size: medium;">CLERK: "Line blocked."</span></div><div style="text-align: left;"><span style="font-size: medium;">WILHELM: "Well, what about Calais?"</span></div><div style="text-align: left;"><span style="font-size: medium;">CLERK: "Line blocked."</span></div><div style="text-align: left;"><span style="font-size: medium;">WILHELM: "Hang it! I must go somewhere! I promised my people I would."</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3ok5RxLxpihW6gPE_JMWVWpQPWfmZPTEavjFJ1O3gd_aMHtxBns0c1n_ZYcLxMCbzMPucInmP6xTodm69FaF6dgULndC7DGE6UDjufO0d0Lyd6dprFRtchpRmOaoI6radwil-UjwB3PkR/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3ok5RxLxpihW6gPE_JMWVWpQPWfmZPTEavjFJ1O3gd_aMHtxBns0c1n_ZYcLxMCbzMPucInmP6xTodm69FaF6dgULndC7DGE6UDjufO0d0Lyd6dprFRtchpRmOaoI6radwil-UjwB3PkR/s640/A1.JPG" style="border: none; position: relative;" width="489" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">THE FLIGHT THAT FAILED. January 1915<br /></span><div style="text-align: left;"><span style="font-size: medium;">THE EMPEROR: "What! No babes, Sirrah?"</span></div><div style="text-align: left;"><span style="font-size: medium;">THE MURDERER: "Alas, Sire, none."</span></div><div style="text-align: left;"><span style="font-size: medium;">THE EMPEROR: "Well, then, no babes, no iron crosses."</span></div><div style="text-align: left;"><span style="font-size: medium;">(Exit murderer, discouraged.)</span></div><div style="text-align: left;"></div><div style="text-align: left;"><span style="font-size: medium;">Throughout 1914 the Zeppelin air ships were used for reconnaissance patrols over the North Sea, but the German Admiralty was pressing for permission to use them for attacks against England. The Kaiser, somewhat reluctantly, granted such permission and on the 19th of January the Germans carried out the first Zeppelin raid against Britain, killing two and injuring sixteen. This was the first of many raids, which continued at a rate of about two per month, in parallel with the continuing reconnaissance patrols. The German Admiralty was very enthusiastic about the results, and asked for permission to bomb London. This was only granted by the Kaiser after a series of raids by French bombers on German cities. On the 31st of May 1915 the first raid was carried out against London, killing seven and injuring thirty five.</span></div></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2_2fojewgUUGw7-8ZICSIXF8VHuAjPUzsKk0ZKk4PuvjJI_Zy63hWERdht4E1g49vbelBp4fkTuDSg6Rsjkdz8UzQ_zKh1gMdEx0aoyV4Ma0DOhhze8kCIbCNoS_8vZu4HDalrwb-MZ-l/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="677" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2_2fojewgUUGw7-8ZICSIXF8VHuAjPUzsKk0ZKk4PuvjJI_Zy63hWERdht4E1g49vbelBp4fkTuDSg6Rsjkdz8UzQ_zKh1gMdEx0aoyV4Ma0DOhhze8kCIbCNoS_8vZu4HDalrwb-MZ-l/w449-h677/A1.JPG" style="border: none; position: relative;" width="449" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">THE OLD MAN OF THE SEA SINBAD THE KAISER:<br />"This submarine business is going to get me into trouble with America; but what can an All-Powerful do with a thing like this on his back?"<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">At 1:40 p.m. on May 7, 1915, the German U-boat, U-20 launched a torpedo at the British ocean liner RMS Lusitania, famous for its luxurious accommodations and speed capability. The sinking of Lusitania enraged Americans and hastened the United States' entrance into World War I.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiAdT7RNwFaIFDVKCJn_miu7hKq7oVKfQdHlWJKBZ5Zses-ZNks7TuILAnInHNqg0kPKdydcHl0jMRLVGXrCLm0p6A0ZafxrBuq5mPXDLPZTXaImQQ1GgM_kAVcJonu3OcgUH5cTWqMu9H/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiAdT7RNwFaIFDVKCJn_miu7hKq7oVKfQdHlWJKBZ5Zses-ZNks7TuILAnInHNqg0kPKdydcHl0jMRLVGXrCLm0p6A0ZafxrBuq5mPXDLPZTXaImQQ1GgM_kAVcJonu3OcgUH5cTWqMu9H/s400/A1.JPG" style="border: none; position: relative;" width="305" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;"><span class="style9">REALISATION</span><br /><span class="style9">("When I went to Bulgaria I resolved that if there were to be any assassinations I would be on the side of the assassins." STATEMENT BY FERDINAND.)</span><br /></span><div style="text-align: left;"><span class="style9"><span style="font-size: medium;">The Kaiser, Ferdinand and Hamid II stand over the corpse of Armenia. On 19 May 1915, Britain, Frence, and Russia condemned Turkey's massacre of Armenians. Bulgarian Tsar Ferdinand decided on 23 September 1915 to join the Central Powers, and on 14 October 1915 declared war on Serbia. In retaliation Britain and France declared war on Bulgaria on 16 October. Russia followed suit a few days later.</span></span></div></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><span style="font-size: medium;"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWpEyW_wHdTOKREfKfb2SpRzMcgVb5V6hyphenhyphendT0GlxncE9Y9ZdzHvDwfXeYBI9A_4BwssPiZQl1CIStl0kRrA7NnPJF9fmKD_VeArp811skvoXnETN3r1cScKuai7yWCl0VLI48llvcYHxtE/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWpEyW_wHdTOKREfKfb2SpRzMcgVb5V6hyphenhyphendT0GlxncE9Y9ZdzHvDwfXeYBI9A_4BwssPiZQl1CIStl0kRrA7NnPJF9fmKD_VeArp811skvoXnETN3r1cScKuai7yWCl0VLI48llvcYHxtE/s640/A1.JPG" style="border: none; position: relative;" width="484" /></a></span></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">AN UNAUTHORISED FLIRTATION<br />THE KAISER (to Austrian Emperor): "Franz! Franz! I'm surprised and pained. "<br /></span><div style="text-align: left;"><span style="font-size: medium;">In the summer of 1915 Austria approached Serbia with proposals for a separate peace, Kaiser was dismayed.</span></div><div style="text-align: left;"></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcNLxnxKzjcS-TbIM4DQFN5mjpbpwmbBYRnJDW5qMk_N8XS1UbucfDaFz1DaulYzWMU9cXxgaoNrf4YPqIHMGT0P2Zld_9wmFF3JXzuc2jfI5JtLgqi6wDY1XYxdOEtgAUr1aa3t06EySx/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="780" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcNLxnxKzjcS-TbIM4DQFN5mjpbpwmbBYRnJDW5qMk_N8XS1UbucfDaFz1DaulYzWMU9cXxgaoNrf4YPqIHMGT0P2Zld_9wmFF3JXzuc2jfI5JtLgqi6wDY1XYxdOEtgAUr1aa3t06EySx/w618-h780/A1.JPG" style="border: none; position: relative;" width="618" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">THE RETURN OF THE MOCK TURTLE-DOVE, December 1916<br /></span><table align="center" cellpadding="2" cellspacing="0"><tbody><tr><th align="left" style="font-weight: normal;"><span style="font-size: medium;">KAISER</span></th><th align="left" style="font-weight: normal;"><span style="font-size: medium;">}</span></th><th align="center" style="font-weight: normal;"><span style="font-size: medium;"><br /></span></th></tr><tr><th style="font-weight: normal;"><span style="font-size: medium;"><br /></span></th><th align="left" style="font-weight: normal;"><span style="font-size: medium;">}</span></th><th align="center" style="font-weight: normal;"><span style="font-size: medium;">(breathlessly): "Well?"</span></th></tr><tr><th align="left" style="font-weight: normal;"><span style="font-size: medium;">BETHMANN-HOLLWEG</span></th><th align="left" style="font-weight: normal;"><span style="font-size: medium;">}</span></th><th align="center" style="font-weight: normal;"><span style="font-size: medium;"><br /></span></th></tr></tbody></table><span style="font-size: medium;"><br />THE BIRD: "Wouldn't even look at me!"</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmYeH5_k6O5nWMbrcQdInOIFu4wbgQPGb-gDx6a3oMutaavwAmswfHoHdOyXI5dz2dglC-Lgz4zwWaVjlcz_Kp-x2OpY1TAgFQ6VnoxAORc39CFnVN3iTvu5RByUxjT4Mxqcx5m4KQ9Vup/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="723" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmYeH5_k6O5nWMbrcQdInOIFu4wbgQPGb-gDx6a3oMutaavwAmswfHoHdOyXI5dz2dglC-Lgz4zwWaVjlcz_Kp-x2OpY1TAgFQ6VnoxAORc39CFnVN3iTvu5RByUxjT4Mxqcx5m4KQ9Vup/w530-h723/A1.JPG" style="border: none; position: relative;" width="530" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">THE DAWN OF DOUBT<br />GRETCHEN: "I wonder if this gentleman really is my good angel after all!"<br /></span><div style="text-align: left;"><span style="font-size: medium;">Gretchen's character in Faust represents the ability of humanity to become corrupted because of a turn towards the subjective self. Gretchen originally represents goodness and morality; even Mephistopheles finds no fault in her. However, Faust's influence on her inward life causes her to lose this morality by focusing on a selfish love affair that costs her life and faith.</span></div></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5gQ3thensgUeBiAoOig51vxCSMAAfvN08V9SfampG3k0Onqc8xJ7uu2z12w4EN2xqN-Zzq4w0ugSi7u1QUyR94ggSjSUbJr0p_EsxTukfBDEQZ7A3XvO_mRFhLXtG55wOMhS4mDEhRwsX/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5gQ3thensgUeBiAoOig51vxCSMAAfvN08V9SfampG3k0Onqc8xJ7uu2z12w4EN2xqN-Zzq4w0ugSi7u1QUyR94ggSjSUbJr0p_EsxTukfBDEQZ7A3XvO_mRFhLXtG55wOMhS4mDEhRwsX/s640/A1.JPG" style="border: none; position: relative;" width="486" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">THE LAST THROW, February, 1917.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRny2a7zTDzgeZwRtIscLYzh94zu9tkb4XJZs4ObnTAMemOupUyXiJkxxHFN08Hasy_-VHWlaizM_4Ltu2YlJqjOmYgjd-kLtrYWZbBofSjLCL7ba9pTkFwyUKIiZM757TEo0hGbmhAxpa/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRny2a7zTDzgeZwRtIscLYzh94zu9tkb4XJZs4ObnTAMemOupUyXiJkxxHFN08Hasy_-VHWlaizM_4Ltu2YlJqjOmYgjd-kLtrYWZbBofSjLCL7ba9pTkFwyUKIiZM757TEo0hGbmhAxpa/w531-h393/A1.JPG" style="border: none; position: relative;" width="531" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">ALSO RAN, March, 1917.<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">WILHELM: "Are you luring them on, like me?"</span></div><div style="text-align: left;"><span style="font-size: medium;">MEHMED: "I'm afraid I am!"</span></div></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcUI51woa7YhitInz0SUn40ovUAtrI3EzqKnWiesYHrGHTM6vWqpDO618nSnmT12iKGlFzzc5OAL-7zHO3MPxFhD0xheGI6_MsiXQOZQEhWxu31YbmAtnfalL5s9SHa3GRjnQzm-XD9a6v/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="887" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcUI51woa7YhitInz0SUn40ovUAtrI3EzqKnWiesYHrGHTM6vWqpDO618nSnmT12iKGlFzzc5OAL-7zHO3MPxFhD0xheGI6_MsiXQOZQEhWxu31YbmAtnfalL5s9SHa3GRjnQzm-XD9a6v/w744-h887/A1.JPG" style="border: none; position: relative;" width="744" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">DYNASTIC AMENITIES, April, 1917.<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">LITTLE WILLIE (of Prussia): "As one Crown Prince to another, isn't your Hindenburg line getting a bit shaky?"</span></div><div style="text-align: left;"><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn0L9VWyuKpUIfdk3TruqXrx5F85QyBBeF4aNNS5isb6-s09yWE4yVUmW5B96V7UCD2Q87q6Ypbqb7RUPFhTPfxthO4zyfFm0e0DIZzNIBEkkl0qN7vDPR69k836iLcISr73uEvwFHjhDc/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn0L9VWyuKpUIfdk3TruqXrx5F85QyBBeF4aNNS5isb6-s09yWE4yVUmW5B96V7UCD2Q87q6Ypbqb7RUPFhTPfxthO4zyfFm0e0DIZzNIBEkkl0qN7vDPR69k836iLcISr73uEvwFHjhDc/s400/A1.JPG" style="border: none; position: relative;" width="308" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">RUSSIA'S DARK HOUR, August, 1917.<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">Since early 1917, Russia, one of the Entente's principal powers, had been in a state of turmoil. In February of that year, the Czarist government's poor management of the war had helped to inspire a popular uprising, the February Revolution. This revolution forced the abdication of Czar Nicholas II and placed in power a Provisional Government of liberal and socialist factions, ultimately under the leadership of Socialist Revolutionary party member Alexander Kerensky. This brief experiment with pluralist democracy was a chaotic one, and in the summer months, the continual deterioration of the war effort and an increasingly dire economic situation caused Russian workers, soldiers, and sailors to riot ("The July Days").</span></div><div style="text-align: left;"></div><div style="text-align: left;"><span style="font-size: medium;">On October 24-25, 1917, Bolshevik (left-wing socialist) forces under Vladimir Lenin seized key government buildings and stormed the Winter Palace, then the seat of the new government in Russia's capital, Petrograd (now St. Petersburg). The "Great October Socialist Revolution," the first successful Marxist coup in history, dislodged the ineffectual Provisional Government, and ultimately established a Soviet Socialist Republic under Lenin's leadership. The new Soviet state's radical social, political, economic, and agrarian reforms would in the postwar years unnerve Western democratic governments, who so feared the spread of Communism throughout Europe that they were willing to compromise or appease right-wing regimes (including Adolf Hitler's Nazi Germany) in the 1920s and 1930s.</span></div><div style="text-align: left;"></div><div style="text-align: left;"><span style="font-size: medium;">But the immediate effect of the Russian Revolution on the European stage was a brutal and enduring Civil War in Russian lands (1917-1922) and the decision of the new Bolshevik leadership to make a separate peace with the Kaiser's Germany. When negotiations foundered over German demands, the German army launched an all-out offensive on the Eastern Front, resulting in a peace treaty at Brest-Litovsk on March 6, 1918.</span></div></td></tr></tbody></table>RUPPRECHT (of Bavaria): "Well, as one Crown Prince to another, what about your Hohenzollern line?"<br /><br />After the German declaration of War on France on August 3, the Crown Prince Wilhelm of Prussia joined his regiment, which saw action at the Battle of Longwy. For his service the Crown Prince was awarded the Iron Cross. Soon the winds of war changed, German troops had been close to Paris, but came to a halt at the Marne. The bitter fighting and the heavy losses of men and material made the Crown Prince write a memorandum in which he stated that he favored an end to the senseless hostilities. Russia was very much on his mind. In 1917 the Crown Prince tried to persuade Chancellor Hollweg to sue for a reasonable peace. This time a firm refusal came from the High Command of the Army (Hindenburg and Ludendorff) In another letter dated July 18, 1917 he tried again to influence Reich politics. He brought forward several suggestions for the possible achievement of Peace. Again, he was rebuffed.<br /><br />He was not involved in the reform efforts in the fall of 1918; he was at the time with his regiment. The peace negotiations were of the utmost importance for the future of the House of Hohenzollern, as the opposing nations demanded the abdication of the Kaiser. However, the Kaiser refused to give up. At the beginning of November 1918, in view of the hopeless situation on the fronts and the intolerable situation at home, a group of sailors of the Imperial Navy refused to take their ships out for a last senseless slaughter, and soon this revolution spread all through Germany, reaching Berlin on November 9. The Kaiser was at his headquarters and still refused to budge. Chancellor Max von Baden took it upon himself to announce that the Kaiser of Germany and King of Prussia, Wilhelm II, had decided to denounce the throne. His hand forced in this way, the Kaiser was persuaded to seek asylum in neutral Holland. He avoided capture but made it impossible to retain the monarchy in Germany. Both the Kaiser and the Crown Prince signed the document of abdication. With this, the 500-year-old dynasty had come to an end</span></div></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbc4eACG98HpV21SiUA5O9jCEEuLjJMcFXIDFc88-cmtBbaKz5ZezZTToOvPru2jVOwZTGgAkcrA9OO2c7GgW0y0XOrtvwMkskIMevJQ_5-QV_7aPrgyzEoUQK2LwvjyZitmQkBo5vcQ8e/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="551" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbc4eACG98HpV21SiUA5O9jCEEuLjJMcFXIDFc88-cmtBbaKz5ZezZTToOvPru2jVOwZTGgAkcrA9OO2c7GgW0y0XOrtvwMkskIMevJQ_5-QV_7aPrgyzEoUQK2LwvjyZitmQkBo5vcQ8e/w420-h551/A1.JPG" style="border: none; position: relative;" width="420" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">A WORD OF ILL OMEN, June, 1917.<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">CROWN PRINCE (to Kaiser, drafting his next speech): "For Gott's sake, father, be careful this time, and don't call the American Army 'contemptible.'"<br /><br />On 3 February 1917, President Wilson addressed Congress to announce that diplomatic relations with Germany were severed. In a Special Session of Congress held on 2 April 1917, President Wilson delivered his 'War Message.' Four days later, Congress overwhelmingly passed the War Resolution which brought the United States into the Great War.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBhePTqQhIirqC7xolraM54OOdiEBuVZ7mcZzTjXAPXdvybhZp8AfMYy5myYDu7F8RQMiWQVzBJPrhDpIjQGehvh0UXNtJjcj2kYlCcD6n1PHz48cWH9J3h7_gXIWu7fQflnqNOLwgVVDH/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="657" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBhePTqQhIirqC7xolraM54OOdiEBuVZ7mcZzTjXAPXdvybhZp8AfMYy5myYDu7F8RQMiWQVzBJPrhDpIjQGehvh0UXNtJjcj2kYlCcD6n1PHz48cWH9J3h7_gXIWu7fQflnqNOLwgVVDH/w504-h657/A1.JPG" style="border: none; position: relative;" width="504" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">THE INSEPARABLE, September, 1917.<br />THE KAISER (to his people): "Do not listen to those who would sow dissension between us. I will never desert you."</span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1P0wRbSuMFJXqoW5mwQh6kfNYKV8sESKKGMVmRLmixsJJOSL041vrE4dRORXjy06mTpdjZePF8KR-lRj6wHHC2xoIWrI3qktFyLLOewN0D-wtq0_uLdZe-3rIVtgldoqQilyjBKZzIGIO/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1P0wRbSuMFJXqoW5mwQh6kfNYKV8sESKKGMVmRLmixsJJOSL041vrE4dRORXjy06mTpdjZePF8KR-lRj6wHHC2xoIWrI3qktFyLLOewN0D-wtq0_uLdZe-3rIVtgldoqQilyjBKZzIGIO/s640/A1.JPG" style="border: none; position: relative;" width="486" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">BETRAYED, December, 1917.<br />THE PANDER: "Come on; come and be kissed by him."</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF2z-noBXRRLJSFVaLxxJVrA42t6af1ML6t7ZsTEFESgpDT_XE25dap4VW5WOtFgOpnqeVxbYYc23Wp27hS1CkyhoZrdP_ZflO11m5YWgDeOI420N3otAtAzLfG5BOaXGpW1zqfJm7S1GH/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF2z-noBXRRLJSFVaLxxJVrA42t6af1ML6t7ZsTEFESgpDT_XE25dap4VW5WOtFgOpnqeVxbYYc23Wp27hS1CkyhoZrdP_ZflO11m5YWgDeOI420N3otAtAzLfG5BOaXGpW1zqfJm7S1GH/s640/A1.JPG" style="border: none; position: relative;" width="496" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">MADE IN GERMANY, March 1918<br /></span><div style="text-align: left;"><span style="font-size: medium;">CIVILISATION: "What's that supposed to represent?"</span></div><div style="text-align: left;"><span style="font-size: medium;">IMPERIAL ARTIST: "Why, 'Peace,' of course."</span></div><div style="text-align: left;"><span style="font-size: medium;">CIVILISATION: "Well, I don't recognise it--and I never shal</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQLamCtNbjH5yO2YrAwdtYsrklvREpsgjGFZfpN22EfGqisliwGhFNJR39ihoRS-g5XC87rEtfPI5iqavV591rROE58vdKeSrR7lwCAYk7IXEAT8VQvTz_TY7dGE_SwIHnj3MezHH5CEe1/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="675" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQLamCtNbjH5yO2YrAwdtYsrklvREpsgjGFZfpN22EfGqisliwGhFNJR39ihoRS-g5XC87rEtfPI5iqavV591rROE58vdKeSrR7lwCAYk7IXEAT8VQvTz_TY7dGE_SwIHnj3MezHH5CEe1/w534-h675/A1.JPG" style="border: none; position: relative;" width="534" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">THE DEATH LORD, April, 1918.<br />THE KAISER (on reading the appalling tale of German losses): "What matter, so we Hohenzollerns survive?"</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyK5E-JJIwualLDBeRe5mnb2Dolpg0TqMueczXFC6mb33LlG-zz1bZcDuDGNAS-evnAOGc3B7y_wdGKTNzjndw88J7xIPbdIQpXlV8ElWmI2vz2A2AY7EWGFCFCfQz1c1IUNk_y1i4LRFz/s1600/A1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyK5E-JJIwualLDBeRe5mnb2Dolpg0TqMueczXFC6mb33LlG-zz1bZcDuDGNAS-evnAOGc3B7y_wdGKTNzjndw88J7xIPbdIQpXlV8ElWmI2vz2A2AY7EWGFCFCfQz1c1IUNk_y1i4LRFz/s640/A1.JPG" style="border: none; position: relative;" width="482" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">THE SANDS RUN OUT, October, 1918.<br /></span><div style="text-align: left;"><span style="font-size: medium;">On November 9, 1918, in the midst of widespread unrest and deserted by the commanders of the German Army, Emperor (Kaiser) William II abdicated the German throne. On the same day, SPD delegate Philipp Scheidemann proclaimed Germany a republic, with an interim government led by Friedrich Ebert. Two days later, German representatives, led by Catholic Center Party (Zentrum) representative Matthias Erzberger, met with a delegation of the victorious Entente powers under French Field Marshall Ferdinand Foch, the commanding general of the Entente forces, in a railcar in Compiègne Forest and accepted armistice terms.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXM3v3MMZB7KVzCfTB8taR-AXhbUI9urCxsjkyvTa4Wg9KoCCykHmye_yTp3B053rLhzKgIcAADxtDaiEIwe3AaOYgAf2Bxe20Xt0iWHKtUT41D_IBkMi_4HzCxIg5r9qgoyl9I5cuPUH9/s1600/4d5d7c9f5691d.image.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXM3v3MMZB7KVzCfTB8taR-AXhbUI9urCxsjkyvTa4Wg9KoCCykHmye_yTp3B053rLhzKgIcAADxtDaiEIwe3AaOYgAf2Bxe20Xt0iWHKtUT41D_IBkMi_4HzCxIg5r9qgoyl9I5cuPUH9/s640/4d5d7c9f5691d.image.jpg" style="border: none; position: relative;" width="452" /></span></a></td></tr><tr><td><span style="font-size: medium;">Ilych Lenin ridding the world of monarchs, capitalists and clerics, Viktor Deni, 1919</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXRSBmWkvgpewSKBr7I9h-imuoV1Ieqimm3GdovRNZFn7hvwB0HAfsK9I7FvSkisCH6KQfWXMjKe1BEJ1Q6OYjX64JGd-VS1V7DDy2vsiAFX39gJI2u5dMRyz-lqhIdU4Xdo-C_a9YvbX/s1600/league1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="443" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLXRSBmWkvgpewSKBr7I9h-imuoV1Ieqimm3GdovRNZFn7hvwB0HAfsK9I7FvSkisCH6KQfWXMjKe1BEJ1Q6OYjX64JGd-VS1V7DDy2vsiAFX39gJI2u5dMRyz-lqhIdU4Xdo-C_a9YvbX/s640/league1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td><span style="font-size: medium;">The Gap in the Bridge, by Leonard Ravenhill, in the British magazine Punch 1919</span></td></tr></tbody></table><div style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span style="font-size: medium;">This cartoon is critical of America. Although President Wilson had been the originator the the idea of a League, now America is refusing to join -- in spite of the USA being the 'keystone'.</span></div><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg7hRH0bYRUUZQRwgml1ghfxhHMi4MzB5G1quR3sf8mBKPSTuzpsMnsM-zsxOup9d8Mp9f7RNWzr0tJMrLCmYQoFZsy7jcQgjo5T81DZAlZBbDjjPXKzi5h-I0MXeIQd75MbaTG-JylNGY/s1600/a%25DB%25B2.jpeg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg7hRH0bYRUUZQRwgml1ghfxhHMi4MzB5G1quR3sf8mBKPSTuzpsMnsM-zsxOup9d8Mp9f7RNWzr0tJMrLCmYQoFZsy7jcQgjo5T81DZAlZBbDjjPXKzi5h-I0MXeIQd75MbaTG-JylNGY/s640/a%25DB%25B2.jpeg" style="border: none; position: relative;" width="526" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;"><br /></span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; padding: 4px; position: relative;"><tbody><tr></tr><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNwWGfA6PctF8zlPA68EGlavUjZxmHyP9DqtXLMIu67NDFiImOlGlL5ua8YwsX5xkE3K9VKsS_-BCYafW40f_cbfgzIRGxABKKqGLEqRX9xx2OfPL6H2apOC6dViOo9FpK6aDFdjdtRFhO/s1600/PoliticalCartoon7.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="370" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNwWGfA6PctF8zlPA68EGlavUjZxmHyP9DqtXLMIu67NDFiImOlGlL5ua8YwsX5xkE3K9VKsS_-BCYafW40f_cbfgzIRGxABKKqGLEqRX9xx2OfPL6H2apOC6dViOo9FpK6aDFdjdtRFhO/s640/PoliticalCartoon7.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td><span style="font-size: medium;">Woman’s Vote, William H. Walker, 1920. In the first presidential election in which they could vote, women were wooed by both major parties.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6ZFK4Yn3wYcBNKN-YA3iNUfRpobLcd4WQcwwFv_wLY7ctQPhELtX4zochsfNSft_xCerRyj7UXrFgTk5HoqjVp96vPwUzbok6OcOcXb_FYW3-8Cui8D2oFJEcgf1grE1bmbgS8KuCpln4/s1600/1931-bread-bank-line.jpg.gif" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6ZFK4Yn3wYcBNKN-YA3iNUfRpobLcd4WQcwwFv_wLY7ctQPhELtX4zochsfNSft_xCerRyj7UXrFgTk5HoqjVp96vPwUzbok6OcOcXb_FYW3-8Cui8D2oFJEcgf1grE1bmbgS8KuCpln4/s640/1931-bread-bank-line.jpg.gif" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td><span style="font-size: medium;">A bread line or a run on a bank? Chester Garde, 1931.<br /></span><div style="text-align: left;"><span style="font-size: medium;">Hoover, facing harsh criticism from the American public for his policy inaction, reluctantly established the Reconstruction Finance Corporation (RFC), in 1932, which provided loans to failing banks, and through the additional power of the Emergency Relief Act, the RFC was authorized to provide loans to state governments for unemployment relief. But, these efforts were too late to stop the economic downslide of the country. He was overwhelmingly defeated by Democrat Franklin D. Roosevelt in the 1932 presidential election. For the rest of the depression, though, Hoover attacked every substantive measure for relief and what he saw as radical influences in Washington.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqXuFecLkgJnX_KmCa7IE3Nne4G6LMD-QPkmWMwDKlHgB03Jjv-wMpV0VZEAEyheJC-UBqXdv9SlVQq0mj_ySqJrmRBWTwDEx13yIDc3zX__1H4IEM0syiNiIFtCp15mTtrdRFPH5M25cy/s1600/012334.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqXuFecLkgJnX_KmCa7IE3Nne4G6LMD-QPkmWMwDKlHgB03Jjv-wMpV0VZEAEyheJC-UBqXdv9SlVQq0mj_ySqJrmRBWTwDEx13yIDc3zX__1H4IEM0syiNiIFtCp15mTtrdRFPH5M25cy/s640/012334.jpg" style="border: none; position: relative;" width="518" /></span></a></td></tr><tr><td><span style="font-size: medium;">“A Scene from the ‘Good Old Days.’” from Brennessel, the Nazi humor magazine, January 1934. Marx is portrayed as a theoretician that leads German workers into a ruinous path.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWQcICcrEXoDkGhPCDUH782qDph9zBrZfk51tH_f3SsKN5DtVFxti32AFLiABpUiMoM4l4Y-hKVtVcNUC_pjSwCywBiaoSAGE8jehB1oggyOrDWX8HpDvvHM18RinnFzdNIjotvCYCIHXh/s1600/PoliticalCartoon8.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWQcICcrEXoDkGhPCDUH782qDph9zBrZfk51tH_f3SsKN5DtVFxti32AFLiABpUiMoM4l4Y-hKVtVcNUC_pjSwCywBiaoSAGE8jehB1oggyOrDWX8HpDvvHM18RinnFzdNIjotvCYCIHXh/s640/PoliticalCartoon8.jpg" style="border: none; position: relative;" width="470" /></span></a></td></tr><tr><td><span style="font-size: medium;">Hoover Prosperity, Tulley, ca. 1932. A sarcastic interpretation of Herbert Hoover’s contention that prosperity was just around the corner.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix3D0FDaojn22O42GjBFSyB4oJBrFH4cLR5-p9kudTIB6onOuUn2MubBNaongr2fOTvMfOOf7PmpiP1k-pKlnUJg_okzEiNnjpdB0Uq2bVYKhavU3LeH1zxItMN0Zqq5Vo4bP_ijgzOup2/s1600/hila_MephistoToFaust.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix3D0FDaojn22O42GjBFSyB4oJBrFH4cLR5-p9kudTIB6onOuUn2MubBNaongr2fOTvMfOOf7PmpiP1k-pKlnUJg_okzEiNnjpdB0Uq2bVYKhavU3LeH1zxItMN0Zqq5Vo4bP_ijgzOup2/s640/hila_MephistoToFaust.jpg" style="border: none; position: relative;" width="490" /></a>/td></span></td></tr><tr><td><span style="font-size: medium;">Mephisto to Faust: You Can Trust me, Louis Raemaekers, 1939, A sarcastic interpretation of the Non- Aggression Pact of 1939 signed in August with a secret agenda between Stalin and Hitler.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmCs7nVw9H5sPkd_r38FH8oWyC3LoJ1rRwYtwrYEHUnv2Jgda6Tu9H1S4Bxta3O5HRLIlJPEp27pCgJHLGsiQf7IM-8hJUifvWsa_MyUTZD33Yeh0NOaikQk35jo_BuwnWqUhUVdykXgSW/s1600/gdgyjdhoiw85sc6a6aacmzwze6zp9jd.png" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmCs7nVw9H5sPkd_r38FH8oWyC3LoJ1rRwYtwrYEHUnv2Jgda6Tu9H1S4Bxta3O5HRLIlJPEp27pCgJHLGsiQf7IM-8hJUifvWsa_MyUTZD33Yeh0NOaikQk35jo_BuwnWqUhUVdykXgSW/s640/gdgyjdhoiw85sc6a6aacmzwze6zp9jd.png" style="border: none; position: relative;" width="544" /></span></a></td></tr><tr><td><span style="font-size: medium;">Constitution of the United States Canceled, Greaves , 1940. F.D.R.’s pursuit of a third term suggested that he acts like a king who considered himself above the law.</span></td></tr></tbody></table><span style="font-size: medium;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-family: Calibri; font-size: 11.616px; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbNKYcbjl8sZaJH3PkTtie1-gg1MYyL1EFmaBJRBEl4fjp07WFRur7QX-O7xq6xaBHxlQRpghb4qUgl4jCtgdnoWg90CPN-nFXObwIujdDWxD4d5UU-JsT5lTbi5H68WEq5eon6vQha8k/s1600/a.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbNKYcbjl8sZaJH3PkTtie1-gg1MYyL1EFmaBJRBEl4fjp07WFRur7QX-O7xq6xaBHxlQRpghb4qUgl4jCtgdnoWg90CPN-nFXObwIujdDWxD4d5UU-JsT5lTbi5H68WEq5eon6vQha8k/s1600/a.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="470" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">President Franklin D. Roosevelt tells the old men on the Supreme Court to get in step with his New Deal legislative efforts. 1937, by O. Seibel.</span><br /><div style="text-align: left;"><span style="font-size: large;">The New Deal faced drastic opposition from the Supreme Court, which took its consrvative stance from a legal viewpoint and in 1935 it effectively declared the National Recovery Administration (NRA) illegal. In the following year it declared the Agricultural Adjustment Act (AAA) unconstitutional thus killing off the AAA. The point made by the Supreme Court was that any efforts made to help farmers etc. should come at a state level and not federal level and that these parts of the New Deal went against the powers given to the states by the Constitution. 11 out of 16 of the Alphabet Laws were decreed unconstitutional in cases heard by the Supreme Court. The argument of the Supreme Court was that Roosevelt had tried to impose the power of the federal government on state governments – and this was unconstitutional.</span></div></td></tr></tbody></table><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL2kWTJoD5QT0HFGvVuGJzo6KI4IkquwD_mP4uaa1MAKAgB2lay9ANQZweTX8s-IX2K_iZ3gk5M35kFg5sqoO_NPcGTivLKCj72ovnDpCS1Kz3VgnN0PlbnL9zJHtWaDQwYcL2AJfnZE-J/s1600/lb41-1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL2kWTJoD5QT0HFGvVuGJzo6KI4IkquwD_mP4uaa1MAKAgB2lay9ANQZweTX8s-IX2K_iZ3gk5M35kFg5sqoO_NPcGTivLKCj72ovnDpCS1Kz3VgnN0PlbnL9zJHtWaDQwYcL2AJfnZE-J/s640/lb41-1.jpg" style="border: none; position: relative;" width="470" /></span></a></td></tr><tr><td><span style="font-size: medium;">“The Calendar of a Condemned Man.” a German propaganda cartoon in Lustige Blätter, 1941. Churchill crosses out the names of English cities as the gallows waits behind him.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq2wVDqbeg5xQHdSnOv6YtYtpo3vO53PrlIjwz82xaENuvFFm2ffJuIipN18Ir84aI-Gu001dp4Es8gb0HZaO2RlJoVgDpdEuvBBH-9LqPfv1F5olrnGUtscX5t_Ty5OOmBZmD1NaQExDh/s1600/brennessel38-46.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq2wVDqbeg5xQHdSnOv6YtYtpo3vO53PrlIjwz82xaENuvFFm2ffJuIipN18Ir84aI-Gu001dp4Es8gb0HZaO2RlJoVgDpdEuvBBH-9LqPfv1F5olrnGUtscX5t_Ty5OOmBZmD1NaQExDh/s640/brennessel38-46.jpg" style="border: none; position: relative;" width="492" /></span></a></td></tr><tr align="left"><td><span style="font-size: medium;">Nazi propaganda cartoon, Brennessel, 1938. Mars is speaking to the "warmongers" Eden and Churchill, who had been objecting to Chamberlain's appeasement policies. This was Brennessel's last cover cartoon featuring Churchill before closing down in that year.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqqOwFL6YatEB4d5htqOuXXTTXYzTP-SQn-O70zCQ0_1tZMcndv3Eq5NlodJDbyFFFYuaBdokBL8lZGBIfJSARixxs7YO27aJj1yXG6A8zbnaODeIJwhUuVTNWsJyO10EfM8W0Ci5lmZy7/s1600/Rosevelt.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqqOwFL6YatEB4d5htqOuXXTTXYzTP-SQn-O70zCQ0_1tZMcndv3Eq5NlodJDbyFFFYuaBdokBL8lZGBIfJSARixxs7YO27aJj1yXG6A8zbnaODeIJwhUuVTNWsJyO10EfM8W0Ci5lmZy7/s640/Rosevelt.jpg" style="border: none; position: relative;" width="460" /></span></a></td></tr><tr><td><span style="font-size: medium;">“American Candelabra,” an anti-Semitic propaganda cartoon in Lustige Blätter, 1942. Roosevelt is portrayed as the upholder of the Jewish Interests</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimb-ih8iEAFSKCT50ZIPbU_qYF2NsQACVOL4RlLF4ToNDhDKwFaRAItswjTj9atFctkAkLl6RlgoOZx40akmP9YfnL74Ik9KRV-3L6sJiriHqiz93btgVagpS-tCZB0WXoAIGXeYUnmrdt/s1600/The+Russo_german+Pact.png" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimb-ih8iEAFSKCT50ZIPbU_qYF2NsQACVOL4RlLF4ToNDhDKwFaRAItswjTj9atFctkAkLl6RlgoOZx40akmP9YfnL74Ik9KRV-3L6sJiriHqiz93btgVagpS-tCZB0WXoAIGXeYUnmrdt/s640/The+Russo_german+Pact.png" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td><span style="font-size: medium;">The Russo-German Pact, A Japanese perspective.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnJWjPasdyVp-Z3RgGAr310T67Wf7_nKMAbFH1iAtvf_nJGs6kzqXH_CynlUSmIvS3__5V5O4tC3FVGI9wW3DxrQFRKcAS_bYazW8FjLUwOuqzpu69_l6IrmiHU5QOZRipxekgfKXdIDJF/s1600/a1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnJWjPasdyVp-Z3RgGAr310T67Wf7_nKMAbFH1iAtvf_nJGs6kzqXH_CynlUSmIvS3__5V5O4tC3FVGI9wW3DxrQFRKcAS_bYazW8FjLUwOuqzpu69_l6IrmiHU5QOZRipxekgfKXdIDJF/s640/a1.jpg" style="border: none; position: relative;" width="540" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">The Nightmare. “A frightening thought. Our voters are demanding that we fulfill our campaign promises...”</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><div class="separator" style="clear: both; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; text-align: center;"></div><div dir="ltr" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBsEVbB2Tfne-C6UhYxH_CxDVAKtJTV66CvjVtaX3MKduxIMUEMdmIAqjJ5pCvKntAfpgX75ODrebELd5nFsqzW9XSrmSKMR56GGY0YiVkV3cAixWiEEzEiYKrWhTqskf35Vs5UjmwpV02/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="628" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBsEVbB2Tfne-C6UhYxH_CxDVAKtJTV66CvjVtaX3MKduxIMUEMdmIAqjJ5pCvKntAfpgX75ODrebELd5nFsqzW9XSrmSKMR56GGY0YiVkV3cAixWiEEzEiYKrWhTqskf35Vs5UjmwpV02/w443-h628/a.jpg" style="border: none; position: relative;" width="443" /></span></a></td></tr><tr><td class="tr-caption"><div style="text-align: left;"><span style="font-size: medium;">Punch cartoon, 1933. Adolf Hitler is carried to power on the shoulders of President Paul von Hindenburg (Left) and Chancellor Franz von Papen (Right). By dismissing Prussia's social-democratic state government in July 1932, Papen struck a fatal blow against the beleaguered Weimar Republic.</span></div></td></tr></tbody></table></div><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQwRM8vptYLCalHGqJkvlUsCo61FJDItI9S2-M9N56X7LgDGCPZ5Bd6GakMYOlcv5t-1g-3O2ptcaR9aty24iOx_BPW1U3dt5FyKoAmHgsJMAQjfJAafZKJbfGH5G4GdklPGTl_l7E2gtt/s1600/a1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQwRM8vptYLCalHGqJkvlUsCo61FJDItI9S2-M9N56X7LgDGCPZ5Bd6GakMYOlcv5t-1g-3O2ptcaR9aty24iOx_BPW1U3dt5FyKoAmHgsJMAQjfJAafZKJbfGH5G4GdklPGTl_l7E2gtt/s640/a1.jpg" style="border: none; position: relative;" width="532" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Hitler's Dream</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCkY7F9gd1Ylxi39bh59iGvnyQg-YypStpP5kMkVi9O5UoKi_wKKMI32rWjmTQpgAt0iOZN07GaZ5HUd7xuS2fn2NanZE7Cpcd7cL_IBhj_Id5cS9eu5oes71WrECTqds71VQXrJSBDFh_/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="890" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCkY7F9gd1Ylxi39bh59iGvnyQg-YypStpP5kMkVi9O5UoKi_wKKMI32rWjmTQpgAt0iOZN07GaZ5HUd7xuS2fn2NanZE7Cpcd7cL_IBhj_Id5cS9eu5oes71WrECTqds71VQXrJSBDFh_/w672-h890/a.jpg" style="border: none; position: relative;" width="672" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;">In 1940, Marshal Philippe Pétain was a national hero in France for his victory at the Battle of Verdun during World War I. Following the German invasion of France in May 1940, the well-respected eight-four-year old was asked to form a government. Seeing the French army defeated, the “Hero of Verdun” asked for an armistice. With the German army occupying two-thirds of the country, Pétain believed he could repair the ruin caused by the invasion and obtain the release of the numerous prisoners of war by cooperating with the Germans. He, however, opposed Franco-German collaboration advocated by his vice premier Pierre Laval, whom he dismissed in December 1940. When the Germans forced Pétain to take Laval back as premier, he himself withdrew into a purely nominal role. Yet he balked at resigning, convinced that, if he did, Hitler would place all of France directly under German rule.<br /><br />After Allied landings in November 1942 in North Africa, Pétain secretly ordered his forces to aid the Allies. But, at the same time, he published official messages protesting the landing. His doubledealing was to be his undoing. When Pétain dispatched an emissary to arrange for a peaceful transfer of power, General de Gaulle refused it. Brought to trial in France for high treason, he was stripped for all rank and sentenced to death. The High Court requested that the sentence should not be carried out in view of Pétain’s great age, and later de Gaulle commuted the death sentence to life imprisonment.</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZSMih1Xr4cYDheka3bg7t4OHUJBUjpJrprrnHsZETNyLNv6utGGmHpTCkgA4OnRLl5TRb7FpO6WKkZ-oBImD_1qs6AXchfIWLA8SKFZlHmjlAblnkElnYWc2NpU0xEn2yOVdTpa-pfZhb/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZSMih1Xr4cYDheka3bg7t4OHUJBUjpJrprrnHsZETNyLNv6utGGmHpTCkgA4OnRLl5TRb7FpO6WKkZ-oBImD_1qs6AXchfIWLA8SKFZlHmjlAblnkElnYWc2NpU0xEn2yOVdTpa-pfZhb/s640/a.jpg" style="border: none; position: relative;" width="464" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;">The Dummy That Spoke by Itself. Adolf/Benito } (together). "Where did that one come from - you or me?" (the dummy, General Franco of Spain, says "Withdraw All Volunteers!" as neither Hitler or Mussolini knows which of them is really controlling the puppet)</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifFEsGaVWVJjyiXZ6vkY-1dmEgYRbqeev-wPOZ6FHl_43QBpBrtdHwYXbCUlprsB6b8Mg_4lUD5y8kfUaLvIXHKwvwV0UKazhJlRC1vgQ5WLWPa5aTB4x1h6NjQzSq6LArqjPZ2Tgo0U0O/s1600/a1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifFEsGaVWVJjyiXZ6vkY-1dmEgYRbqeev-wPOZ6FHl_43QBpBrtdHwYXbCUlprsB6b8Mg_4lUD5y8kfUaLvIXHKwvwV0UKazhJlRC1vgQ5WLWPa5aTB4x1h6NjQzSq6LArqjPZ2Tgo0U0O/s640/a1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Illingworth, 2 November 1939, Hitler is being advised by his advisers ‘Why not an offensive today?... Wait until the spring .. Russian gold is behind us... Germany is bankrupt... Why not bomb Britain?... there might be reprisals...’</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFIASRPNoHDEWuRWI7U5dgtYYV-9EHcSV4ZQH_LNHEA8ZrUVBSHNjtHt9bBxSDyQmlB3JHddTliI__HZMZYjgWqt_7bNIImbbPFUvBDX3YPu3os6kHEZn0LUjCOmmekDNSRHdKGkbdBY78/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="560" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFIASRPNoHDEWuRWI7U5dgtYYV-9EHcSV4ZQH_LNHEA8ZrUVBSHNjtHt9bBxSDyQmlB3JHddTliI__HZMZYjgWqt_7bNIImbbPFUvBDX3YPu3os6kHEZn0LUjCOmmekDNSRHdKGkbdBY78/w466-h560/a.jpg" style="border: none; position: relative;" width="466" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Arthur Szyk, 1944</span></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLwtGFPbUeYuaRlAobK5GfhO1ieOokVe7gzz6BlIx_BeMAemovAsvULTisULAGZdsWITo_hEgUxrxMbsQXE_jOwOFP0qrKhdi4EPb3u_goniyMtiN5h4O34gQdb2iOziLQCyEAgUiDbbc/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLwtGFPbUeYuaRlAobK5GfhO1ieOokVe7gzz6BlIx_BeMAemovAsvULTisULAGZdsWITo_hEgUxrxMbsQXE_jOwOFP0qrKhdi4EPb3u_goniyMtiN5h4O34gQdb2iOziLQCyEAgUiDbbc/s640/a.jpg" style="border: none; position: relative;" width="486" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;"><br />Europe is getting hot! We've got to move to the western hemisphere , 1944 Arthur Szyk, 1944.<br /></span><div style="text-align: left;"><span style="font-size: medium;"> Szyk portrays the Axis plot to dominate the world. Hitler sits at the head of the table (left), flanked by Joseph Goebels and Hermann Goering on his left, Spanish dictator Francisco Franco to his right, and Heinrich Himmler across.</span></div></td></tr></tbody></table><span><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><span style="font-size: large;"><br />Leslie Gilbert Illingworth's Second World War</span></span></div><div class="post-body entry-content" style="line-height: 1.4; position: relative; width: 770px;"><span><span style="font-size: large;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-size: large; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRntIKtH3bGeL69nS6__Pjotree1JAxMV0EthnhRLNSmkxF-ybl41ktTykglR0XzGwmnyd7UllZBzaTZA9P2gyrv14SxJExM7bJVe7oamCxRHrBS2M8Y4H8olOX8FLAqoBv55O3YZE0OI/s1600/63745e678adb4e6b87ec5682ed8259d4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRntIKtH3bGeL69nS6__Pjotree1JAxMV0EthnhRLNSmkxF-ybl41ktTykglR0XzGwmnyd7UllZBzaTZA9P2gyrv14SxJExM7bJVe7oamCxRHrBS2M8Y4H8olOX8FLAqoBv55O3YZE0OI/s640/63745e678adb4e6b87ec5682ed8259d4.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">Finland and Russia, while the US offer small help</span></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-size: large; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtYYUTupf2G_9ZQnDKUph5_cnJjL0nYgpsyy85R77x3cmRdy_6E2pPu3PwNNTBf7loBsB-02Ff4zNwD7785TnTJMfaTxnCQIkEhallKGl2FS74sHLqgceTzsRBPRDJ5CpnZ7xSC1EmtNk/s1600/63745e678adb4e6b87ec5682ed8259d4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtYYUTupf2G_9ZQnDKUph5_cnJjL0nYgpsyy85R77x3cmRdy_6E2pPu3PwNNTBf7loBsB-02Ff4zNwD7785TnTJMfaTxnCQIkEhallKGl2FS74sHLqgceTzsRBPRDJ5CpnZ7xSC1EmtNk/s640/63745e678adb4e6b87ec5682ed8259d4.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">Germany and Italy's aggressive moves in the Balkan countries. </span></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-size: large; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQncSyE3mHCNFg6F7cyR9zxL7s07Ak6TL3tEnzwxdTn8qP5k0DiBrUkImG_BGYZMnWJQwOc-8fukCBZJtD35QiDnKfYy3ozNa46gcmouAHQdiy3iiamy2znar6daW0eELAKbFFBHyXo5A/s1600/63745e678adb4e6b87ec5682ed8259d4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQncSyE3mHCNFg6F7cyR9zxL7s07Ak6TL3tEnzwxdTn8qP5k0DiBrUkImG_BGYZMnWJQwOc-8fukCBZJtD35QiDnKfYy3ozNa46gcmouAHQdiy3iiamy2znar6daW0eELAKbFFBHyXo5A/s640/63745e678adb4e6b87ec5682ed8259d4.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">Fall of Paris, and Roosevelt's pledge</span></td></tr></tbody></table><span style="font-size: xx-small;"><br /></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-size: large; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfXW8vjsyFJBgGy73XGFNm1voddpktN4pfNkM1pR2D9QjUYXu5mOWIn16T7zFBqOmz3ViEL5-TIU5sq5svo_MdRpPlKfGXuCw3ZFq1NfVwEqrZXOEaQXrIQm3Bil1ipuztJPa8LvBc6FA/s1600/63745e678adb4e6b87ec5682ed8259d4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfXW8vjsyFJBgGy73XGFNm1voddpktN4pfNkM1pR2D9QjUYXu5mOWIn16T7zFBqOmz3ViEL5-TIU5sq5svo_MdRpPlKfGXuCw3ZFq1NfVwEqrZXOEaQXrIQm3Bil1ipuztJPa8LvBc6FA/s640/63745e678adb4e6b87ec5682ed8259d4.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="602" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">France's Armistice</span></td></tr></tbody></table><span style="font-size: xx-small;"><br /></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-size: large; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfVKLPE8GtqEtTa83HuD_lKqX30HKno0EBe7LI3CTjERtQG5j-PWTplmBRlNeplQ7TJWNg-yt8w2T8QJjMhCabxcET5HJizvL7tLxC2fPEbnJRtIZOKPjw_gzuYQDGVOHXnhAJmZNM5c8/s1600/63745e678adb4e6b87ec5682ed8259d4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfVKLPE8GtqEtTa83HuD_lKqX30HKno0EBe7LI3CTjERtQG5j-PWTplmBRlNeplQ7TJWNg-yt8w2T8QJjMhCabxcET5HJizvL7tLxC2fPEbnJRtIZOKPjw_gzuYQDGVOHXnhAJmZNM5c8/s640/63745e678adb4e6b87ec5682ed8259d4.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">Britain lonely fight with France being fallen and Roosevelt not ready yet to join</span></td></tr></tbody></table></td></tr></tbody></table><span style="font-size: xx-small;"><br /></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-size: large; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsrggQngDLSznh7Iyg8gbeIlDegoyXCiUcIBG6JJMJvIsa6nSwzOSwxARCe5bwnLPl3hqCE1LZ1sfCBvvtrB397curyFLcXTvsPzDpNtMjFC03h3uZbCFQfclk5DHsqxc47Iu5KMgHO0s/s1600/63745e678adb4e6b87ec5682ed8259d4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsrggQngDLSznh7Iyg8gbeIlDegoyXCiUcIBG6JJMJvIsa6nSwzOSwxARCe5bwnLPl3hqCE1LZ1sfCBvvtrB397curyFLcXTvsPzDpNtMjFC03h3uZbCFQfclk5DHsqxc47Iu5KMgHO0s/s640/63745e678adb4e6b87ec5682ed8259d4.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">Hitler's Rumania dish</span></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-size: large; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjiijh3wIGtCPHdGaCvudlC_8jqBnqWbm28UaC1nrXolgEHh_p_L64XjXEG4P3yzS3NNmDzu-SCT8igffELDifUkjHjlE-noxXH581ZfUVWE0JtN781BrmG58sORqS_NAZlPMUqqvxHNU/s1600/63745e678adb4e6b87ec5682ed8259d4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjiijh3wIGtCPHdGaCvudlC_8jqBnqWbm28UaC1nrXolgEHh_p_L64XjXEG4P3yzS3NNmDzu-SCT8igffELDifUkjHjlE-noxXH581ZfUVWE0JtN781BrmG58sORqS_NAZlPMUqqvxHNU/s640/63745e678adb4e6b87ec5682ed8259d4.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="478" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">Hitler and Mussolini serenading General Franco of Spain</span></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-size: large; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxG3ePzrSA2FxmIFwlfBJzTX-xjGrTLamKjMOOuA573HY0FvX_hlnp-u8tW2J_FotYZbtxTd6Pk19PKV5ctqO0uh0cRNe6ZpFIP_i6sFXXbBKUmsg5b3RIwKvA5LTwLr7Zo6-xjFellE0/s1600/63745e678adb4e6b87ec5682ed8259d4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxG3ePzrSA2FxmIFwlfBJzTX-xjGrTLamKjMOOuA573HY0FvX_hlnp-u8tW2J_FotYZbtxTd6Pk19PKV5ctqO0uh0cRNe6ZpFIP_i6sFXXbBKUmsg5b3RIwKvA5LTwLr7Zo6-xjFellE0/s640/63745e678adb4e6b87ec5682ed8259d4.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">The Yalta conference</span></td></tr></tbody></table><span style="font-size: xx-small;"><br /></span><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 1px solid rgb(238, 238, 238); box-shadow: rgba(0, 0, 0, 0.1) 1px 1px 5px; color: #222222; font-size: large; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvupWnljyyWfO5UWiA3TlqtTVs2bZ6G4OM1KmJgrbsSOB-ojoKxIwdHe6bfY-HJsWIl1siIrBoapPTWIFV5XcDaM3Ae7EdFFQdwimkXVRktpYp2-AcsArZybWGh3UrouPdXzUHN7yAONo/s1600/63745e678adb4e6b87ec5682ed8259d4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvupWnljyyWfO5UWiA3TlqtTVs2bZ6G4OM1KmJgrbsSOB-ojoKxIwdHe6bfY-HJsWIl1siIrBoapPTWIFV5XcDaM3Ae7EdFFQdwimkXVRktpYp2-AcsArZybWGh3UrouPdXzUHN7yAONo/s640/63745e678adb4e6b87ec5682ed8259d4.png" style="background: transparent; border: none; box-shadow: rgba(0, 0, 0, 0.1) 0px 0px 0px; padding: 0px; position: relative;" width="580" /></span></a></td></tr><tr><td class="tr-caption" style="font-size: 10px;"><span style="font-size: large;">Hitler's myth</span></td></tr></tbody></table><br style="color: #222222; font-family: Calibri; text-align: center;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1MSjCm3TP_iiVZjhJDezdaX4VS9GBWTPxAgguvyqkY2WkZB-_dDnB4BttSdxuzeE0FgkD2dZHoM6wXN1h2UeEc5HfPgliaPzMXIcGK8PQFm3GJ71U6O97XCJydEmQRDbBuc-pp57G6NLu/s1600/usa+Russia.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1MSjCm3TP_iiVZjhJDezdaX4VS9GBWTPxAgguvyqkY2WkZB-_dDnB4BttSdxuzeE0FgkD2dZHoM6wXN1h2UeEc5HfPgliaPzMXIcGK8PQFm3GJ71U6O97XCJydEmQRDbBuc-pp57G6NLu/s640/usa+Russia.jpg" style="border: none; position: relative;" width="494" /></span></a></td></tr><tr><td><span style="font-size: medium;">A soviet propaganda cartoon depicting Uncle Sam exploiting South Americans, Israelis and others.</span></td></tr></tbody></table><span><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><a href="https://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Eight" style="color: #992211; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; text-decoration-line: none;"></a><span style="font-size: x-large;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span></span><h3 style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin: 0px; position: relative;"><a href="https://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Eight" style="color: #992211; text-decoration-line: none;"><span style="font-size: x-large; font-weight: normal;">Editorial cartoons after WWII</span></a></h3><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheSUiNJ4BYZ1dPUBKq59qNJzmyuqOsdh9EBXpUbN9RsfxV1RGWedcExt9YPM3TBG0XNaazCtWUHpRHVM0H-DcTLrFjyfB2CAUOKSJtwhsqfhQrqrSwxCTDrAImwd1D5reV88kEvz-GrMOr/s1600/a1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="632" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheSUiNJ4BYZ1dPUBKq59qNJzmyuqOsdh9EBXpUbN9RsfxV1RGWedcExt9YPM3TBG0XNaazCtWUHpRHVM0H-DcTLrFjyfB2CAUOKSJtwhsqfhQrqrSwxCTDrAImwd1D5reV88kEvz-GrMOr/s640/a1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;"><br />Harry Truman playing Stalin a chess game the board is Germany, and the opening gambit occurs in Berlin. Leslie Illington, National Library of Wales.<br /></span><div style="text-align: left;"><span style="font-size: medium;">Stalin’s pieces include “Eastern Bloc,” and “Berlin Blockade.” Truman's pieces include a knight, “Air Lift,” and a piece looking a lot like Gen. Dwight Eisenhower, “Atlantic Alliance.” Stalin's real concern was for the emergence of an economically viable West Germany that would fall under the shadow of American control and eliminate any potential opportunity for Soviet influence in either the western zones or western Berlin. He saw the world in terms of competing hegemonies, one in the East controlled by the Soviets and one in the West by the United States.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy33GqvJrlD1jLL633bcugLq-bA5xw1faStQBBu8UPEpyKTJ1o5SafRBtvJhdxf-DvrBatEbPWLTYTyx7DuxzE2N3gmAV7EIkGfVkm98_GCxatuA-Z4ODvY4tCVUcbOpPRp9mnnKejPtHD/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="560" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy33GqvJrlD1jLL633bcugLq-bA5xw1faStQBBu8UPEpyKTJ1o5SafRBtvJhdxf-DvrBatEbPWLTYTyx7DuxzE2N3gmAV7EIkGfVkm98_GCxatuA-Z4ODvY4tCVUcbOpPRp9mnnKejPtHD/s640/a.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption"><div style="text-align: left;"><span style="font-size: medium;">On April 12, 1945, Harry S. Truman, the Vice President of the United States, was elevated by the sudden death of Franklin D. Roosevelt to the Presidency of the United States. With the war in Europe near its triumphant end, Truman had immediately to deal with Soviet intentions to impose Communist regimes in Eastern Europe and possibly to exploit the economic breakdown in Western Europe. Simultaneously he had to seek military and political solutions in the war against Japan. He was interested when Secretary of War Henry L. Stimson explained the atomic project to him on April 25, 1945-- "If it explodes, as I think it will, I'll certainly have a hammer on those boys," "On July 24 I casually mentioned to Stalin that we had a new weapon of unusual destructive force," Truman recalled. "The Russian Premier showed no special interest. All he said was that he was glad to hear it and hoped we would make 'good use of it against the Japanese.'"<br /><br />Truman established 12 points for the maintenance of World peace in a speech on Navy Day. The UK's Prime minister Attlee suggested to president that the five permanent members of the World Security Council -- Britain, America, Russia , France and China - share the atomic bomb secrets, meaning that the Big Five would be able to use the bomb against an aggressor nation, but no aggressor, except a member of the Council, would be able to retaliate. Truman later explained his policy on his State of the Union speech on January 7, 1953. Arguing that<br /></span><blockquote><span style="font-size: medium;">The communist rulers are moving, with implacable will, to create greater strength in their vast empire, and to create weakness and division in the free world, preparing for the time their false creed teaches them must come: the time when the whole world outside their sway will be so torn by strife and contradictions that it will be ripe for the communist plucking.</span></blockquote><span style="font-size: medium;">To overcome this threat he suggested that:<br /></span><blockquote><span style="font-size: medium;">Like the pioneers who settled this great continent of ours, we have had to carry a musket while we went about our peaceful business. We realized that if we and our allies did not have military strength to meet the growing Soviet military threat, we would never have the opportunity to carry forward our efforts to build a peaceful world of law and order--the only environment in which our free institutions could survive and flourish.</span></blockquote><span style="font-size: medium;">The first major step in the cold war to develope unity, strength and resolute will of the free nations according to him<br /></span><blockquote><span style="font-size: medium;">was the determined and successful effort made through the United Nations to safeguard the integrity and independence of Iran in 1945 and 1946.</span></blockquote></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimnjfrMCmUqLhkbB5w2Q4mXmqgyKBBY1_aDkYwNNhyfvt15F-F_LlZQjpE58_Ekk_tEE5Q3Y_LMsNT8ZdrpFTpW8Xb0sxjX78zF7WP8eNPcpYj6pq1ZzIc4BYYl_hX3iNUrJ3AR8G9hTbI/s1600/a1.jpg" style="color: #992211; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="709" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimnjfrMCmUqLhkbB5w2Q4mXmqgyKBBY1_aDkYwNNhyfvt15F-F_LlZQjpE58_Ekk_tEE5Q3Y_LMsNT8ZdrpFTpW8Xb0sxjX78zF7WP8eNPcpYj6pq1ZzIc4BYYl_hX3iNUrJ3AR8G9hTbI/w610-h709/a1.jpg" style="border: none; position: relative;" width="610" /></span></a></div></td></tr><tr><td><span style="font-size: medium;">Cy Hungerford, "An Uncomfortable Situation." December 3, 1953.<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">This editorial cartoon comments on the political problems Senator Joseph McCarthy presented to President Dwight D. Eisenhower. Senator Joseph R. McCarthy was a little-known junior senator from Wisconsin until February 1950 when he claimed to possess a list of 205 card-carrying Communists employed in the U.S. Department of State. From that moment Senator McCarthy became a tireless crusader against Communism in the early 1950s, a period that has been commonly referred to as the "Red Scare." As chairman of the Senate Permanent Investigation Subcommittee, Senator McCarthy conducted hearings on communist subversion in America and investigated alleged communist infiltration of the Armed Forces. His subsequent exile from politics coincided with a conversion of his name into a modern English noun "McCarthyism," or adjective, "McCarthy tactics," when describing similar witch hunts in recent American history. [The American Heritage Dictionary gives the definition of McCarthyism as: 1. The political practice of publicizing accusations of disloyalty or subversion with insufficient regard to evidence; and 2. The use of methods of investigation and accusation regarded as unfair, in order to suppress opposition.] Senator McCarthy was censured by the U.S. Senate on December 2, 1954 and died May 2, 1957.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><div class="separator" style="clear: both;"></div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtnP_Sx8d-0G3th0VF5H21uW6yjNXPUwKylTMrinGJ2VDk_VS_CR90xLnfwGttXzFiUDohiKbjT4uJBPP7coaluaaoxJuRc6LMy85nabXbz8JjmoB-30TNPv3TXRhfzJSN_2Sk6F1QqZII/s1600/a1.jpg" style="color: #992211; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="557" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtnP_Sx8d-0G3th0VF5H21uW6yjNXPUwKylTMrinGJ2VDk_VS_CR90xLnfwGttXzFiUDohiKbjT4uJBPP7coaluaaoxJuRc6LMy85nabXbz8JjmoB-30TNPv3TXRhfzJSN_2Sk6F1QqZII/w527-h557/a1.jpg" style="border: none; position: relative;" width="527" /></span></a></div></td></tr><tr><td><span style="font-size: medium;">David Low, "Ssh! Welcome!" 23rd Oct. 1957<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">Macmillan wanted the repeal of the 1946 McMahon Act which blocked the sharing of nuclear infor- mation between the United States and the United Kingdom. At the Bermuda conference of March 1957, Macmillan succeeded at least in rebuilding a public front of Anglo-American solidarity. During August 1957, fears plagued Washington that Syria might be about to become a fully fledged Soviet satellite state. In a bid to thwart this development, Secretary of State John Foster Dulles agreed to pool efforts with the British in a joint Syria working group established during September 1957. The purpose of the group was to examine the options available to Britain and America to block the advance of Soviet influence in Syria through covert action.<br /><br />It was with the example of the cooperation forged over Syria in mind that Macmillan responded to the momentous news of the launch of the Sputnik satellite on 4 October 1957.24 The launch prompted the dispatch of a crucial personal message from Macmillan to Eisenhower on 10 October. In it, Macmil- lan linked the Syrian experiment with the Sputnik challenge. Arguing that Sputnik had served to bring home the need to pool efforts to meet the formi- dable Russian threat, in a s diary entry, Macmillan wrote:<br /></span><blockquote><span style="font-size: medium;">The Russian success in launching the satellite has been something equivalent to Pearl Harbour [sic]. The American cocksureness is shaken. . . . President is under severe attack for first time . . . Foster is under still more severe attack. His policies are said to have failed everywhere. . . . The atmosphere is now such that almost anything might be decided, however revolutionary.</span></blockquote></div></td></tr></tbody></table><span style="font-size: medium;"><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /></span><div dir="ltr"><div class="separator" style="clear: both; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCCS15EZ6_bG4YfGrqHRJetaIz-uc06i-ka341pLPEpEvL_cXjBKcNMmJ0YkQMt-XRdff-ka89K3Y4588xc4kdOR9ZTcPvla64gnu1d09RKSh9g8RMZpv75lCtQd3AOcXOxU8KIHWOd68/s1600/a1.JPG" style="color: #992211; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCCS15EZ6_bG4YfGrqHRJetaIz-uc06i-ka341pLPEpEvL_cXjBKcNMmJ0YkQMt-XRdff-ka89K3Y4588xc4kdOR9ZTcPvla64gnu1d09RKSh9g8RMZpv75lCtQd3AOcXOxU8KIHWOd68/s640/a1.JPG" style="border: none; position: relative;" width="400" /></span></a></div><span style="font-size: medium;"><br /><br /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333;">Leslie Illingworth , "There's Nothing In It.", Punch, October 1951</span><br /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333;">After nationalizing the Iranian oil industry, the ring master, Prime minister Mohammed Mosaddeq of Iran, passes the circus hoop to the Egyptian Prime Minister Mustafa el-Nahhas, encouraging him to nationalize Suez Canal, and forcing the British lion to jump through the hoop.</span><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieN7cs1CB5W_zS0FuG1-D1RulWisKhiNTawP-u9bN2l35ZeRAUuqEp7R_QcdOocu5QUpUda3pVk9dhrPcFIABjSmYUdsQWmxUfJSlqa7cOh2MMOT6k7LoL_FAySxI8EADR2CdkIoWyKzWQ/s1600/a1.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieN7cs1CB5W_zS0FuG1-D1RulWisKhiNTawP-u9bN2l35ZeRAUuqEp7R_QcdOocu5QUpUda3pVk9dhrPcFIABjSmYUdsQWmxUfJSlqa7cOh2MMOT6k7LoL_FAySxI8EADR2CdkIoWyKzWQ/s640/a1.JPG" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr align="left"><td class="tr-caption"><span style="font-size: medium;">Michael Cummings, "The problem is really one of not being taken for a ride..." Daily Express, 11 Jul 1951,<br /><br />Muhammad Mossadegh, the Iranian prime minister overthrown by US and British agents in 1953, was a man who declined a salary, returned gifts, and collected tax arrears from his beloved mother. Frugality was allied to punctiliousness in this droopy-nosed aristocrat who enraged the West by insisting that Iran, not Britain, should own, sell, and profit from Iranian oil. A member of the princely Qajar family, he retained a noblesse-oblige gentility even as he became the symbol of postwar Iranian assertiveness.<br /><br />Two years after Mossadegh’s nationalization of the Anglo-Iranian Oil Company (AIOC) in 1951, the CIA unloosed Kermit Roosevelt and his fellow American agents on Tehran to oust him. The operation, code-named TPAJAX, carried forward to a bloody denouement what Britain’s MI6 had first plotted. The objectives of a rising America and a declining Britain diverged; they overlapped just sufficiently for both to do their worst. Iran was fragile, and Mossadegh’s constitutionalism was a nuanced idea in an environment where bazaar toughs with nicknames like Brainless Shaban whipped up crowds.<br /><br />Cummings used the following pieces of the news to represent a British perspective on Mossadegh<br /><br /></span><div><span style="font-size: medium;">News: 9 Jul: Speeches by Ministers and Press comment in Teheran suggested that the Persian Government intended to ignore the International Court of Justice, in the Hague, recommendations on interim measures for dealing with the oil dispute.<br /><br />News: 9 Jul: Mr Morrison, the Foreign Secretary, said that the Persians did not have the skill and experience to produce, refine and market the oil. He said the Anglo-Iranian Oil Company had provided houses, education, hospitals and clubs for its Persian employees.<br /><br />News: 11 Jul: Mr Mason, Mr Drake's deputy, announced that Mr Cox Fields, the general manager of the Anglo-Iranian Oil Company, was visiting Goshen to arrange for the withdrawal of five British staff to Abadan. The company had offered the Persian temporary board the field with 333 Persian workers, to operate it themselves, but they had not responded. Oi</span></div></td></tr></tbody></table><span style="font-size: medium;"><br /><br /><br /></span><div dir="ltr"><span style="font-size: medium;"><p></p><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_TIk0g6Xk76pNM2Tjg1xqhOuLlQyvlaBYw7UOc-hg3uPD2RiyhFcq1Fcgsv27NipK7-Y8Byw0pQWY-a6wYpECGyK-L33ZYSquMKxd74Wg7Ml6ndi91d8jwBGRPtPNC-H8efNTPr4bBb8/s1000/imgres.Jpg" style="margin-left: 1em; margin-right: 1em;"><br class="Apple-interchange-newline" /><img border="0" data-original-height="1000" data-original-width="726" height="924" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_TIk0g6Xk76pNM2Tjg1xqhOuLlQyvlaBYw7UOc-hg3uPD2RiyhFcq1Fcgsv27NipK7-Y8Byw0pQWY-a6wYpECGyK-L33ZYSquMKxd74Wg7Ml6ndi91d8jwBGRPtPNC-H8efNTPr4bBb8/w670-h924/imgres.Jpg" width="670" /></a></div><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333;">Leslie Illingworth, The Merchant of Persia. If you deny me, fie upon your law! (Shylock) So vital is the cause at stake to the nation that Persia cannot afford the slightest risk of an unfavourable decision. (Moussadek), Punch, June 1952.</span><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><br style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;" /><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333;">Most of Iran's oil reserves were in the Persian Gulf area and had been developed by the British Anglo-Iranian Oil company and exported to Britain. For a number of reasons — a growing consciousness of how little Iran was getting from the Anglo-Iranian Oil company (AIOC) for its oil; refusal of AIOC to offer of a ‘50–50% profit sharing deal' to Iran as Aramco had to Saudi Arabia; anger over Iran's defeat and occupation by the Allied powers — nationalization of oil was an important and popular issue with "a broad cross-section of the Iranian people."[On 28 April 1951, the Majlis named Mosaddeq as new prime minister by a vote of 79–12. Aware of Mosaddeq's rising popularity and political power, the young Shah appointed Mosaddeq to the Premiership. On 1 May, Mosaddeq nationalized the AIOC, cancelling its oil concession due to expire in 1993 and expropriating its assets. The next month a committee of five majlis deputies was sent to Khuzistan to enforce the nationalization. Oil production came to a virtual standstill as British technicians left the country, and Britain imposed a worldwide embargo on the purchase of Iranian oil. In September 1951, Britain froze Iran's sterling assets and banned export of goods to Iran. It challenged the legality of the oil nationalization and took its case against Iran to the International Court of Justice at The Hague. The court found in Iran's favor,but the dispute between Iran and the AIOC remained unsettled. Under United States pressure, the AIOC improved its offer to Iran.</span><p></p><p><br /> </p><div class="separator" style="clear: both; text-align: center;"><br style="font-size: medium;" /></div><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFH5CnJv0f2keKBuNszQ9dwUVZi5_2t4uNTcQGQANXIh7Q2obMnLZaFbfj-2O_50WEJz-osaPngFZXK4fvSS9RaTpBVCsbpwuLBu7i1oTrq5xrDj401RGEziJ6qR3jHY8IVtbLy0dCESWf/s1600/nikita.gif" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFH5CnJv0f2keKBuNszQ9dwUVZi5_2t4uNTcQGQANXIh7Q2obMnLZaFbfj-2O_50WEJz-osaPngFZXK4fvSS9RaTpBVCsbpwuLBu7i1oTrq5xrDj401RGEziJ6qR3jHY8IVtbLy0dCESWf/s640/nikita.gif" style="border: none; position: relative;" width="427" /></span></a></td></tr><tr><td><span style="font-size: medium;">Herbert Block, The Cuban Missile Crisis, 1963. When U-2 spy planes sent by the CIA revealed that Soviet missile sites were under construction in Cuba, it led to a serious threat of nuclear war and tense negotiations between Kennedy and Soviet Premier Nikita Khrushchev.</span></td></tr></tbody></table><span style="font-size: medium;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFikEg5r2xnqb44xi65EHcy0k1Pn7Fu5K9krda9Ae32ocVW1H7yiH4tPXCv6M4ExzXrBbMS1tGSX_bQ8RvMuoEIfKxjtxBn1tY3b2PUfYVNJFjep47IWvPhDEO0A0ChQVnuV9KUSA8Dg_O/s1600/a1.jpg" style="color: #992211; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFikEg5r2xnqb44xi65EHcy0k1Pn7Fu5K9krda9Ae32ocVW1H7yiH4tPXCv6M4ExzXrBbMS1tGSX_bQ8RvMuoEIfKxjtxBn1tY3b2PUfYVNJFjep47IWvPhDEO0A0ChQVnuV9KUSA8Dg_O/w770-h516/a1.jpg" style="border: none; position: relative;" width="770" /></span></a></td></tr><tr><td style="text-align: left;"><span style="font-size: medium;">It was the Cuban Missile Crisis in the autumn of 1962, that formed the backdrop to Khrushchev's fall from power. President Kennedy (embarassed by the Bay of Pigs and the Berlin Wall) was determined to stand firmly against the deployment (and arming) of Soviet missile bases in Cuba, a scant 90 miles from Florida. Khrushchev seemed equally determined to do so. In the tense, indeed terrifying, standoff of October, 1962, the Soviet fleet sailed towards Cuba, but, at the last minute, turned around. Score a point for Kennedy! It was as close to open, overt warfare that the United States and the Soviet Union came. This "balance of terror" made possible some lightening of tensions. It did, as well, have the effect of humiliating Khrushchev. In 1964, he was ousted from power.</span></td></tr></tbody></table><div class="separator" style="clear: both; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; text-align: center;"></div><span style="font-size: medium;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgozmcynLpg7YfLmiEAQpNPNZ3QOi5iCfJfs6cS-b0QM2Fa-0gHy9FV3lSrLk88_S-Vh4QOG1lVJpcMy09Nbt7gTXv_g2rop8DJO4WHSx-c-oIAWLg5JCFFzItJlOz59tqH93Zlhvp1_a2J/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgozmcynLpg7YfLmiEAQpNPNZ3QOi5iCfJfs6cS-b0QM2Fa-0gHy9FV3lSrLk88_S-Vh4QOG1lVJpcMy09Nbt7gTXv_g2rop8DJO4WHSx-c-oIAWLg5JCFFzItJlOz59tqH93Zlhvp1_a2J/s640/a.jpg" style="border: none; position: relative;" width="592" /></span></a></td></tr><tr><td class="tr-caption"><div style="text-align: left;"><span style="font-size: medium;">Conrad, Denver Post (1963),</span></div><div style="text-align: left;"><span style="font-size: medium;">This cartoon pertains to the Cuban Missile Crisis, in which U-2 spy planes sent by the CIA revealed that Soviet missile sites were under construction in Cuba, leading to tense negotiations between Kennedy and Soviet Premier Nikita Khrushchev.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxdg7S-q_miG0TfVtt3VITovVQRqHzRTfzcEUBYWK3bFnS8uzVIJG2-d4XL5CzT1ah55EdAajkUWo_H8pWqPAr8O3yQRFGKueEG0zHaq6WjCIq6pdTXH_sMG4781k7T8nY1KdfN0bOYClb/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxdg7S-q_miG0TfVtt3VITovVQRqHzRTfzcEUBYWK3bFnS8uzVIJG2-d4XL5CzT1ah55EdAajkUWo_H8pWqPAr8O3yQRFGKueEG0zHaq6WjCIq6pdTXH_sMG4781k7T8nY1KdfN0bOYClb/s640/a.jpg" style="border: none; position: relative;" width="544" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Next to the symbol of the Cold War – the Berlin Wall – Khrushchev says to Kennedy: “I just closed off what belongs to me. I’m willing to negotiate about the rest.” (Pulitzer Prize winner Edmund Valtman’s political cartoon collection)</span></td></tr></tbody></table><span style="font-size: medium;"><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333;">^</span><br /><br /></span><div style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; text-align: center;"><span><span><div class="separator" style="clear: both; font-size: large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg3uOB7y_SkptdaCdkjXdFg7KCRKUMi20D2dHsmE9mYWCpGn5DW3GZBLUyydmZyMD-wpzkRNFBbryFyEVOQpG8s_0LhvOxLJL2ujCAUwA6LIDSAs7WLVYvhNsaAF3u_teOhSFNiHJ8Xu7MqOLwA3GO6M00Z1MzXTmjtwp4-lwbchArSnsOZHkogUswikx0" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1150" data-original-width="725" height="675" src="https://blogger.googleusercontent.com/img/a/AVvXsEg3uOB7y_SkptdaCdkjXdFg7KCRKUMi20D2dHsmE9mYWCpGn5DW3GZBLUyydmZyMD-wpzkRNFBbryFyEVOQpG8s_0LhvOxLJL2ujCAUwA6LIDSAs7WLVYvhNsaAF3u_teOhSFNiHJ8Xu7MqOLwA3GO6M00Z1MzXTmjtwp4-lwbchArSnsOZHkogUswikx0=w425-h675" width="425" /></a></div><div class="separator" style="clear: both; font-size: large; text-align: center;"><br /></div><span style="font-size: medium;"><span face="Arial, Helvetica, sans-serif" style="text-align: start;">In this cartoon, Herblock alludes to the Geneva disarmament negotiations, which stalled in March 1962. As the United States resumed atmospheric testing of nuclear weapons in response to the Soviet’s nuclear testing in the fall of 1961, the Soviet Union declared that they would test yet more weapons. Here, Herblock likens nuclear testing to alcoholism, with a drunken Soviet premier, Nikita Khrushchev, offering another round to President John F. Kennedy, who also appears to have over imbibed.</span><br /></span><br /></span></span></div><div style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; text-align: center;"><span><span style="font-size: medium;"><br /></span></span></div><div style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; text-align: center;"><span style="font-size: medium;"><span> </span><span> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3-jbrfkKI9a4IOOIYGTffm8UK71cUuSWHEAZ7E0dTBghDU7xoDjd-_8ISlj8TOD-KZ_-JlO4pe3VzI6Ys843kqvQ5syYMAqwv_RtNNhiUk00Rr7SKEXt-FrHXWYimmUpP8eIvbEKP24E/s800/imgres.Jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="706" height="611" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3-jbrfkKI9a4IOOIYGTffm8UK71cUuSWHEAZ7E0dTBghDU7xoDjd-_8ISlj8TOD-KZ_-JlO4pe3VzI6Ys843kqvQ5syYMAqwv_RtNNhiUk00Rr7SKEXt-FrHXWYimmUpP8eIvbEKP24E/w538-h611/imgres.Jpg" width="538" /></a></span></div><p style="box-sizing: inherit; line-height: 1.5; margin: 1.25rem 0px;"><span style="color: #414042; font-family: FreightText W05 Book, Times, Times New Roman, Georgia, serif; font-size: medium;">The US government saw South Vietnam's autocratic ruler, Ngo Dinh Diem, as a bulwark against Communism. But Diem was far from an ideal partner: Suspicious of anyone but his immediate family, he often frustrated American policy makers. But his success dealing with internal threats gave many hope that he would prove to be a reliable ally, so the United States invested time and money in supporting his regime.</span></p><p style="box-sizing: inherit; line-height: 1.5; margin: 1.25rem 0px;"><span style="color: #414042; font-family: FreightText W05 Book, Times, Times New Roman, Georgia, serif; font-size: medium;">By 1963, however, the Kennedy administration faced a dilemma. After government forces cracked down on Buddhist monks that spring, Kennedy pressed Diem for reforms. Instead, Diem imposed martial law, and special forces directed by his brother, Ngo Dinh Nhu, launched raids against Buddhist pagodas. When rumors of a possible coup began to spread in August, many in the administration wondered whether the United States should acquiesce, or indeed support the plotters.</span></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8dFEXtS1DFnXEs7G2SKFXXYHzBj-co5BVhZlyYx65-6B4TgPXVyv4wdqnO2KPAF95qqLUNmR4c5Cfc7DpZwOsaNuEpQhXrUHY44bCDtws6N1IL3HmO788NU35dFpZJjP_NFBDYvcbTHvl/s1600/a1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8dFEXtS1DFnXEs7G2SKFXXYHzBj-co5BVhZlyYx65-6B4TgPXVyv4wdqnO2KPAF95qqLUNmR4c5Cfc7DpZwOsaNuEpQhXrUHY44bCDtws6N1IL3HmO788NU35dFpZJjP_NFBDYvcbTHvl/s400/a1.jpg" style="border: none; position: relative;" width="400" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Paul Labowsky, Berlin, 1963<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;"><br />Castro used the two communist rivals in his struggle against the US policies. Mao Zedong resented Russia's willingness to compromise with capitalism in "peaceful coexistence, and had aggressive plans for advancing Marxist-Leninist goals in Asia, Africa, and Latin America, and conflict with Soviet policies in those places was inevitable. Khrushchev badly miscalculated Cuban situation, which he feared would be invaded by Americans. He sought to parry the American advantage by installing short-range Soviet missiles with nuclear warheads in Cuba, supposedly under his control (not Castro's). On Tuesday, the 23rd, 1962, U.S. ships took up positions along a line 800 miles from Cuba. The naval blockade was traditionally an act of war, but the U.S. public saw it as a step in defending the country. Khrushchev and his colleagues were opposed to a "beautiful death" and a glorious showdown with the U.S. that Castro and Che Guevara had been advocating. He told Castro that "We aren't struggling against imperialism in order to die." Castro remained furious with Khrushchev, accusing him of having no cojones. Mao joined in the criticism. He denounced Soviet leadership for giving in to the U.S. The China-Soviet split was still on, and, in 1963, Mao would find fault with the Russians for signing the Nuclear Test Ban Treaty with the United States and Britain. Khrushchev responded by declaring that Mao's policies would lead to nuclear war.</span></div></td></tr></tbody></table><div style="text-align: center;"><span style="font-size: medium;"><br /></span></div><figure class="align-right" role="group" style="box-sizing: inherit; color: black; float: right; font-family: "FranklinGothicITC W05 Book", "Helvetica Neue", Helvetica, Arial, sans-serif; margin: 0.5rem 0px 0.9375rem 0.9375rem; padding: 0px; width: 300px;"><span style="font-size: medium;"><a href="http://nsarchive2.gwu.edu/NSAEBB/NSAEBB444/docs/diem01.pdf" rel="noopener" style="background-color: transparent; box-sizing: inherit; color: #e65400; cursor: pointer; text-decoration-line: none;" target="_blank"></a></span></figure><span style="font-size: medium;"><br /></span><div style="text-align: center;"><span style="font-size: medium;"><br /></span></div><span style="font-size: medium;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigsri92zdY52dgNc79vfJe0GERlNwaT_AGTBj_N5gwzWrJsoTeqCh-G2iIMIDAvJTIkPjenXxdZ-bs8gyLbHNfmkHgKKSh5tWZIA7OWWCfO5AeDk8dOVww9OTdmG4t9K8EPyBvuzy_8AGp/s1600/a1.jpeg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigsri92zdY52dgNc79vfJe0GERlNwaT_AGTBj_N5gwzWrJsoTeqCh-G2iIMIDAvJTIkPjenXxdZ-bs8gyLbHNfmkHgKKSh5tWZIA7OWWCfO5AeDk8dOVww9OTdmG4t9K8EPyBvuzy_8AGp/s400/a1.jpeg" style="border: none; position: relative;" width="287" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Patrice Lumumba, by Bernard Safran (1924 – 1995)<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">Patrice Lumumba, was the first legally elected prime minister of the Democratic Republic of the Congo (DRC). He was assassinated, on 17 January, 1961. This heinous crime was a culmination of two inter-related assassination plots by American and Belgian governments, which used Congolese accomplices and a Belgian execution squad to carry out the deed.</span></div><div style="text-align: left;"></div><div style="text-align: left;"><span style="font-size: medium;">Ludo De Witte, the Belgian author of the best book on this crime, qualifies it as "the most important assassination of the 20th century". The assassination's historical importance lies in a multitude of factors, the most pertinent being the global context in which it took place, its impact on Congolese politics since then and Lumumba's overall legacy as a nationalist leader.</span></div></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGe5M_nFvMNPzpHwVLuqMfyIDabVy64G6_FsMOYevzL3ohuB2AUpelxVGNegOqnDtHph_nnMTYn82_H5Kn0lzJnHuakftfTq1Dtn-97UeYnGs8GXcdyyDc9emupawyGsdrwYyH6ezei_A1/s1600/a1.jpeg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGe5M_nFvMNPzpHwVLuqMfyIDabVy64G6_FsMOYevzL3ohuB2AUpelxVGNegOqnDtHph_nnMTYn82_H5Kn0lzJnHuakftfTq1Dtn-97UeYnGs8GXcdyyDc9emupawyGsdrwYyH6ezei_A1/s640/a1.jpeg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Michael Cummings, Sunday Express, 21 Aug 1960</span></td></tr></tbody></table><span style="font-size: medium;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgUrFVWtnErWBMl72RBGR5xDkzd4XANyMxAXE-_wUmF8xP4D7P1Fi6grCCAl1fNsYeuURp-wM2beoWOwyN-MsHe-cmMNTLYix3xxb8pQluAefvYMwd09BwwRLVjMloiB9VSjanIhg1DaZQ/s1600/a2.jpg+" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgUrFVWtnErWBMl72RBGR5xDkzd4XANyMxAXE-_wUmF8xP4D7P1Fi6grCCAl1fNsYeuURp-wM2beoWOwyN-MsHe-cmMNTLYix3xxb8pQluAefvYMwd09BwwRLVjMloiB9VSjanIhg1DaZQ/s640/a2.jpg+" style="border: none; position: relative;" width="452" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">February 2002. The Belgian parliamentary commission investigating the death of Patrice Lumumba finds that the Belgian government carried a “moral responsibility”. Louis Michel apologizes to the Congolese people. No further legal action was taken.</span></td></tr></tbody></table><span style="font-size: medium;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg24tl7AsoHadcFuiY_4cF783ksKnRyskCnJwn5eAJt1EOUUj7UzoGhnMR-c954PFiTyAVj1-vrKOlG9cg9Usgh3VmxQ97ay5E70d7H6s7RCXwRkFrMdo8R9Pey514EUYM0GExsbxlzkfw/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg24tl7AsoHadcFuiY_4cF783ksKnRyskCnJwn5eAJt1EOUUj7UzoGhnMR-c954PFiTyAVj1-vrKOlG9cg9Usgh3VmxQ97ay5E70d7H6s7RCXwRkFrMdo8R9Pey514EUYM0GExsbxlzkfw/s640/a.jpg" style="border: none; position: relative;" width="466" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Herblock, Washington Post, 1967.<br /></span><div style="text-align: left;"><span style="font-size: medium;"><br />The Vietnam War was extremely long as well as highly unpopular. America became involved in the War in 1955 and the first troops arrived in Vietnam in 1965. The war continued on into the 70’s, ending in 1973. Many groups of people on the home front opposed the Vietnam War and disagreed with American domestic and foreign policies.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3H2qOolYLF13my3220Wi9tUonkgdcs5lrkYE3LTOUpHO1PQT-KyLs027BVMnTUl7bSKZ5wdXEZHQdaGGUsT0CMm9gD1wDQlrcEXh3hkAK8JRog7QR-NXi7rHrLaV7Scveopxkhs1UYXnO/s1600/NixonWatergate.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="628" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3H2qOolYLF13my3220Wi9tUonkgdcs5lrkYE3LTOUpHO1PQT-KyLs027BVMnTUl7bSKZ5wdXEZHQdaGGUsT0CMm9gD1wDQlrcEXh3hkAK8JRog7QR-NXi7rHrLaV7Scveopxkhs1UYXnO/s640/NixonWatergate.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td><span style="font-size: medium;">Conrad, Nixon drills a hole in the wall of the Democratic headquarters and claims that he’s from the phone company. <i>Los Angeles Times</i>, 1972. “Watergate was a godsend to political cartoonists,” said <i>Philadelphia Inquirer</i> cartoonist Tony Auth.</span></td></tr></tbody></table><span style="font-size: medium;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_gzDvbp1X4cVEG7XOLRiQ511M56ay9O807vTfyeQpUCX8ry16yV123FQQ2nNzoOxT8-MQrc64c_R05h_xGBPCj4fIF3oXHGEp-OtRN2nrIi_O_jRZ_c9Ii1R1f9_TD6r_FNgF-tYo8Ko/s1600/a2.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_gzDvbp1X4cVEG7XOLRiQ511M56ay9O807vTfyeQpUCX8ry16yV123FQQ2nNzoOxT8-MQrc64c_R05h_xGBPCj4fIF3oXHGEp-OtRN2nrIi_O_jRZ_c9Ii1R1f9_TD6r_FNgF-tYo8Ko/s640/a2.JPG" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Bill Garner, Détente, 1976<br /></span><div style="text-align: left;"><span style="font-size: medium;">Henry Kissinger is stuck in in detente, while Leonid Brezhnev and Mao Tse-tung (Mao Zedong) are watching.<br /><br />Joseph Stalin had not backed Mao against the nationalists during World War II, and his insistence that China pay cash for weapons during the Korean War was a source of grievance. Over time, the Soviets decided that Mao was unreliable and that China was a potential rival. When they withdrew their support of China's nuclear weapons program, the Chinese proceeded on their own, exploding their first atomic bomb in 1964 and a hydrogen bomb in 1967. Nixon and Kissinger sought to improve relations between the United States and its two communist opponents. While Americans viewed all communist nations as a united enemy, the relationship between the Soviet Union and China showed signs of strain by the early 1970s. Kissinger decided to use this widening rift to his advantage. If the United States improved its relationship with China, the Soviets would have no choice but to cooperate with the U.S., or risk become isolated.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQF41xXnYwI_1Jw4TsYPirTen-H3ueDE2GnD13JA_8soHxZJYqQ3niqcTbVGoQ8v6o_HP1KkKDQlNb_XSmUX-TKgU2m8IrfzEcuDZHxKmXKK8YFGa3WeCLpxOXnZRdNaz2uG_vAN_kIag_/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQF41xXnYwI_1Jw4TsYPirTen-H3ueDE2GnD13JA_8soHxZJYqQ3niqcTbVGoQ8v6o_HP1KkKDQlNb_XSmUX-TKgU2m8IrfzEcuDZHxKmXKK8YFGa3WeCLpxOXnZRdNaz2uG_vAN_kIag_/s640/a.jpg" style="border: none; position: relative;" width="440" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">She might Invaded Russia, The Brezhnev Doctrine of Soviet Foreign Policy<br /></span><div style="text-align: left;"><span style="font-size: medium;">…Moscow’s goals in Czechoslovakia led most observers on both sides of the iron curtain to regard the intervention as a decisive Soviet victory. In the arena of east-West confrontation, the negative repercussions of the operation were short-lived. Relations with the west experienced some setbacks, particularly for the recently concluded Nuclear Non-proliferation treaty. The Strategic Arms Limitation Talks (SALT) was also delayed; President Johnson refused to travel to Leningrad in September 1968 and his successor, President Nixon, hesitated to reestablish contacts in 1969. Ultimately, however, the need to involve Moscow in negotiations with North Vietnam eclipsed American indignation, and Washington soon proved willing to mend fences in the interest of détente […] The invasion was most significantly experienced within the socialist community. It created instant tensions with the East European nations that had not taken part in the operation. As for the nations remaining in the Soviet-led alliance, the invasion confirmed that autonomous political reforms would not longer be tolerated. In the broader international socialist movement, the invasion seriously damaged Moscow ability to mount a united front against the Chinese… [Matthew J, OuitmetThe Rise and Fall of the Brezhnev Doctrine in Soviet Foreign Policy, ]</span></div></td></tr></tbody></table><span style="font-size: medium;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibt8fbcYNSRzFjyXMydWBqB90BNgqv8zfqFWD8Nowoi83UeXcYV06QDO0wr5pQwX-0TeVPp217NSTXE5bnXftIHFQz9DMxh5wmXcjhse2Lf3FR6U5obcQUtoy2HBT2k4PtfGWbHQAoyrA/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibt8fbcYNSRzFjyXMydWBqB90BNgqv8zfqFWD8Nowoi83UeXcYV06QDO0wr5pQwX-0TeVPp217NSTXE5bnXftIHFQz9DMxh5wmXcjhse2Lf3FR6U5obcQUtoy2HBT2k4PtfGWbHQAoyrA/w578-h458/a.jpg" style="border: none; position: relative;" width="578" /></span></a></td></tr><tr align="left"><td class="tr-caption"><span style="font-size: medium;">By 1977, the Soviet government, led by Leonid Brezhnev (1906-1982) and Aleksey Kosygin (1904-1980), was made up of old hard-line Communists who had been raised under the tutelage of Stalin. Valtman was prescient in his speculation that a new breed, who had never known the ideological fervor of the Russian Revolution, would lead the Soviet Union in a more modern direction.</span></td></tr></tbody></table><div dir="ltr"><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333; font-size: medium;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhukjbN0uaEbIutsXVLqWuGZoyqjYW3TGGXVZ1x1EFxwqk3FnY3gcFoqrB-R_cjsvI6Q3X4LJ597Dljh_QW0hGj6ZqnL_YIyEbFjIUx99Ilq8MaoKgEvXLQwGITjKfvre0YRJlx7myra6EU/s1600/mag_16.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhukjbN0uaEbIutsXVLqWuGZoyqjYW3TGGXVZ1x1EFxwqk3FnY3gcFoqrB-R_cjsvI6Q3X4LJ597Dljh_QW0hGj6ZqnL_YIyEbFjIUx99Ilq8MaoKgEvXLQwGITjKfvre0YRJlx7myra6EU/s640/mag_16.jpg" style="border: none; position: relative;" width="555" /></span></a></td></tr><tr><td><span style="font-size: medium;">Conrad, President Carter acting as Sisyphus, 1978. The cartoon portrays Carter attempting to push a giant boulder composed of Egyptian President Anwar Sadat and Israeli Prime Minister Menachem Begin up a mountain, referring to Carter’s struggles in brokering a peace treaty between Israel and Egypt.</span></td></tr></tbody></table><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333; font-size: medium;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZnw2hPYB9awh_7clXeeZnmxR1m0QEGbpg_3EZrq0chC7culY3aviLcDGom-60FOpo1Qh6V7R5HbaqvHeWW_0NIh-T9tXxhfXTXKjYs5aDmrR7bVGTwMphmP-w4Pbq5AGjrgseTmJNHPxN/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="664" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZnw2hPYB9awh_7clXeeZnmxR1m0QEGbpg_3EZrq0chC7culY3aviLcDGom-60FOpo1Qh6V7R5HbaqvHeWW_0NIh-T9tXxhfXTXKjYs5aDmrR7bVGTwMphmP-w4Pbq5AGjrgseTmJNHPxN/w579-h664/a.jpg" style="border: none; position: relative;" width="579" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">"Explain slowly--what does he need all those weapons for, and why does he need nuclear reactors?"<br />The Washington Post, March 20, 1975, Herbert L. Block<br /></span><div style="text-align: left;"><span style="font-size: medium;">Secretary of State Henry Kissinger delivering a box of nuclear material to Iranian Shah Mohammad Reza Pahlavi. In 1975, the United States signed a cooperative agreement with then-ally Iran, permitting the U.S. to sell nuclear energy equipment to the middle eastern country.</span></div></td></tr></tbody></table><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333; font-size: medium;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJjzkJcem8m7Awgc2Uwqoxh_eol0kBpjIwcGGabd97baQ130fLGCTluA1jtw9CUjXhwCwHr30F_sfhbr5IK90LITNGsZXChIqyJMs5MvZI73gTS4ugcES7pNS_biL8MHdmjd-00HMu_up9/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJjzkJcem8m7Awgc2Uwqoxh_eol0kBpjIwcGGabd97baQ130fLGCTluA1jtw9CUjXhwCwHr30F_sfhbr5IK90LITNGsZXChIqyJMs5MvZI73gTS4ugcES7pNS_biL8MHdmjd-00HMu_up9/s400/a.jpg" style="border: none; position: relative;" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Shah of Iran, le Nouvel Observateur, 4 novembre 1977, Wiaz<br /></span><div style="text-align: left;"><blockquote><span style="font-size: medium;">In 1971, when the 'junket' to Persepolis was organised, the Shah of Iran was embarking on one of the twentieth century's most blatant exercises in megalomania and tyranny. The sudden surge in Iran's oil revenues seemed to remove all limits to his two central ambitions: to enrich his own family, and to build the most powerful arsenal on earth, outside the United States and Russia. The following year, United States President Nixon and Secretary of State Kissinger visited the Shah, appropriately enough on their way back from peace talks in Russia. There, as representatives not merely of their country's government but also of its armaments industry, they wrote the Shah a blank cheque for any American arms he wanted to buy. In February 1973, the Pentagon revealed that the Shah had contracted to buy two thousand million pounds worth of arms from the United States, a figure which represented about a quarter of the entire national income of Iran. The American arms manufacturer Grunman spared no pains to win the Shah to the delights of their new jet fighter, the Tomcat. In his book, The Arms Bazaar, Anthony Sampson (now a colleague of Dr Owen's in the Social Democratic Party) described the scene near Washington when the Shah was shown the plane by Grunman:<br /></span><blockquote><span style="font-size: medium;">The Tomcat performed amazing acrobatics touching down in front of the Shah and then shooting up again like a rocket. The Grunman men observed the Shah's delight as he illustrated the swoop with his hands.</span></blockquote><span style="font-size: medium;">The contract was signed, naturally not without a little bit of corruption. Houshang Levi, an 'arms lobbyist', got his cut, a standard 28 million dollars. The Shah's zest for more weapons obliged him to help himself more and more liberally to his country's straining coffers. As opposition grew to his policies, he redoubled his already monstrous power. His secret police, SAVAK, modelled itself on the KGB both for efficiency in detecting dissidents and in ruthlessness in dealing with them. Torture of political and religious dissenters was widespread, and well documented. <i>[Paul Foot, (1983) HIM and his Friends, Socialist Register, Vol 20 ]</i></span></blockquote></div></td></tr></tbody></table><span style="font-size: medium;"><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbCPk5dYq-37mNw6l18oBDsSSp3kqEDWbtZsBPRCZ-9B5pdxhyE983lRDTiszJpNcs7CcxwbTdeGc2aZnb6Fsy5__Cv0KadsaEqkvGSMbStbWcYbnZtsgp8B3xDRB8xbHsbtYqy96J3L-XQEv7i4F-uPk3LSCE5Qjl2t5bkvNFBof449cYr4pbECWIKKY/s800/R.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="640" height="568" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbCPk5dYq-37mNw6l18oBDsSSp3kqEDWbtZsBPRCZ-9B5pdxhyE983lRDTiszJpNcs7CcxwbTdeGc2aZnb6Fsy5__Cv0KadsaEqkvGSMbStbWcYbnZtsgp8B3xDRB8xbHsbtYqy96J3L-XQEv7i4F-uPk3LSCE5Qjl2t5bkvNFBof449cYr4pbECWIKKY/w454-h568/R.png" width="454" /></a></div><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333;"><div dir="auto" style="color: #050505; font-family: "Segoe UI Historic", "Segoe UI", Helvetica, Arial, sans-serif; text-align: start; white-space-collapse: preserve;">Iranian Tyrant by David Levine.</div><div dir="auto" style="color: #050505; font-family: "Segoe UI Historic", "Segoe UI", Helvetica, Arial, sans-serif; text-align: start; white-space-collapse: preserve;">ُُThe cartoonist shows the Shah as a Frankenstein's beast who not only is not ashamed to repress and execute supporters of democracy and liberalism with the help of his dreaded "Savak" police, but he also considers this a badge of honor.</div></span></div><br /></span><div dir="ltr" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTFS0qnNn6bRQoNCVHZJfBdWTVPeLBYsU5q9rDK4jjP3Vg8EWjVsP9xImhBM2Gm8axlXH_0bZ1jQEOsjCmtiA59FSxnN6_E812t2UiVT5CavvCnN8xk95WTALeALx1TGe6nEELEm_o4hQ/s1600/a1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="391" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTFS0qnNn6bRQoNCVHZJfBdWTVPeLBYsU5q9rDK4jjP3Vg8EWjVsP9xImhBM2Gm8axlXH_0bZ1jQEOsjCmtiA59FSxnN6_E812t2UiVT5CavvCnN8xk95WTALeALx1TGe6nEELEm_o4hQ/w527-h391/a1.jpg" style="border: none; position: relative;" width="527" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><br />Ray Osrin, ...And No Further Interference Into The Internal Affairs Of Iran, Ohio -- Cleveland, 5th November 1980<br /><br />This editorial cartoon depicting Ayatollah Khomeini with a voting machine with the names Reagan, Anderson and Carter on it under his robe, refers to Ayatollah's interference in the 1980 election, which indeed marked a true sea change in American history. Reagan was FDR in reverse, and made it clear that as president he intended to dismantle the welfare state created under the New Deal. Like his Republican predecessors Warren Harding and Calvin Coolidge in the 1920s, Reagan planned to lower taxes on the rich in order to stimulate America's productive energies.<br /><br />In June 1980 the shah, then in Cairo, died, prompting speculation that the crisis might end. Khomeini, however, had other ideas, demanding the return of the shah's assets, the release of Iranian assets in the United States, and a U.S. pledge not to interfere in Iranian affairs. When that wasn't forthcoming, on September 9 the Iranian government informed Carter through the West German foreign minister, who was in Tehran, that Khomeini was ready to discuss a resolution of the hostage situation. A breakthrough finally occurred on September 22, 1980, when Iraq and Iran went to war; suddenly Khomeini realized his nation could not take on two powerful enemies at once. According to Gary Sick "Suspicions about a deal between the Reagan campaign and Iran over the hostages have circulated since the day of President Reagan's inaugural, when Iran agreed to release the 52 American hostages exactly five minutes after Mr. Reagan took the oath of office. Later, as it became known that arms started to flow to Iran via Israel only a few days after the inauguration, suspicions deepened that a secret arms-for-hostages deal had been concluded."</span></td></tr></tbody></table></div><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333; font-size: medium;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlUZrWACbtNJT1F7x41aXMgnjgyWOUmTsvOVl9OQY990p9HM50lblJ59m7hzTf4qzClkY3RGY6LTF_QmO_niMV6vjjIZ4JcondfkdtV1jBRzRpdCLo9rvlQISTtMISOC28y6iQKzzHoW-3/s1600/USAreagan3.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlUZrWACbtNJT1F7x41aXMgnjgyWOUmTsvOVl9OQY990p9HM50lblJ59m7hzTf4qzClkY3RGY6LTF_QmO_niMV6vjjIZ4JcondfkdtV1jBRzRpdCLo9rvlQISTtMISOC28y6iQKzzHoW-3/s640/USAreagan3.JPG" style="border: none; position: relative;" width="524" /></span></a></td></tr><tr><td><span style="font-size: medium;">Paul Conrad, Los Angeles Times (February, 1987).</span></td></tr></tbody></table><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333; font-size: medium;"><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3jlSYSuzv6_0vJbx_-2yVM9MRUKX62QloYcYTmAJFRhYwSRvq9uCs0-IMqHWEodtg_pKDzKtoYtS0EVE3DWQIyFiNmSKnNKbSOqIPhogt58QnohABTc-ZxReKrF6iyYx6nY1vm6BmXP7I/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3jlSYSuzv6_0vJbx_-2yVM9MRUKX62QloYcYTmAJFRhYwSRvq9uCs0-IMqHWEodtg_pKDzKtoYtS0EVE3DWQIyFiNmSKnNKbSOqIPhogt58QnohABTc-ZxReKrF6iyYx6nY1vm6BmXP7I/s640/a.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr align="left"><td class="tr-caption"><span style="font-size: medium;">The Iran-Contra affair was a constitutional crisis that embroiled the Reagan administration in its last two years (1986-88), raised the prospect of Ronald Reagan’s impeachment, clouded the presidency or George H.W. Bush and contributed to keeping it from extending to a second term. The scandal entailed illegal funding and arming of Nicaragua’s right-wing contras fighting the leftist Sandinista regime as well as illegally trading arms with Iran. Cartoon is inspired by Bernard Gillam and his attacks on James Blaine in 1884.</span></td></tr></tbody></table><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333;"><br /><a href="https://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Eight1" style="color: #992211; font-size: large; text-decoration-line: none;"><br /></a><span style="font-size: large;"><br /></span></span><div class="separator" style="clear: both; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4stvV3jVp1fXyfz1G17BrgL7gyKk68bEsuhwDmoWdT9FfR_rNisXAdiQTgc_XSkI9ORoOHLCIe0tA2_HvpeNVrc3XIbyV2qne5jVaGXQnsFjCRuhZdBV8dO201oODkCYW7h-WWx4D8fOE2HqTCzTTAXYKxGuSMFJ7UN1OEnjPwEegEvXUhyphenhyphenfc3QLY3A0/s1024/WiKDHSbu2jyU347YHJoVdm-1024-80.jpg.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="725" data-original-width="1024" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4stvV3jVp1fXyfz1G17BrgL7gyKk68bEsuhwDmoWdT9FfR_rNisXAdiQTgc_XSkI9ORoOHLCIe0tA2_HvpeNVrc3XIbyV2qne5jVaGXQnsFjCRuhZdBV8dO201oODkCYW7h-WWx4D8fOE2HqTCzTTAXYKxGuSMFJ7UN1OEnjPwEegEvXUhyphenhyphenfc3QLY3A0/w662-h470/WiKDHSbu2jyU347YHJoVdm-1024-80.jpg.webp" width="662" /></a></div><br /><h4 style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin: 0px; position: relative;"><span face="knowledge-regular, Arial, sans-serif" style="color: #404040; font-size: 16px; font-weight: 400;">WASHINGTON, Nov 30, 2023- Henry Kissinger</span><span face="knowledge-regular, Arial, sans-serif" style="color: #404040; font-size: 16px; font-weight: 400;">, the most powerful U.S. diplomat of the Cold War era, who helped Washington open up to China, forge arms control deals with the Soviet Union and end the Vietnam War, but who was reviled by critics over human rights, has died aged 100.</span></h4><h4 style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin: 0px; position: relative;"><br /></h4><h4 style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin: 0px; position: relative;"><br /></h4><h4 style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin: 0px; position: relative;"><br /></h4><h4 style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin: 0px; position: relative;"><a href="https://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Eight1" style="color: #992211; text-decoration-line: none;"><span style="color: #b45f06;"><span style="font-size: x-large; font-weight: normal;">After the Cold War</span></span></a></h4><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333; font-size: medium;"><a href="https://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Eight1" style="color: #992211; text-decoration-line: none;"></a><br /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB8XYwGj8VcD09T2tABgeLfXvoVxNrBLVw0llfCUArCnkcB8hTDir0bJppWsVutUxky4_mnfL8Zf_XRdtxS-YRSKpRDw4__9rXq5GtNamQLPehQ42DHd3FsaQgxvuOPZUB5qyCMUPsqkbI/s1600/PerestroikaCartoon.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="753" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB8XYwGj8VcD09T2tABgeLfXvoVxNrBLVw0llfCUArCnkcB8hTDir0bJppWsVutUxky4_mnfL8Zf_XRdtxS-YRSKpRDw4__9rXq5GtNamQLPehQ42DHd3FsaQgxvuOPZUB5qyCMUPsqkbI/w520-h753/PerestroikaCartoon.jpg" style="border: none; position: relative;" width="520" /></span></a></td></tr><tr><td><span style="font-size: medium;">"What do I do now?" Oleg Lukianov, 1989<br />An interpretation of the different policies of previous Soviet leaders and president Gorbachev.</span></td></tr></tbody></table><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333; font-size: medium;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfye9uVHlK8cWXa1lJR5J8D8xvQOfyiL-xjWcO3GYTX1V-RfbdUKaxCyDSrrY5fex1iwlaCfprtuUExvcLuvlBqzcpeBZP5-ON8GK8pSZjLekExbXkTF9aDkPnNqousxXMVQ9vhJxjhyphenhyphenqv/s1600/Shattered+Hammer+and+Sickle.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="498" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfye9uVHlK8cWXa1lJR5J8D8xvQOfyiL-xjWcO3GYTX1V-RfbdUKaxCyDSrrY5fex1iwlaCfprtuUExvcLuvlBqzcpeBZP5-ON8GK8pSZjLekExbXkTF9aDkPnNqousxXMVQ9vhJxjhyphenhyphenqv/s640/Shattered+Hammer+and+Sickle.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td><span style="font-size: medium;">Mikhail Gorbachev and a shattered hammer and sickle, Edmund Valtman, 1991</span></td></tr></tbody></table><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333; font-size: medium;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDytwlX5w-1M7t5ScMAletmhyphenhyphenNVho-yc3TliyKEcC3nr3oyjQ6B4jkCP-UPNC_hPtvDWrYRbDJAWAbidXM7wcX6vx1BCit7T1L1BHAQmQtmjLhU6EwCrSnmXFoS06vPrCUE4WLzDep90Y/s1600/a2.JPG" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDytwlX5w-1M7t5ScMAletmhyphenhyphenNVho-yc3TliyKEcC3nr3oyjQ6B4jkCP-UPNC_hPtvDWrYRbDJAWAbidXM7wcX6vx1BCit7T1L1BHAQmQtmjLhU6EwCrSnmXFoS06vPrCUE4WLzDep90Y/s640/a2.JPG" style="border: none; position: relative;" width="499" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Edmund Valtman, I Can't Believe My Eyes!, 1991, The Waterbury Republican and The Middletown press, 1991;<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">Between 1985 and 1990 Soviet leader Mikhail S. Gorbachev (1931- ) steered Russia's foreign relations in a new conciliatory direction by working with Presidents Reagan and Bush to sign a series of arms control agreements, withdrawing Soviet troops from Afghanistan, and improving relations with China. He also transferred power from the Communist Party to elected legislatures in Russia's union republics. Such developments, along with the fall of the Berlin Wall and unification of East and West Germany, signaled the end of the Cold War. Gorbachev leads the funeral procession in Valtman's imaginative, skillfully realized drawing which memorializes the demise of communism as its hallowed trinity-Karl Marx (1818-1883), Vladimir Lenin (1870-1924), and Joseph Stalin (1879-1953) look on in consternation.</span></div></td></tr></tbody></table><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333; font-size: medium;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXd5FcfZudiNitNFLudPlwcIAGKczqzF1aCBWr9ASpF7V0NgN2tkx0Q1IOL7gqqyKo_zrqRpkiB1UPL8Tmx2qfnBOzZdkezJYa305xAu2ndL98RZMMmlkRTPDf1S9YhNPgMhJOPmC0o__9/s1600/colmedvepu_ssjemi620.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXd5FcfZudiNitNFLudPlwcIAGKczqzF1aCBWr9ASpF7V0NgN2tkx0Q1IOL7gqqyKo_zrqRpkiB1UPL8Tmx2qfnBOzZdkezJYa305xAu2ndL98RZMMmlkRTPDf1S9YhNPgMhJOPmC0o__9/s400/colmedvepu_ssjemi620.jpg" style="border: none; position: relative;" width="396" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Dmitri Medvedev left the Russian presidency in May 2012. Many political cartoonists, portrayed him as the ultimate ‘mini-me’ to Vladimir Putin, the puppet on a string, the dog ordered to fetch, basically a doormat.</span></td></tr></tbody></table><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333; font-size: medium;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimmvVNlbEYN2wPYJJU3RhE9NC8rWYD6JJ8l2vfZvPZg0mEQnn2PxUkTwBt9h-vpg2rYVH-fu189j5QYgzksPu50oN9wHqbA_sf9un81yWx5pydhtg9CuqRXHcjppDGLYivy2fgamg1aRLX/s1600/a1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="329" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimmvVNlbEYN2wPYJJU3RhE9NC8rWYD6JJ8l2vfZvPZg0mEQnn2PxUkTwBt9h-vpg2rYVH-fu189j5QYgzksPu50oN9wHqbA_sf9un81yWx5pydhtg9CuqRXHcjppDGLYivy2fgamg1aRLX/s640/a1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">President Bush and his White House counsel Alberto Gonzales had done everything they could to unleash military and CIA interrogators from the constraints of the Geneva Convention and common human decency. The result was the sad spectacle that transpired inside the crumbling walls of Abu Ghraib prison in Iraq which is the subject of this cartoon.</span></td></tr></tbody></table><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333; font-size: medium;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1TKtxzoIKrCNI0Jbmu1H0syG848M3e4yK7tF817tFXKyAiz3SwkepSMJ5cmp0C6nutYAstTPoRMFRVTQnB9z_Fj1Wm-xvplq3mEKGA4WYT0hk1Ch4Ck7RA1R060FNp6jb4LOSH_zT7tlO/s1600/a1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1TKtxzoIKrCNI0Jbmu1H0syG848M3e4yK7tF817tFXKyAiz3SwkepSMJ5cmp0C6nutYAstTPoRMFRVTQnB9z_Fj1Wm-xvplq3mEKGA4WYT0hk1Ch4Ck7RA1R060FNp6jb4LOSH_zT7tlO/s640/a1.jpg" style="border: none; position: relative;" /></span></a></td></tr><tr><td class="tr-caption"><div style="text-align: left;"><span style="font-size: medium;">According to Human Rights Watch, World Report 2006;</span></div><blockquote><div style="text-align: left;"><span style="font-size: medium;">Authorized Central Intelligence Agency (CIA) interrogation techniques apparently include a notorious method the administration has renamed “waterboarding” (when practiced by Latin American dictatorships, it was called “the submarine”)—forcefully submerging a suspect’s head in water or otherwise making him believe he is about to drown. The director of the CIA has stated that waterboarding is a “professional interrogation technique.” As noted above, the Bush Administration asserts that U.S. treaty obligations to refrain from cruel, inhuman and degrading (CID) treatment do not apply to the conduct of nonmilitary U.S. personnel interrogating non-U.S. citizens outside of the United States. Led by Vice President Cheney, the Bush administration strongly resisted efforts by Congress to strengthen the legal ban against torture. A measure proposed by Republican Senator John McCain to prohibit torture and other ill-treatment of detainees anywhere by the U.S. military and the CIA passed 90-9 in the Senate but at this writing had not been approved by the full Congress at least in part because of administration objections</span></div></blockquote></td></tr></tbody></table><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333; font-size: medium;"><br /><br /></span><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQbn85KoIQyHlJmB6TpIilmizdSURSJKCQhFArsCF9oxp8UW9Bygdgsf7E4ZzhK-xpvVPVBiumQpKl_4a9cgcEBdVqujYV14mxaaDtclZE87G4aPCeIuaBYLBUicAcqOyrUUXRrsiiqQo5/s1600/a.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQbn85KoIQyHlJmB6TpIilmizdSURSJKCQhFArsCF9oxp8UW9Bygdgsf7E4ZzhK-xpvVPVBiumQpKl_4a9cgcEBdVqujYV14mxaaDtclZE87G4aPCeIuaBYLBUicAcqOyrUUXRrsiiqQo5/s640/a.jpg" style="border: none; position: relative;" /></span></a></td></tr><tr><td class="tr-caption"><div style="text-align: left;"><span style="font-size: medium;">More than 100 professors of law and legal studies sent an open letter to Attorney General Alberto Gonzales in April 2006, criticizing his failure to condemn as illegal a number of abusive interrogation techniques, including waterboarding, exposure of detainees to extreme temperatures, forced standing, binding in stress positions, and severe sleep deprivation. The letter, whose signatories included several former government attorneys, asks Gonzales to issue a clear public statement regarding the humane treatment of detainees overseas, and to clarify that abuses such as waterboarding are subject to prosecution as crimes.</span></div><div style="text-align: left;"><span style="font-size: medium;">The 2006 Defense Authorization Act, passed by Congress in January 2006, contains new provisions clarifying that all individuals acting under the color of U.S. law categorically are prohibited from engaging in or authorizing cruel, inhuman and degrading treatment of detainees in U.S. custody. These provisions were passed by Congress to rectify lack of clarity in regard to detention and interrogation techniques, and to prevent conduct that is prohibited by international law and illegal under domestic criminal law.</span></div><div style="text-align: left;"></div><blockquote><div style="text-align: left;"><span style="font-size: medium;">We are particularly concerned about your continuing failure to issue clear statements about illegal interrogation techniques, and especially your failure to state that “waterboarding”—a technique that induces the effects of being killed by drowning—constitutes torture, and thus is illegal. We urge you to make such a statement now.</span></div></blockquote></td></tr></tbody></table><span face="Arial, Tahoma, Helvetica, FreeSans, sans-serif" style="color: #333333; font-size: medium;"><br /><br /></span><div class="separator" style="clear: both; color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC7iowdHR_gKLDfn13a5x6fwBYNeAsxnd7fgkASBfj-OiOZAAu8jrk3nV3z7IfFFZCoLo18plofdUMktR3vhpG_D8vepOTACWZNZW7dKyu9_1Vpe7b6dIGsodYjum3AtTO1F-dGlQxNJkr/s1600/a1.jpg" style="color: #992211; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="473" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC7iowdHR_gKLDfn13a5x6fwBYNeAsxnd7fgkASBfj-OiOZAAu8jrk3nV3z7IfFFZCoLo18plofdUMktR3vhpG_D8vepOTACWZNZW7dKyu9_1Vpe7b6dIGsodYjum3AtTO1F-dGlQxNJkr/s640/a1.jpg" style="border: none; position: relative;" width="640" /></span></a></div><div dir="ltr" style="color: #333333; font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif;"><span style="font-size: medium;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2LGXGomRM99vqbd13nrOylZ_Pn-SRgzYZ-TVdqo-TmbZk5E4l0olXy_dAUKMvEI-Xc78qf9PasRG2gfy5qy4nQ9fCK2JtCj2W80_4BsFWnVQ7EflBIR49m0j8VO0kG41kXVMJgHZi9SnW/s1600/Screenshot-2.png" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2LGXGomRM99vqbd13nrOylZ_Pn-SRgzYZ-TVdqo-TmbZk5E4l0olXy_dAUKMvEI-Xc78qf9PasRG2gfy5qy4nQ9fCK2JtCj2W80_4BsFWnVQ7EflBIR49m0j8VO0kG41kXVMJgHZi9SnW/s640/Screenshot-2.png" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td><span style="font-size: medium;">Bush's Last Year as President, Mont Wolverton, 2007</span></td></tr></tbody></table><span style="font-size: medium;"><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxAiUn7MFZ-jLR9btSsoazxIUVKsUpqUnDJ6AfZM4385NqBcfncVYpzwdtox-qlLGGc41yE6TrdZEECk2jNw_s4dWFBqEFZ9nIUbyU6D5etmx_p22mZjjNwQn__MmpvpvrNlK8zzSs5AZB/s1600/Screenshot-3.png" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxAiUn7MFZ-jLR9btSsoazxIUVKsUpqUnDJ6AfZM4385NqBcfncVYpzwdtox-qlLGGc41yE6TrdZEECk2jNw_s4dWFBqEFZ9nIUbyU6D5etmx_p22mZjjNwQn__MmpvpvrNlK8zzSs5AZB/s640/Screenshot-3.png" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td><span style="font-size: medium;">Wall Street Bailout, Pat O'Connor, Los Angeles Daily News, 2008</span></td></tr></tbody></table><span style="font-size: medium;"><br /><br /></span><div style="text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKjXc8Fk3H5BTRM3yLxfoayVpkcMR1slAGeVx98l-udJ9a9UXSIcLjB8Tp9rTPyAwI0wXxAKuqwjokbxfCYpz_g3wOfJJagH-ee89P6vOFDnGLrlWYUTK27AhZf7E4X2qxcA1oi96833PK/s1600/ChiracCaricature.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKjXc8Fk3H5BTRM3yLxfoayVpkcMR1slAGeVx98l-udJ9a9UXSIcLjB8Tp9rTPyAwI0wXxAKuqwjokbxfCYpz_g3wOfJJagH-ee89P6vOFDnGLrlWYUTK27AhZf7E4X2qxcA1oi96833PK/w491-h364/ChiracCaricature.jpg" style="border: none; position: relative;" width="491" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Jacques Chirac's offer of friendship to George Bush</span></td></tr></tbody></table><span style="font-size: medium;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu052MDzSmSqLxpgDH8IzUNxuqJ6z3Qm4WQUIISmJYlv-A6vqes99JTIPSNUmKECy1dYkemUGwqIqn0-2C2a5CnztdtovD1Wf_6ZU2_1oFxAllQ4sZ_V3no50TMqz3MBLk0Av0D0V-7ysn/s1600/Screenshot-1.png" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="540" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu052MDzSmSqLxpgDH8IzUNxuqJ6z3Qm4WQUIISmJYlv-A6vqes99JTIPSNUmKECy1dYkemUGwqIqn0-2C2a5CnztdtovD1Wf_6ZU2_1oFxAllQ4sZ_V3no50TMqz3MBLk0Av0D0V-7ysn/s640/Screenshot-1.png" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td><span style="font-size: medium;">President Bush's Term Comes to an End, Adam Zyglis, The Buffalo News, 2008</span></td></tr></tbody></table><span style="font-size: medium;"><br /><br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiOIlSneyPD7ok48NhDYZgnnMDrEvxdnT5xPJxJIpDbV8kK77nTpchf99h-fH9PWz2oAGt-ukLRES-0CdHdxIrfZ4ZL120cQhJAVGfoIxBnWi43Tyrx1H_fKH9-0rAHgUAb3h0GDmsdUmK/s1600/a1.jpg" style="color: #992211; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="673" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiOIlSneyPD7ok48NhDYZgnnMDrEvxdnT5xPJxJIpDbV8kK77nTpchf99h-fH9PWz2oAGt-ukLRES-0CdHdxIrfZ4ZL120cQhJAVGfoIxBnWi43Tyrx1H_fKH9-0rAHgUAb3h0GDmsdUmK/w857-h673/a1.jpg" style="border: none; position: relative;" width="857" /></span></a></div><span style="font-size: medium;"><br />Steve Benson, Arizona Republic<br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkDyD7XCQ8ucxnGcc2JaCBohItvorqkpHW_KLZ1gWOK_8N6GTt9y1Cn-wv3LX2hyphenhyphenxn68SVqrhUeJ0YMpzOoWkYUZ5BcR4YP8GrFVrannJOasf1GbPwk-F7eyOnrE07i4yIrEbrmnIoGQqE/s1600/a1.jpg" style="color: #992211; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="462" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkDyD7XCQ8ucxnGcc2JaCBohItvorqkpHW_KLZ1gWOK_8N6GTt9y1Cn-wv3LX2hyphenhyphenxn68SVqrhUeJ0YMpzOoWkYUZ5BcR4YP8GrFVrannJOasf1GbPwk-F7eyOnrE07i4yIrEbrmnIoGQqE/w596-h462/a1.jpg" style="border: none; position: relative;" width="596" /></span></a></div><span style="font-size: medium;"><br />Steve Sack, Minneapolis Star-Tribune<br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik2qLoF8EUZb_kwjO36BwX8v_X-JhaIPw1uu-ki3kXOMtfmGvSnRKVcsRICVHhz8U63A5oQMHCtQfMNcBJ6iSym68zJmNWWNUgt362-lxyPDmTWUSqFvqosaRPei_daSs7n7M6z0lFn_14/s1600/a1.jpg" style="color: #992211; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="565" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik2qLoF8EUZb_kwjO36BwX8v_X-JhaIPw1uu-ki3kXOMtfmGvSnRKVcsRICVHhz8U63A5oQMHCtQfMNcBJ6iSym68zJmNWWNUgt362-lxyPDmTWUSqFvqosaRPei_daSs7n7M6z0lFn_14/w730-h565/a1.jpg" style="border: none; position: relative;" width="730" /></span></a></div><span style="font-size: medium;"><br />John Sherffius, Boulder Daily Camera<br /></span><blockquote><span style="font-size: medium;">Pete King doesn't look like McCarthy, but he sure sounds like him: Are you now, or have you ever been, a Muslim? The very title of his hearings tells his bias from the beginning: "The Extent of Radicalization in the American Muslim Community (which presumes such radicalization exists) and That Community's Response" (which presumes it's been anything but cooperative). In fact, long before the hearings began, King had already announced his belief that 80 percent to 85 percent of American mosques are controlled by Islamic radicals; and that American Muslims have refused to cooperate with law enforcement officials in combating terrorism.<br /><br />Neither of which is true. In fact, Richard Cohen of The Washington Post writes that a recent Duke University/University of North Carolina study found "a drop in attempted or actual terrorist activity by American Muslims -- 47 perpetrators and suspects in 2009, 20 in 2010." Perhaps more significantly, the report by UNC terrorism expert Charles Kurzman showed that "the largest single source of initial information" about alleged terrorist plots -- 48 out of 120 cases since September 11 -- "involved tips from the Muslim American community." In fact, the only law enforcement official to testify before King's committee was Los Angeles Sheriff Leroy Baca, who praised the cooperation of the Southern California Muslim community. <i>Bill Press, "Joe McCarthy is born again -- as Peter King", Tribune Media Services, March 10, 2011</i></span></blockquote><span style="font-size: medium;"><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2y84TyomBlOBViLYp8W8FN872cmXifPJdJeXYhR3k6Z-O8zbBoAgAmQmqGkgnz_GHMYCA9ijSuN61RDqV_LG5O0-p7KVaH5kNWBU5fPAjgjAxxtitWhktVqWeyaDRkeNo4onRZz0PPpev/s1600/a.jpg" style="color: #992211; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2y84TyomBlOBViLYp8W8FN872cmXifPJdJeXYhR3k6Z-O8zbBoAgAmQmqGkgnz_GHMYCA9ijSuN61RDqV_LG5O0-p7KVaH5kNWBU5fPAjgjAxxtitWhktVqWeyaDRkeNo4onRZz0PPpev/s400/a.jpg" style="border: none; position: relative;" width="340" /></span></a></div><span style="font-size: medium;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwdGes_H0FNycksAxuBk80f2jQaBzpoEzsc6le4CSd-Dy8-CBiTkKatLTzg0QjtGaXh2Eq9n_ob5a-5rlWPgSJOPBzhT6-QNPPAfODMHfBflhi0EQWheL4UW3SF6mON-ROyo5IlSDy9QXD/s1600/Screenshot.png" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwdGes_H0FNycksAxuBk80f2jQaBzpoEzsc6le4CSd-Dy8-CBiTkKatLTzg0QjtGaXh2Eq9n_ob5a-5rlWPgSJOPBzhT6-QNPPAfODMHfBflhi0EQWheL4UW3SF6mON-ROyo5IlSDy9QXD/s640/Screenshot.png" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td><span style="font-size: medium;">President Obama and the problem of Taliban, Nate Beeler, The Washington Examiner, 2011</span></td></tr></tbody></table><span style="font-size: medium;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU_zNEAuJWq1WvC-Yhn2UzEQiHxFsnlNJdZB5Ybqy1K2vWYYMtjcNEuP1OFFYVz8K6vIQ-Ll93yZpC8CTQ2ypJiUmaWBB_fJEjVB_m9T3pMOOiRF8e7vtg7Z72hemm8H6dvvfgvuFVQ2qp/s1600/a1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU_zNEAuJWq1WvC-Yhn2UzEQiHxFsnlNJdZB5Ybqy1K2vWYYMtjcNEuP1OFFYVz8K6vIQ-Ll93yZpC8CTQ2ypJiUmaWBB_fJEjVB_m9T3pMOOiRF8e7vtg7Z72hemm8H6dvvfgvuFVQ2qp/s640/a1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;">On September 2013, Russian President Vladimir Putin wrote an op-ed in New York Times urging President Obama not to strike Syria, arguing that "It is extremely dangerous to encourage people to see themselves as exceptional, whatever the motivation”. "American exceptionalism"-- a combination of simple nationalism and a belief that the United States can and should play a special role in shaping the world, was at the core of Obama's justification for American strike. Putin made a number of points, many of which were also made by American analysts, he stated:<br /></span><blockquote><span style="font-size: medium;">The potential strike by the United States against Syria, despite strong opposition from many countries and major political and religious leaders, including the pope, will result in more innocent victims and escalation, potentially spreading the conflict far beyond Syria’s borders. A strike would increase violence and unleash a new wave of terrorism. It could undermine multilateral efforts to resolve the Iranian nuclear problem and the Israeli-Palestinian conflict and further destabilize the Middle East and North Africa. It could throw the entire system of international law and order out of balance.(...) Syria is not witnessing a battle for democracy, but an armed conflict between government and opposition in a multireligious country. There are few champions of democracy in Syria. But there are more than enough Qaeda fighters and extremists of all stripes battling the government.(...) Under current international law, force is permitted only in self-defense or by the decision of the Security Council. Anything else is unacceptable under the United Nations Charter and would constitute an act of aggression.(...) It is alarming that military intervention in internal conflicts in foreign countries has become commonplace for the United States. Is it in America’s long-term interest? I doubt it. Millions around the world increasingly see America not as a model of democracy but as relying solely on brute force, cobbling coalitions together under the slogan “you’re either with us or against us.</span></blockquote></td></tr></tbody></table><span style="font-size: medium;"><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA9n1URSMQLPqbXW7Ia6gMV14fPFkOSgGPkufgsbn_kXJTPBbQKEGrAazzQqjeML8qZrncf73dKKI8Dny0V0VMFWcytvidW5A2RyBouV7v9ADNtJ93vArr5X-GOjDy86_6W16ehOF4uzmW/s1600/a1.jpg" style="color: #992211; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA9n1URSMQLPqbXW7Ia6gMV14fPFkOSgGPkufgsbn_kXJTPBbQKEGrAazzQqjeML8qZrncf73dKKI8Dny0V0VMFWcytvidW5A2RyBouV7v9ADNtJ93vArr5X-GOjDy86_6W16ehOF4uzmW/s640/a1.jpg" style="border: none; position: relative;" /></span></a></div><span style="font-size: medium;"><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3s7PKF0onexvbXiDlEciXW36f88qUYp3FHCFlouuWLSZAEZuyLCFiaPL_wzfZ2NRLfR1J3lEELjQA0w6xaVAf-VLrOog9a9dlaZ65ex3XOKrWvNkDp9_my_20JMo0_A84VFd5lzZQ0ez-/s1600/a1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3s7PKF0onexvbXiDlEciXW36f88qUYp3FHCFlouuWLSZAEZuyLCFiaPL_wzfZ2NRLfR1J3lEELjQA0w6xaVAf-VLrOog9a9dlaZ65ex3XOKrWvNkDp9_my_20JMo0_A84VFd5lzZQ0ez-/s400/a1.jpg" style="border: none; position: relative;" width="400" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;">Iran's president has accused the West of nuclear "intimidation" in a UN General Assembly address boycotted by the United States and Israel. It was using a nuclear arms race to threaten other nations to accept the status quo, said Mahmoud Ahmadinejad. He told reporters later that Iran was ready for talks with the US. The West suspects Iran of trying to develop nuclear weapons, but Tehran insists its nuclear programme is solely for peaceful purposes. 'Soulful breeze' It was Mr Ahmadinejad's eighth and final speech at a debate of the UN General Assembly before he steps down. "[The] arms race and intimidation by nuclear weapons and weapons of mass destruction by the hegemonic powers have become prevalent," he told the 193-nation annual gathering. <i>BBC - 26 September 2012</i></span></td></tr></tbody></table><span style="font-size: medium;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0jYqlI-d1ixebb7vQVhkCE2Y9SVOEsWBz9NHz89X75ZlmlfeKJFTLAyajPS8oZ7_xa6iv4u__9dAEbfJexXWalEem5cUYRnrcIu0eKV_t1IOHZT1kgfYakZkvsPXYdWcD4uCJ_h02atAw/s1600/a1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0jYqlI-d1ixebb7vQVhkCE2Y9SVOEsWBz9NHz89X75ZlmlfeKJFTLAyajPS8oZ7_xa6iv4u__9dAEbfJexXWalEem5cUYRnrcIu0eKV_t1IOHZT1kgfYakZkvsPXYdWcD4uCJ_h02atAw/s640/a1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">Patrick Chappatte of Switzerland for the International Herald Tribune.<br /></span><div style="text-align: left;"><span style="font-size: medium;"> On Friday afternoon of September 27, 2013, U.S. President Barack Obama and Iranian President Hasan Rouhani held a brief and apparently cordial conversation, the first such interaction between the leaders of the two countries since the Iranian Revolution in 1979. It concluded with small courtesies magnified by their historic import. Mr. Rouhani said, “Have a nice day,” in English. Mr. Obama thanked him and said goodbye in Farsi. The call between the leaders was the culmination of a dizzying week of diplomacy during the annual United Nations meetings in New York.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br /><br /></span><div dir="ltr"><div dir="ltr"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBat6P5MnU89LEyRmxal4hPDDAUmTVseQS7OO-VY0O3wPql273FHDER7bVZ9mRSlGooBDzIaURadvt7M85LwDDtpGHiGoM8_Ob_6VFtTo7CFmRGOM4KY8jqwkEPL7FT1oYdsN3Aw_vLrJf/s1600/a1.jpg" style="color: #992211; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBat6P5MnU89LEyRmxal4hPDDAUmTVseQS7OO-VY0O3wPql273FHDER7bVZ9mRSlGooBDzIaURadvt7M85LwDDtpGHiGoM8_Ob_6VFtTo7CFmRGOM4KY8jqwkEPL7FT1oYdsN3Aw_vLrJf/s640/a1.jpg" style="border: none; position: relative;" /></span></a></td></tr><tr><td class="tr-caption"><span style="font-size: medium;">The Haaretz’ editorial cartoon shows Prime Minister Benjamin Netanyahu and President Hassan Rouhani of Iran walking into the UN building in New York, in September 2013. Netanyahu holding his bomb diagram cartoon, that used in his 2012 speech is thinking, “Where is Mahmoud when I need him.” The former Iranian hard-line president, Mahmoud Ahmadinejad, was an easier foil for Netanyahu.<br /></span><div style="text-align: left;"><span style="font-size: medium;">According to Haaretz, (Sep. 20, 2013):<br /></span><blockquote><span style="font-size: medium;">Call it a charm offensive, seduction sortie, bewitchment blitz or wooing war, one thing is certain: Iranian President Hassan Rohani is waging an all-out public relations onslaught on American hearts and minds that poses unprecedented new challenges for Prime Minister Benjamin Netanyahu and other Israeli policymakers.<br /><br />Following initial skirmishes and reconnaissance patrols over the past few weeks on Twitter and Facebook, Rohani has now unleashed a preparatory salvo of moderate-sounding, peace-hugging statements on NBC and in the Washington Post. The main thrust of his campaign will be rolled out next week in New York, where Rohani will use his status as the star sensation of this year’s United Nations General Assembly to launch a barrage of interviews, speeches and public appearances, all aimed at convincing America of Iran’s benevolent policies and benign nuclear plans.</span></blockquote></div></td></tr></tbody></table></div><span style="font-size: medium;"><div class="separator" style="clear: both; color: black; font-family: Sans; font-size: medium; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFj5N8YyhnGsMwvrLj2eVE0eCfh-Kn57C6RuV7BojSouat6-euhgbjzjLIb_QI5eftUMUp8Xv16Lh-hY_jsnIweldjhPKi8LKAPYvNTgsCje0slbCt-jQwVtyf2eDtMn4IVE9GiB795iU/s482/Screenshot+2021-08-21+1.31.51+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="334" data-original-width="482" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFj5N8YyhnGsMwvrLj2eVE0eCfh-Kn57C6RuV7BojSouat6-euhgbjzjLIb_QI5eftUMUp8Xv16Lh-hY_jsnIweldjhPKi8LKAPYvNTgsCje0slbCt-jQwVtyf2eDtMn4IVE9GiB795iU/w633-h438/Screenshot+2021-08-21+1.31.51+PM.png" width="633" /></a></div><br style="color: black; 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font-size: medium; text-align: left;"><br /><br /></p><br style="font-family: Tinos; font-size: medium; text-align: left;" /><div class="separator" style="clear: both; font-family: Tinos; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRspqKMRhrBnxY-PiRAJVlgHarwat6DRM-dwY4IXah2u_mcGJd8T5ELH7pNcVZUyjIxSQXfcwUE-1Iwg67ASwWNbuLxt20Od2HXl7EZnYUSB6kBN8DJ2wy7jTNB5W4h52K71HxrONvBu45IDGua7D0zqP9nW6tvxJ2DEdsGUYEQ12B0RFNMpkLHCg2aKY/s1080/_methode_times_prod_web_bin_33679204-692f-11ee-853b-c0bf92ce36b1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1080" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRspqKMRhrBnxY-PiRAJVlgHarwat6DRM-dwY4IXah2u_mcGJd8T5ELH7pNcVZUyjIxSQXfcwUE-1Iwg67ASwWNbuLxt20Od2HXl7EZnYUSB6kBN8DJ2wy7jTNB5W4h52K71HxrONvBu45IDGua7D0zqP9nW6tvxJ2DEdsGUYEQ12B0RFNMpkLHCg2aKY/w534-h356/_methode_times_prod_web_bin_33679204-692f-11ee-853b-c0bf92ce36b1.jpg" width="534" /></a></div><div class="separator" style="clear: both; font-family: Tinos; font-size: medium;"><br /></div><div class="separator" style="clear: both; font-family: Tinos; font-size: medium;"><br /></div><div class="separator" style="clear: both; font-family: Tinos; font-size: medium;"><br /></div><br style="font-family: Tinos; font-size: medium; text-align: left;" /><div class="separator" style="clear: both; font-family: Tinos; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ_tRtFwf-EU4bBLFB6M6WFvRp0TBm_S9pjvVPQXTq1JkycT6H-1oxU_DQx7grL1OAXGQxIZThP2RlKunm_QHqY7Yn0NF7IoGVKqfseq-FJrFq425t-Bq57p-UOhqiT0Zq0-kXVJdYPDY30OToevLa3RJcCENm1_U7x_aSEUX5976KCjOtuN08kueF1XI/s834/FLOW%20Cartoon%2028%20October%202023.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="533" data-original-width="834" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ_tRtFwf-EU4bBLFB6M6WFvRp0TBm_S9pjvVPQXTq1JkycT6H-1oxU_DQx7grL1OAXGQxIZThP2RlKunm_QHqY7Yn0NF7IoGVKqfseq-FJrFq425t-Bq57p-UOhqiT0Zq0-kXVJdYPDY30OToevLa3RJcCENm1_U7x_aSEUX5976KCjOtuN08kueF1XI/w453-h290/FLOW%20Cartoon%2028%20October%202023.jpeg" width="453" /></a></div><div class="separator" style="clear: both; font-family: Tinos; font-size: medium;"><br /></div><div class="separator" style="clear: both; font-family: Tinos; font-size: medium;"><br /></div><br style="font-family: Tinos; font-size: medium; text-align: left;" /><div class="separator" style="clear: both; font-family: Tinos; font-size: medium;"><br /></div><div class="separator" style="clear: both; font-family: Tinos; font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNuRhIDmV4x9XGEQM8iu4qAnA6z6McpkLg5BSDJDnr5VYgz2GaOwO-6eUTkmVh4_ObGWNWsgQVmEnlmYZZUWOvJ-rGnF3r-JYKdE3prwA35iiA3zm-HE3M9JYsHwq4MhZe6sxNH3J-NSbpfvVN7mxXJc4EpQtXHXtTl28pa4b1oqF1AEu2v_B0ZE5-5Qw/s640/Gasoline.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="408" data-original-width="640" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNuRhIDmV4x9XGEQM8iu4qAnA6z6McpkLg5BSDJDnr5VYgz2GaOwO-6eUTkmVh4_ObGWNWsgQVmEnlmYZZUWOvJ-rGnF3r-JYKdE3prwA35iiA3zm-HE3M9JYsHwq4MhZe6sxNH3J-NSbpfvVN7mxXJc4EpQtXHXtTl28pa4b1oqF1AEu2v_B0ZE5-5Qw/w467-h298/Gasoline.jpeg" width="467" /></a></div><div class="separator" style="clear: both; font-family: Tinos; font-size: medium;">President Joe Biden’s speech Tuesday night was nothing short of inspirational to a wounded, devastated and dejected Israel. For many Israelis, it was the speech they waited for, a speech they will not get from their own Prime Minister. Not that they expected it, he’s too busy with politics.</div><div class="separator" style="clear: both; font-family: Tinos; font-size: medium;"> Alon Pinkas, Haaretz, Oct 11, 2023</div></span></div></span></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div><div class="separator" style="clear: both; text-align: left;"><div style="text-align: center;"><span style="color: #b45f06;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxZU6oh9CXJdgzOiKG9KgSFGtZA8nu7uohWb9OgSSkKOn_VvfK8DkUOUJfpSgiNoPesCHE-IVKZ14CvsnK5nijjqa4sUF0lhkhA6wQATmN4sr-2nrSoKK401L43VkELjPhga6zemOSNBs2x3b7YhLC3sVTsf1HTiL-6xRpmdP-SzvaMq9kI9sIJnVoeEk/s1032/israel.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="644" data-original-width="1032" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxZU6oh9CXJdgzOiKG9KgSFGtZA8nu7uohWb9OgSSkKOn_VvfK8DkUOUJfpSgiNoPesCHE-IVKZ14CvsnK5nijjqa4sUF0lhkhA6wQATmN4sr-2nrSoKK401L43VkELjPhga6zemOSNBs2x3b7YhLC3sVTsf1HTiL-6xRpmdP-SzvaMq9kI9sIJnVoeEk/w484-h302/israel.jpg" width="484" /></a></div><br /><span style="font-size: medium;"><br /></span></span></div><div><span><span style="font-size: medium;">A cartoon in the Shvi'i magazine depicting Supreme Court of Justice President Esther Haut standing with a flag with the justice symbol impaled in an IDF soldier on January 4, 2024. The cartoon’s message appeared to echo rhetoric on the right implying that two recent High Court rulings harmed the country’s war effort against Hamas. Prime Minister Benjamin Netanyahu’s government suffered two major legal defeats with the High Court of Justice striking down legislation barring courts from evaluating government decisions on the basis </span></span><span face=""Google Sans", arial, sans-serif" style="background-color: white; color: #202124; font-size: 20px;">Reasonableness as a Standard for Judicial Review of Government's </span><span style="font-size: medium;"><span face=""Google Sans", arial, sans-serif" style="background-color: white; color: #202124;">Decisions.</span><span> and postponing the implementation of a bill meant to shield the prime minister from being ordered to recuse himself from office.</span></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="background-color: white; color: #121212; font-family: "pt serif", serif; font-size: 18px;">Israel Bar Association head Amit Becher called on Attorney General Gali Baharav-Miara to open a criminal investigation into the publication of the cartoon, calling it an anti-democratic, anti-Zionist, fascist and severe caricature containing sharp incitement” against Hayut and the court system “as a whole.”</span></div><div><span style="color: #b45f06;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: center;"><span><span style="font-size: medium;"><div class="separator" style="clear: both; color: #b45f06; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjPX76C6FD0O-Dc4J1unvsG1A505O7yy94u5_kRILVcLm_i2CMkh2lfWYhDdv1fc6R4sHpATCkSfih0o7VKf1ttjj2eR5a_VDWBipg-oW_Qiq1iXIUZMDqfPBvrQjZc8gtP5EYkE9y9wuyNET7Iznf30dvj_1RRReW3aOiLV_Osev7pXHeJ1TM5zZ2RXj8" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="525" data-original-width="750" height="333" src="https://blogger.googleusercontent.com/img/a/AVvXsEjPX76C6FD0O-Dc4J1unvsG1A505O7yy94u5_kRILVcLm_i2CMkh2lfWYhDdv1fc6R4sHpATCkSfih0o7VKf1ttjj2eR5a_VDWBipg-oW_Qiq1iXIUZMDqfPBvrQjZc8gtP5EYkE9y9wuyNET7Iznf30dvj_1RRReW3aOiLV_Osev7pXHeJ1TM5zZ2RXj8=w476-h333" width="476" /></a></div><br /><div style="text-align: left;">President Joe Biden said on January 2024, that he has made a decision on how to respond to the drone attack that killed three U.S. soldiers and injured dozens of others at a base in northeast Jordan.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">Biden's remarks came after he vowed to retaliate and “hold all those responsible to account at a time and in a manner [of] our choosing" for the deadly attack, which injured more than 30 soldiers. When asked if he holds Iran responsible for the attack, the president said he does “in the sense that they’re supplying the weapons to the people who did it.”</div></span></span></div><div><span style="color: #b45f06;"><span style="font-size: medium;"><br /></span></span></div><div><span style="color: #b45f06;"><span style="font-size: medium;"><br /></span></span></div><h4 style="margin: 0px; position: relative;">
<span style="color: #b45f06; font-size: x-large;"><span style="font-weight: normal;">The Financial Crisis and Great Recession </span><span style="font-weight: normal;"> </span></span></h4>
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<tr><td><span style="font-size: medium;"><span>The sub-prime mortgage crisis of 2008</span><br />
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<span>Eugene Fama, a Chicago University economics professor who in the 70s came up with the efficient markets hypothesis (EMH), which stated that financial markets price assets at their true worth based on all the publicly available information, encouraging the belief that the best thing to do was to pile in when prices were rising. Bubble-think, in other words.</span><br />
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<span>The changes pushed through in the US and the UK in the 80s by Ronald Reagan and Margaret Thatcher removed constraints on bankers, made finance more important at the expense of manufacturing and reduced union power, making it harder for employees to secure as big a share of the national economic cake as they had in previous decades. After a fierce lobbying campaign, Bill Clinton agreed to repeal the Glass-Steagall Act, which ensured a complete separation between investment and retail banks. The move heralded the coming of superbanks, huge behemoths that took in retail deposits and used them to take highly-leveraged punts in the markets.</span><br />
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<span>As chairman of the Federal Reserve, Alan Greenspan, who was given an honorary knighthood in 2002 for his "contribution to global economic stability", cut interest rates and left them at rock-bottom levels for two years. Cheap borrowing costs encouraged Americans to load up on debt to buy homes, even when they had no savings, no income and no job prospects. These so-called sub-prime borrowers were the cannon fodder for the biggest boom-bust in US history. The housing collapse brought the global economy to its knees.</span><br />
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<span> In Britain Sir Mervyn King, who became Bank of England governor in 2003, failed to "lean against the wind" during the economic upswing, leaving interest rates too low, and then waited too long when the economy was nosediving into its most severe postwar recession before cutting bank rate. Gordon Brown's last big speech as chancellor of the exchequer before becoming prime minister, made at the Mansion House in June 2007 just as the financial crisis was about to break, praised the bankers for their remarkable achievements and predicted "the beginning of a new golden age for the City of London".</span><br />
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<span>The US treasury secretary in 2008, Hank Paulson big mistake was to put Freddie Mac and Fannie Mae into conservatorship, wiping out the stakes of those who had invested $20bn in the two government-backed mortgage lenders over the previous 12 months. Unsurprisingly, there was no great rush among private investors to rescue Lehman Brothers when it ran into trouble the following week, and when the US treasury allowed the investment bank to go bust every financial institution in the world was seen as at risk.</span><br />
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<span><span>Paulson triggered the biggest economic downturn since the Great Depression. (</span><span><b><i>Larry Elliott, economics editor The Guardian, Friday 3 February 2012</i></b></span><span>)</span></span></span></div>
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<tr><td><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB3SUibJ5i-eDriqbTFGVaT1nU_Ggog4BwmL7PzD3yCRI7-mhOt7xAJF8GQBeSwpiVg04askO2fQrCryJQCOkb7n3mq9L9rEIrxGhRJFTwQRvCOs-A-yCqs6RgYw87kf6VjPnGu3Ksfy_Q/s1600/Screenshot-4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB3SUibJ5i-eDriqbTFGVaT1nU_Ggog4BwmL7PzD3yCRI7-mhOt7xAJF8GQBeSwpiVg04askO2fQrCryJQCOkb7n3mq9L9rEIrxGhRJFTwQRvCOs-A-yCqs6RgYw87kf6VjPnGu3Ksfy_Q/s640/Screenshot-4.png" style="border: none; position: relative;" width="640" /></a></span></td></tr>
<tr><td><span style="font-size: medium;">Financial Bailout of Greece by Eu, Arend van Dam, Netherlands, 2011</span></td></tr>
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<span style="font-size: medium;">Schrank, The Independent, May 2012</span></div>
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<span>David Cameron, François Hollande, Barack Obama, and Angela Merkel at the Delphic temple for oracle of Delphi. Obama asks, "Will Greece crash out of the eurozone, oh oracle?" The oracle replies, "That'll be another 100bn euros".Despite receiving billions of euros in bailout funds, Greece was still in danger of being forced to leave the euro (the famous Grexit). The cartoon relates to the G8 summit at Camp David, where the eurozone crisis was top of the agenda.</span><br />
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<span>Frederick Deligne, Global Financial Crisis, Nice-Matin, Nice, France, 2011</span><br />
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<tr><td><span style="font-size: medium;"><span>Michael Ramirez, American Debt Crisis, 2009,</span><br />
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<span>Michael Ramirez is a two-time winner of the Pulitzer Prize in 1994 and 2008, and a three-time Sigma Delta Chi, Society of Professional Journalism Award winner.</span></span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQJ-dTd5dKhNc-NM9GtfCav55sZltnHKW0w-8CwVdALyBOeNT71ptvl_T06_M2cPgTkPcLNax_hwROV_eMtOwX0GpkI8ZykD5J12iI_0GrlYkEbw4Zq1rwUV1VNTkEHNbGIrxWhygOouoK/s1600/hongersnoodSomali%2525EB_180711.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="524" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQJ-dTd5dKhNc-NM9GtfCav55sZltnHKW0w-8CwVdALyBOeNT71ptvl_T06_M2cPgTkPcLNax_hwROV_eMtOwX0GpkI8ZykD5J12iI_0GrlYkEbw4Zq1rwUV1VNTkEHNbGIrxWhygOouoK/s640/hongersnoodSomali%2525EB_180711.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
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<span>Tom Janssen, the European debt crisis, Dutch Cartoonist, 2011</span></span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinOJIuUH6wTsAlIpSsL9ivnKjvqKMEKwUHcSlVKNqLGix-makzAImWq75rTfRhQZkew-ajDvDliEOtVPnYp8WUJup-3_qyPy-IfMEAILC71e13KrMJ4k7zupTKO_GlHV_3RQziY-CX9vYl/s1600/Martin-Rowson-cartoon-31.-002.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="523" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinOJIuUH6wTsAlIpSsL9ivnKjvqKMEKwUHcSlVKNqLGix-makzAImWq75rTfRhQZkew-ajDvDliEOtVPnYp8WUJup-3_qyPy-IfMEAILC71e13KrMJ4k7zupTKO_GlHV_3RQziY-CX9vYl/s640/Martin-Rowson-cartoon-31.-002.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
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<span>Martin Rowson, Barack Obama and John Boehner's slow-moving attempt to find a compromise on debt ceiling, 2011, Guardian</span></span></td></tr>
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</span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyhtsxP-5GH6z6wNkc9H4b4G8rhVYRq1KuHBHh9avwsHcy7FEM0gVEExOs2Z3l4CwOZ05rVgnyLMpkJGvEMALEXM8nYOzgClkDLElk1c0WFPVMWo3M-UwfdGxyqfDCKBnkGwYxcaV1RkMZ/s1600/a1.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: medium;"><img border="0" height="465" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyhtsxP-5GH6z6wNkc9H4b4G8rhVYRq1KuHBHh9avwsHcy7FEM0gVEExOs2Z3l4CwOZ05rVgnyLMpkJGvEMALEXM8nYOzgClkDLElk1c0WFPVMWo3M-UwfdGxyqfDCKBnkGwYxcaV1RkMZ/s400/a1.JPG" style="border: none; position: relative;" width="600" /></span></a></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_rCe3hihleBc4XY6e7GSnOElPBDdl3OnaLgulxSKOAfuR_EuuP6bBNs0QXqsOqTsTaezn5nolsH_Lvr_3MyXGrF_Zw8euntZpI7h7iSarwIyJ6ZqCahxmmAOIAYU7SMdMsxNEUsIJBJo4/s1600/Warren+Buffett.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="510" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_rCe3hihleBc4XY6e7GSnOElPBDdl3OnaLgulxSKOAfuR_EuuP6bBNs0QXqsOqTsTaezn5nolsH_Lvr_3MyXGrF_Zw8euntZpI7h7iSarwIyJ6ZqCahxmmAOIAYU7SMdMsxNEUsIJBJo4/s640/Warren+Buffett.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">Warren E. Buffett, the billionaire investor known as the Oracle of Omaha, in an op-ed titled <i>Stop Coddling the Super-Rich</i>, published on August 14, 2011 in the New York Time, made a strong case that he and his mega-rich peers should be paying more in taxes</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmkQvrVWqy0VHmEgImIJInMaBKtBm14jjsPX3ezextpB-G74ArAaEtZU4dLXI8mmdWkNGAXpMyKDCLkpJtKgkFwgqxQ0N3byyva03IGUl35TgUyiKyCxmUJjKqooAL7RwOseP7J6I2W2iT/s1600/2008-buffetobama-cartoon-300.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="465" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmkQvrVWqy0VHmEgImIJInMaBKtBm14jjsPX3ezextpB-G74ArAaEtZU4dLXI8mmdWkNGAXpMyKDCLkpJtKgkFwgqxQ0N3byyva03IGUl35TgUyiKyCxmUJjKqooAL7RwOseP7J6I2W2iT/s640/2008-buffetobama-cartoon-300.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><br /><div style="text-align: left;"><span>OUR leaders have asked for “shared sacrifice.” But when they did the asking, they spared me. I checked with my mega-rich friends to learn what pain they were expecting. They, too, were left untouched. While the poor and middle class fight for us in Afghanistan, and while most Americans struggle to make ends meet, we mega-rich continue to get our extraordinary tax breaks... My friends and I have been coddled long enough by a billionaire-friendly Congress. It’s time for our government to get serious about shared sacrifice</span><span>. <span>Warren E. Buffett, <i>Stop Coddling the Super-Rich</i>, August 14, 2011</span></span></div></span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTzTBqq0G6WrPqYR9YDzOh5QEVs1eoUoxBcb_z2GtbgnOQncSY79K8j3NTUKeL-EMMPT87SrN4FbDW_4GSvwKP98n8h3LDxuwTJHILffRcTaZf-9nQg2L13Mj_qyHMmaJWelYu6efzZiHG/s1600/cartoon.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTzTBqq0G6WrPqYR9YDzOh5QEVs1eoUoxBcb_z2GtbgnOQncSY79K8j3NTUKeL-EMMPT87SrN4FbDW_4GSvwKP98n8h3LDxuwTJHILffRcTaZf-9nQg2L13Mj_qyHMmaJWelYu6efzZiHG/s640/cartoon.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><br />Uncle Sam bewildered in between the Tea Party, on the right, and Occupy Wall Street, on the left, movements, Kal, 2011. Kal finds the both movements loud and confusing for poor Uncle Sam.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQyZgask1kAB3C2q29Eu_hF4B19ZL9rakynTVIpGEdxqM_s4ddo1PC45d5SBnABK91PPO8mgnqcv5a3ubgq9Mk6v4yx5zo16yQrDCMiJJloAwRPXigfXBVm7DDc2I7BD8qRvMfpdSvMt1G/s1600/Teaparty.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQyZgask1kAB3C2q29Eu_hF4B19ZL9rakynTVIpGEdxqM_s4ddo1PC45d5SBnABK91PPO8mgnqcv5a3ubgq9Mk6v4yx5zo16yQrDCMiJJloAwRPXigfXBVm7DDc2I7BD8qRvMfpdSvMt1G/w521-h397/Teaparty.jpg" style="border: none; position: relative;" width="521" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">The Tea Party demand vs Occupy Wall Street demands, Vines, 2011. It appears that Vines is more sympathetic towards the Tea Party's single demand.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEjqogvNxRQTQJZFjRmBjc5q4rLjIQrdsM560T1X78m072cBwVKGO-l0PEsz2ofBMTrqz2-AigC6_SbdY54nWp7LV-nH6XUxjutOzPZ5ZoT3uxS86_LdJXIV3pIOA0_QyfLpkix8woEfj2/s1600/Occupay+wall+street2.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="435" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEjqogvNxRQTQJZFjRmBjc5q4rLjIQrdsM560T1X78m072cBwVKGO-l0PEsz2ofBMTrqz2-AigC6_SbdY54nWp7LV-nH6XUxjutOzPZ5ZoT3uxS86_LdJXIV3pIOA0_QyfLpkix8woEfj2/s640/Occupay+wall+street2.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><br />An unsympathetic view from the right suggesting Occupy Wall Street would lead to communism.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7NwYdVm0rn8JsJbUY_fUOpQvz_rQIJs0InnjsZ5nMzi8QpGiCzpaluqxLzMSbMYJAx_YdB356fKptCXaNGfpwe5OyGJmwpplcVe6Ag-UxPLxjZGKIQY9PSJqNHRA4u9rF1cnkDR9DVStX/s1600/BeeleN20111019A_low.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7NwYdVm0rn8JsJbUY_fUOpQvz_rQIJs0InnjsZ5nMzi8QpGiCzpaluqxLzMSbMYJAx_YdB356fKptCXaNGfpwe5OyGJmwpplcVe6Ag-UxPLxjZGKIQY9PSJqNHRA4u9rF1cnkDR9DVStX/s640/BeeleN20111019A_low.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><br />Slippery Slopes, gives a cynical warning, Occupy Wall Street soon morphs into Occupy Private Ownership.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9nyukDICpJIuVHLMmFRQKbCYz10MxKCISkpC75dyyND4pKKSWY6D2QlznF0CXgwuK7TMFGSr6GMDU3SgRkRaaUbtivYm8pu-m-rkYyWik_cAAodRQIbcjGSEtD2YBFSlWpMvyz68nzgde/s1600/time-to-take-occupy-wall-street-seriously.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="481" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9nyukDICpJIuVHLMmFRQKbCYz10MxKCISkpC75dyyND4pKKSWY6D2QlznF0CXgwuK7TMFGSr6GMDU3SgRkRaaUbtivYm8pu-m-rkYyWik_cAAodRQIbcjGSEtD2YBFSlWpMvyz68nzgde/s640/time-to-take-occupy-wall-street-seriously.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">Time to Take Occupy Wall Street Seriously, Cam, 2011. Cam warns that if the movement is not taken seriously heads may role by guillotine.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR46OuIkVaFLxerT0BHd9zBlxG75rPNznSjjznP3l_UME6zldlyg2-di7fEsSg4HFuoIRPw53Qx_wmbOTZB01v_ZZFP1mETuRphkK19DkPdWOlL1EkADYAnShvRcaFw53wnqaVHXWniFcH/s1600/Occupay+wall+strret.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="441" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR46OuIkVaFLxerT0BHd9zBlxG75rPNznSjjznP3l_UME6zldlyg2-di7fEsSg4HFuoIRPw53Qx_wmbOTZB01v_ZZFP1mETuRphkK19DkPdWOlL1EkADYAnShvRcaFw53wnqaVHXWniFcH/s640/Occupay+wall+strret.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">An interesting take on the issue, a <i>mea culpa</i> admission.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUgoVQkHJE5RJw0z7Cctl3C0h6jfNfkv1t3k4eLumNYZnPY1IstlqaMhVTHsBE1t1EWT08XA5DJMXNBDxwHROA9JXskPa4s1yKVoRpJ655dnV8IDU4iHOZkDdQXh9sdrFXXA0kJoomgE_Y/s1600/Occupay+wall+street+1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUgoVQkHJE5RJw0z7Cctl3C0h6jfNfkv1t3k4eLumNYZnPY1IstlqaMhVTHsBE1t1EWT08XA5DJMXNBDxwHROA9JXskPa4s1yKVoRpJ655dnV8IDU4iHOZkDdQXh9sdrFXXA0kJoomgE_Y/s640/Occupay+wall+street+1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">"I liked it when it was Egypt, but not here," a play on the hypocrisy of men in suits</span></td></tr>
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<span style="font-size: medium;">News that the International Monetary Fund initially demanded to loot a shocking 40% of savings from the private bank accounts of Cypriots underscores how residents of the Mediterranean country could be the latest victims of the infamous “IMF riot,” as the chief economist of the German Commerzbank calls for Italians to be similarly plundered for 15% of their savings.<br /><br />According to Pimco CEO Mohamed El-Erian in an interview with CNBC ; the decision to loot the bank accounts of Cypriot savers could blow up Europe and lead to civil unrest across the continent. - El-Erian said that the European Union had lit two sticks of dynamite in backing a proposal that could see bank accounts raided for up to 15% of their value in what has ludicrously been described as a “wealth tax” yet amounts to nothing less than an act of wanton financial plunder. - “By including small depositors, they are risking social unrest, political disorder, and potentially an exit from the eurozone,” said El-Erian, referring to people with under 100,000 euros who will still be hit by a levy of 6.75% under current proposals. Savers with 500,000 euros in the bank face losing as much as 75,000 euros.</span></div>
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<span style="font-size: medium;"><span>Americans awoke Tuesday, October, 1st, 2013, to the fact that nearly half the federal government was shut down, and to a certainty that one-sixth of the U.S. economy was profoundly altered via Obamacare. Senator Ted Cruz was leading the charge in the Senate (and apparently the House) to defund the Affordable Care Act. He stated</span><br />
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<span style="font-size: medium;">" I intend to donate my salary to charity for each day the government is shut down. Elected leaders should not be treated better than the American people, which is precisely why hardworking Americans deserve the same Obamacare exception that President Obama has already granted Members of Congress.”</span></blockquote>
<span style="font-size: medium;">Hundreds of thousands of "nonessential" government became idled for hours, days, weeks. Many federal offices were closed, workers furloughed while Congress tried to unknot itself. (Essential services — cutting Social Security checks, patrolling the border, keeping airports safe — were continued.) The Republicans argued that Obamacare's mandates are so unpopular that Americans will understand a shutdown.</span></blockquote>
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<span style="font-size: medium;">The Republican-led House of Representatives insisted on delaying President Barack Obama's healthcare reform - dubbed Obamacare - as a condition for passing a bill. More than 700,000 federal employees faced unpaid leave with no guarantee of back pay once the deadlock was over. It was the first shutdown in 17 years. President Obama blamed the House of Representatives for the stalemate and said he would "keep working to get Congress to reopen the government [and] restart vital services".</span></div>
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<span style="color: #b45f06;"><span style="font-size: x-large; font-weight: normal;">The Snowden Affair</span></span></h4>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span>Steve Kelley's comment on the Obama Administration invasion of citizen's privacy</span><br />
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<span style="font-size: medium;"><span><br />The whistle-blower Edward Snowden, a 29-year-old former technical assistant for the CIA and an employee of the defence contractor Booz Allen Hamilton, was responsible for one of the most significant leaks in US political history. He said he was content to sever his 'very comfortable life,' which included a six-figure salary, a girlfriend, a home in Hawaii and his family, to shine a light on the NSA's widening surveillance net.</span><br />
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<span style="font-size: medium;">'I'm willing to sacrifice all of that because I can't in good conscience allow the U.S. government to destroy privacy, internet freedom and basic liberties for people around the world with this massive surveillance machine they're secretly building... NSA chiefs were 'intent on making every conversation and every form of behavior in the world known to them, ... I don’t want to live in a world where there's no privacy and therefore no room for intellectual exploration and creativity. The government has granted itself power it is not entitled to.''</span></blockquote>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span>Scott Stantis, Obama and Bush-Nixon legacy</span><br />
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<span style="font-size: medium;"><span>According to Lee-Anne Goodman,</span><br />
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<span style="font-size: medium;">"Not so long ago, a bad week for U.S. President Barack Obama was one that sparked comparisons to Jimmy Carter, a popular whipping boy for the right who was considered weak and ineffectual by many Americans. Seven months into his second term, and the Carter comparisons are a distant memory: now Obama’s being likened to former presidents Richard Nixon and George W. Bush, popular targets for the commander-in-chief’s liberal base.</span></blockquote>
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<span style="font-size: medium;">Revelations about the Obama administration’s sweeping surveillance practices, as well as the ongoing investigation into the IRS’s targeting of Tea Party organizations, have resulted in a litany of comparisons to both former presidents in recent weeks. Edward Snowden himself, a libertarian who donated to Ron Paul’s presidential campaign in 2012, made the comparison in explaining why he leaked details of two top-secret U.S. government surveillance programs to two news organizations last week. “I believed in Obama’s promises,” Snowden told Britain’s The Guardian. “He continued with the policies of his predecessor. I do not want to live in a world where everything I do and say is recorded</span></blockquote>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span>A hero or a traitor?</span><br />
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<span style="font-size: medium;"><span>Oliver Stone, the Oscar-winning director whose profound understanding of freedom and democracy is a breath of fresh and uncontaminated air in Obama's era defended the American whistlebower Edward Snowden:</span><br />
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<span style="font-size: medium;">"It's a disgrace that Obama is more concerned with hunting down Snowden than reforming these George Bush-style eavesdropping techniques. (...) To me Snowden is a hero because he revealed secrets that we should all know, that the United States has repeatedly violated the fourth amendment".</span></blockquote>
<span style="font-size: medium;"><span>John Cassidy of New Yorker agrees</span><br />
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<span style="font-size: medium;">"He is a hero. In revealing the colossal scale of the U.S. government’s eavesdropping on Americans and other people around the world, he has performed a great public service that more than outweighs any breach of trust he may have committed.(...) So, what did the leaks tell us? First, they confirmed that the U.S. government, without obtaining any court warrants, routinely collects the phone logs of tens of millions, perhaps hundreds of millions, of Americans, who have no links to terrorism whatsoever. If the publicity prompts Congress to prevent phone companies such as Verizon and A.T. T. from acting as information-gathering subsidiaries of the spying agencies, it won’t hamper legitimate domestic-surveillance operations—the N.S.A. can always go to court to obtain a wiretap or search warrant—and it will be a very good thing for the country."</span></blockquote>
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<tr align="left"><td class="tr-caption"><span style="font-size: medium;"><br />German Chancellor Angela Merkel uses her mobile phone before a 2011 meeting at a European Union summit in Brussels. News magazine Der Spiegel reported that an apparent NSA document indicates Merkel's phone was first listed as a target in 2002. German Chancellor Angela Merkel complained to U.S. President Barack Obama after receiving information her phone may have been monitored. Interior Minister Hans-Peter Friedrich was quoted as telling newspaper Bild am Sonntag he wants "complete information on all accusations" and that "if the Americans intercepted cellphones in Germany, they broke German law on German soil." He added wiretapping is a crime and "those responsible must be held accountable." <br /><br />News magazine Der Spiegel, whose research prompted the government's response, reported that a document apparently from an NSA database indicates Merkel's cellphone was first listed as a target in 2002. The magnitude of the eavesdropping is what shocked us," former French Foreign Minister Bernard Kouchner said in a radio interview. "Let's be honest, we eavesdrop too. Everyone is listening to everyone else. But we don't have the same means as the United States, which makes us jealous."</span></td></tr>
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<tr align="left"><td class="tr-caption"><span style="font-size: medium;"><span>President Obama was aware of NSA spying on German Chancellor Angela Merkel since 2010, German media have revealed. An NSA spokeswoman later denied the allegations. According to German Bild am Sonntag newspaper, which cited US intelligence sources, National Security Agency chief Keith Alexander briefed Obama on the bugging operation against Merkel in 2010. "Obama did not halt the operation but rather let it continue," an unnamed high-ranking NSA official told the newspaper. Moreover, the paper said, the US president later ordered the NSA to prepare a comprehensive dossier on Merkel</span><span>.</span></span></td></tr>
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<span style="color: #b45f06;"><span style="font-size: large; font-weight: normal;">Obama and the Arab Spring</span><span style="font-size: medium; font-weight: normal;"> </span></span></h4>
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<span style="font-size: medium;">Gen. Abdel-Fattah el-Sissi, Egypt's top military commander, told the country that Egypt's constitution had been suspended and President Morsi had been replaced by the head of the constitutional court until new elections could be held. No timetable for those elections were spelled out. The general warned the Egyptian people to protest peacefully and said the authorities would not tolerate any violence.</span></div>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><span>"US Secretary of State John Kerry has again refrained from characterising the ousting of Egyptian President Mohammed Morsi by the military as a coup. Washington's hesitation to use the term has drawn accusations from the pro-Morsi camp that the US was complicit in the coup. For the White House, it is an on-going and agonising determination that has legal and possibly even security implications". BBC</span><br />
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<span style="font-size: medium;">Despite his failings, and there were plenty, President Mohamed Morsi was Egypt’s first democratically elected leader, and his overthrow by the military on Wednesday was unquestionably a coup. It would be tragic if Egyptians allowed the 2011 revolution that overthrew the dictator Hosni Mubarak to end with this rejection of democracy. <i>Crisis in Egypt NY Times, Editorial. July 3, 2013</i></span></div>
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<span style="font-size: medium;">The impasse into which Egypt has been forced by the army's intervention in politics is daily becoming more dangerous. Every time the security forces open fire, their mission of bringing back order and restoring social peace becomes less credible. You cannot advance toward legitimacy over the bodies of martyrs. <i>Editorial The Guardian, Sunday 28 July 2013</i></span></div>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span>Steve Bell, ceci n'pas un coup, The Guardian, Monday 4 November 2013</span><br />
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<span style="font-size: medium;">... First, the hearing was delayed because Mohamed Morsi’s refusal to recognise the authority of the court stretched to a refusal to wear the required prison uniform. Then his repeated interruptions – “this is not a legitimate trial, this trial is part of the coup” – and the chanting of “illegal, illegal” by his 14 co-defendants, proved unendurable and matters were put off until January. Out on the streets, the last-minute change of venue, aimed at avoiding mass demonstrations, was only partially successful.<br /><br />It is difficult not to concede Mr Morsi’s point. Unpopular or not, he was still democratically elected. Not only was his toppling in July a coup; what has followed gives little cause for optimism. More than 2,000 Muslim Brotherhood supporters have been killed in clashes with security forces, the organisation’s activities have been banned, and the state-backed media has gone into overdrive whipping up anti-Morsi and anti-US sentiment in equal measure. With freedoms increasingly restricted, dissenters harassed, and the military back on top, Egypt feels uncomfortably as if it has reverted to pre-Arab Spring type, albeit without Hosni Mubarak. The <i>Independent, Editorial, Monday 4 November 2013</i></span></div>
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<tr align="left"><td class="tr-caption"><span style="font-size: medium;"><span><br />On March, 28 2014 Field Marshal Abdul Fattah al-Sisi's announced that he has resigned as defence minister to run for the presidency. The announcement was broadcast live by Egyptian broadcast media.<br />Randall Enos' illustrations have appeared in The New York Times, NBC, National Lampoon, Playboy, Boy's Life, Atlantic, Time, Sports Illustrated, Fortune and Forbes</span><br />
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<span style="font-size: medium;">I've been working at this stand for 52 years making pretty pitchers fer the people in just about every magazine and newspaper in the land except that damned New Yorker who won't return my calls.</span></blockquote>
<span style="font-size: medium;"><span><span>.</span><br /><br /><span style="color: #cc0000;"><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl3dGzUKEBLN-wDPnqe1obBU7fw_bJGj4f3iFjKBI4uSeTH0yQ80_PC8q972W8tQeoqk_FMOCNOi2Wo0K2q-OhwXO5ouug37YUw91LdfvhVTDKstDc_EFhWc9lA7FrVaEGo1XTwQdR1So/s1600/c.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl3dGzUKEBLN-wDPnqe1obBU7fw_bJGj4f3iFjKBI4uSeTH0yQ80_PC8q972W8tQeoqk_FMOCNOi2Wo0K2q-OhwXO5ouug37YUw91LdfvhVTDKstDc_EFhWc9lA7FrVaEGo1XTwQdR1So/w563-h398/c.jpg" style="border: none; position: relative;" width="563" /></span></a></td></tr><tr><td><span>Carlos Latuff, Brazil</span><br /><div style="text-align: left;"><span>MOST generals who seize power promise to return their country swiftly to the state of democratic civilian rule from which it lapsed owing to the misdemeanours of venal or incompetent politicians. Often, alas, no suitable civilian can be found. So the general swaps his uniform for a business suit, crushes the opposition and proceeds to establish a pliant parliament. Egypt’s strongman, Abdel-Fattah al-Sisi, is treading this familiar path. But he will do nothing to resolve Egypt’s many problems; he may lead his country into its next crisis. <i>Economist, Oct 10th 2015</i></span></div></td></tr></tbody></table><span style="color: #cc0000;"><br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH7UeeLYBSEI2EVLQ__-KYxyg61Ne1l80hZBZKww4gwquGJ934veFaizVpu1H-tl66-WnPxWUNbyuEoakpzNpFq4keJbkIWPeo4H5P3Gmrcovvc-Enocl04Cfw_eJ9lZDv39d-kiHQwxo/s1200/A1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1157" height="581" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH7UeeLYBSEI2EVLQ__-KYxyg61Ne1l80hZBZKww4gwquGJ934veFaizVpu1H-tl66-WnPxWUNbyuEoakpzNpFq4keJbkIWPeo4H5P3Gmrcovvc-Enocl04Cfw_eJ9lZDv39d-kiHQwxo/w561-h581/A1.jpg" width="561" /></a></div><br /></span><span> <br /></span></span><h1><span style="color: #cc0000; font-size: x-large; font-weight: normal;">ISIS and Its Enablers</span></h1></td></tr>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><span face=""arial" , sans-serif" style="color: #333333; line-height: 18.9871px;"><br />Fighters from the Islamic State in Iraq and the Levant (ISIS)</span><span face=""arial" , sans-serif" style="color: #333333; line-height: 18.9871px;"> rapidly <br />advanced through mostly Sunni areas of Iraq in June 2014,</span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;">Wealthy individuals and religious foundations in Saudi Arabia, Kuwait, Qatar and elsewhere in the Gulf have channelled millions of dollars to the anti-Assad opposition, though it is not clear with what degree of official connivance."There is Saudi money flowing into Isis but it is not from the Saudi state," said Lina Khatib of the Carnegie Foundation.</span></td></tr>
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<tr><td><span style="font-size: medium;">According to Clinton’s leaked memo, Saudi donors constituted “the most significant source of funding to terrorist groups worldwide.” Radical Salafists across the Middle East receive ideological and material backing from within the kingdom.</span></td></tr>
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<span style="font-size: medium;">A Wikileaks cable clearly quotes then-Secretary of State Hillary Clinton saying "donors in Saudi Arabia constitute the most significant source of funding to Sunni terrorist groups worldwide." She continues: "More needs to be done since Saudi Arabia remains a critical financial support base for al-Qaeda, the Taliban, LeT and other terrorist groups." And it's not just the Saudis: Qatar, Kuwait and the United Arab Emirates are also implicated in the memo. The West may have to pay a price for its alliance with Saudi Arabia and the Gulf monarchies, which have always found Sunni jihadism more attractive than democracy...Saudi Arabia has created a Frankenstein's monster over which it is rapidly losing control. The same is true of its allies such as Turkey which has been a vital back-base for Isis and Jabhat al-Nusra by keeping the 510-mile-long Turkish-Syrian border open.</span></div>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><br />On Oct. 2, 2018, Saudi journalist Jamal Khashoggi disappeared after entering the Saudi Consulate in Istanbul. Khashoggi, who at the time resided in Virginia and worked as a columnist for the Washington Post, was one of the Western world's most prominent critics of Saudi Crown Prince Mohammed bin Salman (MBS) — a man who was known to had little tolerance for dissent but often was hailed as a modernist by Western media.
<br /><br /> According to an anonymous Turkish official, a Saudi assassin squad flew into Istanbul on private jets and waited for Khashoggi inside the consulate. The squad included a physician who specializes in autopsies. They also took a bone saw.
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;">President Trump has come under fire for his tepid response to Khashoggi's disappearance. Multiple cartoonists used this news as inspiration to illustrate Trump's seeming adulation of dictators. Inquirer columnist Trudy Rubin echoed this sentiment in a recent column about Khashoggi, writing:"Trump has embraced authoritarian leaders who openly threaten journalists with murder, such as Filipino leader Rodrigo Duterte, or who silently tolerate such murders, such as Vladimir Putin."</span></td></tr>
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Secretary of State Mike Pompeo on February 2019, sharply rejected an assertion that the Trump administration is complicit in a cover-up of the murder of Washington Post journalist Jamal Khashoggi.
Pompeo's remarks came after Sen. Tim Kaine, D-Va., accused the administration of turning a "blind eye" to evidence that Saudi Crown Prince Mohammed bin Salman personally ordered Khashoggi’s killing. "This amounts to the Trump Administration aiding in the cover up of a murder," Kaine, a member of the Senate Foreign Relations Committee, said in a statement. "America should never descend to this level of moral bankruptcy." </span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span><span style="font-size: medium;"><br /></span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span><span>The top Republican on the House Foreign Affairs Committee, Rep. Michael McCaul of Texas, also slammed the White House's refusal to comply with the law.
“Everyone involved in this gruesome crime must be identified and held accountable," McCaul said. "When the United States fails to lead, we compromise our integrity and abandon those pursuing justice around the world."
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Asked about the allegations from Kaine and others, Pompeo said they were "dead wrong."
"Sen. Kaine is just dead wrong," Pompeo told reporters traveling with him in Budapest. "America is not covering up for a murder."
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<tr><td><span style="font-size: medium;"><span>Steve Breen, Pulitzer Prize-winning cartoonist for the San Diego Union-Tribune. December 2015</span><br />
</span><blockquote style="text-align: left;">
<span style="font-size: medium;">"The Most Important Question About ISIS That Nobody Is Asking" in which we asked who is the one "breaching every known law of funding terrorism when buying ISIS crude, almost certainly with the tacit approval by various "western alliance" governments, and why is it that these governments have allowed said middleman to continue funding ISIS for as long as it has? <i>Tyler Durden, Zero Hedge</i></span></blockquote>
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<span style="font-size: medium;"><span>The Turkish president, Recep Tayyip Erdogan, bolstered by the electoral triumph of his conservative Islamist Justice and Development Party, or A.K.P., has shown a troubling penchant for benign neglect toward the jihadi Islamists — enough for them to establish a Turkish network.</span><br />
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<span>What does Erdogan — in theory a key American ally leading a NATO state — see in the knife-wielding jihadis of the Islamic State? They are useful in confronting Turkey’s nemesis, the Kurds, who have taken over wide sections of northern Syria and established self-government in an area they call Rojava. That in turn has raised the specter of a border-straddling Kurdistan, the nightmare of the Turkish republic. <i>Roger Cohen, NY Times,NOV. 7, 2015</i></span></span></div>
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</span><span><span face="arial, sans-serif" style="color: #333333;"><span>The Obama administration signaled for the first time on June 16, 2014 that it was willing to enter into discussions with Iran. In an indication of how sensitive in Washington any such cooperation would be, officials quickly rowed back from remarks by Kerry, who had declined in an interview to rule out military cooperation with Tehran. But officials later insisted that any contact would be limited to informal discussions that would take place on the margins of nuclear talks in Vienna. </span></span><br /></span>
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</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><br style="text-align: left;" /><br style="text-align: left;" /><br style="text-align: left;" /><br style="text-align: left;" /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXJ2VoFtJCqEJ-MMUvAaImsBddolBHw8gkYChRS3DkCL4fqmcCAjVMROHciTaxNYi03zRf0n3rajQiq-yy93dY9L451CBMyv0-fzCYNOlRYVyceFR5Y9VG0KAxKUxdD9MGOAWZTAnX5Vo/s750/b.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="750" height="475" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXJ2VoFtJCqEJ-MMUvAaImsBddolBHw8gkYChRS3DkCL4fqmcCAjVMROHciTaxNYi03zRf0n3rajQiq-yy93dY9L451CBMyv0-fzCYNOlRYVyceFR5Y9VG0KAxKUxdD9MGOAWZTAnX5Vo/w655-h475/b.jpg" width="655" /></a><br style="text-align: left;" /><br style="text-align: left;" /></span><div style="text-align: left;"><span style="font-size: medium;">In the letter dated 9 October, 191and sent after US troops were pulled out of Syria, Mr Trump told Mr Erdogan: "Don't be a tough guy. Don't be a fool!" President Trump was urging Turkey not to launch a military offensive against Kurdish-led forces in northern Syria, but Mr Erdogan ignored this request.</span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_ZLgsJ1V9DBjgonx8x4WjNz39SO7TXoPxhjrwHkvAHHfwfqbB4PME77n6tSEkckEWhBL8yfPdwivZgh9tnsy22a0WLNhhBpVLMkJLb9J5waCUPF8c3H33kQb_o8Luf3lagTdc5rA8iz4/s1280/aa1.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="860" data-original-width="1280" height="446" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_ZLgsJ1V9DBjgonx8x4WjNz39SO7TXoPxhjrwHkvAHHfwfqbB4PME77n6tSEkckEWhBL8yfPdwivZgh9tnsy22a0WLNhhBpVLMkJLb9J5waCUPF8c3H33kQb_o8Luf3lagTdc5rA8iz4/w665-h446/aa1.jpg" width="665" /></span></a></div><span style="font-size: medium;"><br /><span><br /></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpjrqsuh5vVQXsS9eKY8hN_NALdch4Q5k5bfaaDSazltt-tv7CWncJsdmjEa22YY7YCY0dOfp_-Y_gB4md3YNxeWSYSnMoONiYdig_lc7GHDUiltnodHnSS62JO00QIrCOzSHXpxAHkXk/s1320/aa1.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="935" data-original-width="1320" height="521" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpjrqsuh5vVQXsS9eKY8hN_NALdch4Q5k5bfaaDSazltt-tv7CWncJsdmjEa22YY7YCY0dOfp_-Y_gB4md3YNxeWSYSnMoONiYdig_lc7GHDUiltnodHnSS62JO00QIrCOzSHXpxAHkXk/w734-h521/aa1.jpg" width="734" /></span></a></div></div></div>
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<tr><td><span style="font-size: medium;"><span>Saudi Arabia and Human Rights Council, Tom Janssen, The Netherlands.</span><br />
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<span style="font-size: medium;">The September 2015 decision to appoint a Saudi diplomat to chair the UNHRC's Consultative Group, responsible for the selection of dozens of experts charged with addressing human rights cases in countries around the world, has been met with astonishment given Saudi Arabia's human rights record.</span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div>
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<tr><td class="tr-caption"><span style="font-size: medium;">David Horsey, Los Angeles Times</span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdF5D_wqKKDLfpxOnstlt-9kw5uo2lmiH9AOJhjkBCcPsXGFw7LAJ7xZNtlm34vOz39H9SAHN-ZClrib6ZaBaIf1WebvPugbetY0NDZn2OTNkWwhm72kAy1l4d4-DIPtVYykVUtHqu4n0/s1600/%25D9%2586.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="788" data-original-width="1155" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdF5D_wqKKDLfpxOnstlt-9kw5uo2lmiH9AOJhjkBCcPsXGFw7LAJ7xZNtlm34vOz39H9SAHN-ZClrib6ZaBaIf1WebvPugbetY0NDZn2OTNkWwhm72kAy1l4d4-DIPtVYykVUtHqu4n0/s640/%25D9%2586.jpg" width="640" /></span></a></div>
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<span><span><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Eight5" style="color: #7f8866; text-decoration: none;"></a></span><div dir="ltr" trbidi="on"><div dir="ltr" trbidi="on"><div dir="ltr" trbidi="on"><div class="columns-inner" style="background-color: #d0d4b8; min-height: 0px;"><div class="column-center-outer" style="background-color: white; float: left; position: relative; width: 810px;"><div class="column-center-inner" style="padding: 20px 0px;"><div class="main section" id="main" style="margin: 0px 20px;"><div class="widget Blog" data-version="1" id="Blog1" style="line-height: 1.4; margin: 0px 0px 30px; min-height: 0px; position: relative;"><div class="blog-posts hfeed"><div class="date-outer" style="margin-bottom: 2em;"><div class="date-posts"><div class="post-outer"><div class="post hentry" style="min-height: 0px; position: relative;"><div class="post-body entry-content" style="color: #1f1c1c; font-family: Calibri; line-height: 1.4; position: relative; width: 770px;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td class="tr-caption"><div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" trbidi="on"><br /><span><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Trump" style="color: #7f8866; text-decoration-line: none;"></a><br /></span><b><span style="font-size: large;"><br /></span></b><h4 style="margin: 0px; position: relative;"><span style="color: #b45f06; font-size: x-large; font-weight: normal;">Donald Trump's 'chaos' presidency</span></h4></div><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTg-0xusucO_-0S_ezr28F_jrSoXeKBOaB2-TgD7ar0jpwy7A5GpAuxkcrRXqOj_vbt7-owzE0eEs9zs4_BHxwxBZrP5FtHpp33WFS0k0GQ3znDHIElwk6ytw9jT6UvaWUkvom8LDzLks/s1600/A.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span><img border="0" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTg-0xusucO_-0S_ezr28F_jrSoXeKBOaB2-TgD7ar0jpwy7A5GpAuxkcrRXqOj_vbt7-owzE0eEs9zs4_BHxwxBZrP5FtHpp33WFS0k0GQ3znDHIElwk6ytw9jT6UvaWUkvom8LDzLks/s640/A.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td><div style="text-align: left;"><span><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">Donald Trump went from a long-shot contender to the Republican party's presumptive nominee for president in April 2016. There was much Republican hand-wringing over his presumptive nomination to face against his Democratic challenger to the White House, but the boastful billionaire said he doesn’t care, and it doesn’t matter. A growing chorus of senior Republican leaders joined the “anything but Trump movement,” including 2012 Republican presidential nominee Mitt Romney and the last two Republican presidents, George W. Bush and George H.W. Bush.</span></div></td></tr></tbody></table><span style="font-size: medium;"><br /><br /></span><span><span style="font-size: medium;"><br /><br /></span><br /></span><br /><div class="separator" style="clear: both; text-align: center;"><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJYa54Zfgnj2uM3RDmdBRz7U9feE5Y-CWu4JbGAzBdnb1mODZ50n-77L28lKsnxGPQCjWtrm4r5a7Wwwzkfbs0YRhCnbLjolAlmRHG3l54Z7oGFE4Fn6Lc9lpbP_2AyjE3qHyFrntgI-g/s1600/a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="807" height="465" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJYa54Zfgnj2uM3RDmdBRz7U9feE5Y-CWu4JbGAzBdnb1mODZ50n-77L28lKsnxGPQCjWtrm4r5a7Wwwzkfbs0YRhCnbLjolAlmRHG3l54Z7oGFE4Fn6Lc9lpbP_2AyjE3qHyFrntgI-g/s640/a.jpg" width="640" /></a></span></div><span><br /><br /><div dir="ltr" trbidi="on"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ3RqL7oUQ3O1otwc1dqZq0jjvRU2HQ0_5rOPY9keWRbtPaj3DhPQ-ko1mQpNNsTw0TLtg1CMPSeUILClypVAH-M59-nPyxWRdkCXKzoQKz2pSZFwKEdE5-wOLZ2LaC-VctKA4JHGRcP4/s1600/a.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="522" data-original-width="807" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ3RqL7oUQ3O1otwc1dqZq0jjvRU2HQ0_5rOPY9keWRbtPaj3DhPQ-ko1mQpNNsTw0TLtg1CMPSeUILClypVAH-M59-nPyxWRdkCXKzoQKz2pSZFwKEdE5-wOLZ2LaC-VctKA4JHGRcP4/s640/a.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">Donald Trump, like many a businessman-turned-politician before him, argued that if he was elected, he would bring his managerial acumen to Washington, making government run like a business with efficiency and skill. What we’ve seen instead is the most chaotic and incompetent White House in living memory. And it’s only getting worse. </span></div><span><div style="text-align: left;"><span style="color: #1f1c1c;">Paul Waldman July 27, 2017, The Washington Post</span></div><br /></span></td></tr></tbody></table><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbK_RvaKz_clCez8VHpmEEI0HwO7LrmSl8IBXxJURGFJe5PZ7LsSUcnFRmsvGjcr1UoD7AiMNh1yVb_vh_eXpHJEGSZ_4h5fT33rjYJ1ZvE1WPtJIvF514GsTo4fJhXbFLYUTUBwGyXtg/s1600/a.jpg" style="margin-left: auto; margin-right: auto;"><span><img border="0" data-original-height="586" data-original-width="807" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbK_RvaKz_clCez8VHpmEEI0HwO7LrmSl8IBXxJURGFJe5PZ7LsSUcnFRmsvGjcr1UoD7AiMNh1yVb_vh_eXpHJEGSZ_4h5fT33rjYJ1ZvE1WPtJIvF514GsTo4fJhXbFLYUTUBwGyXtg/s640/a.jpg" width="640" /></span></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><br /><span>Media outlets including Vanity Fair have noted that [Richard] Spencer, at a 2016 alt-right conference, said, "To be white is to be a striver, a crusader, an explorer and a conqueror. We build, we produce, we go upward. And we recognize a central lie of American race relations. We don’t exploit other groups -- we don’t gain anything from their presence. They need us, and not the other way around. ... America was, until this past generation, a white country, designed for ourselves and our posterity. It is our creation, it is our inheritance, and it belongs to us." (...)<br /><br />Stephen Miller was ‘claimed as a mentee by Richard Spencer, who is an avowed open white nationalist’, ..., According to Vanity Fair, Spencer says he became aware of Miller when both were at Duke University and was "impressed" with his communications ability. <br /><br /> [Steve] Bannon, a senior counselor to the president, did previously run Breitbart.com before joining the Trump presidential campaign. And he did tell Mother Jones, "We’re the platform for the alt-right," during an interview at the 2016 Republican National Convention.<br /><br />Sebastian Gorka "wore the medal of Vitézi Rend, a Nazi organization." Gorka serves as deputy assistant to the president and also appears on television to represent the administration. But Gorka has attracted controversy for, among other things, wearing symbols of a successor group to Vitézi Rend, an honorary order that had originally been founded in 1920 by Miklós Horthy, a Hungarian ally of Adolf Hitler.<br /> -- Louis Jacobson, August 15th, 2017, Politifact</span></span></td></tr></tbody></table><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTFUcaYJZiRfBg3b4WQlpdTGXkG4JEV9RX9VxcnLU38fS8rv2nMXpvYkwma5y68P8PpGyUKxqCnh4OJp4Q2JvsNVv2mJ2h1lX9QbeFgStIvaDxrq-ZZ88rMQpcRKRE3NTzqR8RrB1fayE/s1600/A.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="779" data-original-width="1024" height="487" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTFUcaYJZiRfBg3b4WQlpdTGXkG4JEV9RX9VxcnLU38fS8rv2nMXpvYkwma5y68P8PpGyUKxqCnh4OJp4Q2JvsNVv2mJ2h1lX9QbeFgStIvaDxrq-ZZ88rMQpcRKRE3NTzqR8RrB1fayE/s640/A.JPG" width="640" /></a></div><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6N0BB3s1qmLZuvyEJVOUxMlZ9iAbo4tO_ujBwaI_8pqaqolqtMlGfAjEk7dp8zL_CZnsrHV5oMswuZ5eAo6Wmli5qQWdsvM_L8plR1QK64UVUVb2tQXznFGPQAe23LjXcaJ5GiG-7gLo/s1600/a.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="613" data-original-width="807" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6N0BB3s1qmLZuvyEJVOUxMlZ9iAbo4tO_ujBwaI_8pqaqolqtMlGfAjEk7dp8zL_CZnsrHV5oMswuZ5eAo6Wmli5qQWdsvM_L8plR1QK64UVUVb2tQXznFGPQAe23LjXcaJ5GiG-7gLo/s640/a.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><br />The dismay expressed by many Republicans about President Trump’s response to the events in Charlottesville last weekend will probably further increase the already existing speculation about whether Trump will be the Republican nominee again in 2020. (...) Republican elected officials seem fed up with Trump’s incompetence and name-calling. There are also signs that Mike Pence is building a political operation with 2020 in mind.<br />-- Richard Skinner, Aug 15, 2017, Vox</span></td></tr></tbody></table><br /></div><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNs6hMHdFfSd86ZoudEyRK2Na4Rue-HHxtMYvJOupzU9zj_S199tJFkFPb6MknK_6Vj9kJ384p4mQ55lXoPKQpymx6e0Jodtn32FUQxS9QQC2S22Kng2E3x2BaMjkL-3YRftJnvTYqYUc/s1600/a1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="465" data-original-width="620" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNs6hMHdFfSd86ZoudEyRK2Na4Rue-HHxtMYvJOupzU9zj_S199tJFkFPb6MknK_6Vj9kJ384p4mQ55lXoPKQpymx6e0Jodtn32FUQxS9QQC2S22Kng2E3x2BaMjkL-3YRftJnvTYqYUc/s640/a1.JPG" width="640" /></a><span style="color: #1f1c1c;"></span></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2YSNYCMcVFzQeyRyX6BVZiQK4UflWBq5wFKLIDy6VjfzAqWLRrwcEukexgpPQFlJzcEN1i8drfMBdzgUhK8_T54if8dOVkuabYW1D1k0_Bo4Y2oTk1djf7U5LzyBIfTEeHn5jEmFKTRA/s1600/a1.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="450" data-original-width="620" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2YSNYCMcVFzQeyRyX6BVZiQK4UflWBq5wFKLIDy6VjfzAqWLRrwcEukexgpPQFlJzcEN1i8drfMBdzgUhK8_T54if8dOVkuabYW1D1k0_Bo4Y2oTk1djf7U5LzyBIfTEeHn5jEmFKTRA/s640/a1.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><div><br /></div><div><span style="font-size: medium;">Retired Army lieutenant general Michael Flynn who served in Afghanistan and Iraq, earned numerous awards during his military career and was appointed by President Barack Obama in 2012 to run the Defense Intelligence Agency, the top military intelligence service in the country. After two years on the job, Flynn was forced out and retired from the military. He launched a consulting firm and reemerged in 2016 as a Trump adviser. He became a prominent campaign surrogate and gave a polarizing speech at the GOP convention calling for Hillary Clinton to be jailed.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">After Trump won the election, he picked Flynn to become his national security adviser. In a series of calls with Russian Ambassador Sergey Kislyak, Flynn undercut Obama's newly announced sanctions against Russia for meddling in the 2016 election. In the calls, Flynn also undermined the official US position toward a United Nations resolution about Israel, according to court filings.</span></div><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;">These calls were intercepted by routine US surveillance of foreign diplomats, and US officials leaked details to the press, a potentially illegal leak because the information is highly classified. Flynn misled his fellow Trump officials by saying sanctions hadn't been discussed, and those officials repeated Flynn's false denials on television. Because the calls had been intercepted by US intelligence, the FBI and Justice Department knew that the public explanation from team Trump wasn't true. Days after Trump took office, the FBI questioned Flynn about the calls, and he told four distinct lies, according to court filings.</span></div></td></tr></tbody></table><br /><br /><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkKGC38ZIn2ahUp3xMVSVM-_DSdJTxc1a1ZexRCSxd2J2YUH8I1Og7vSxz7IzWOpDbmTfD2sOJp0fvWbSjBxiTbqvvL45GgnVKL_H_5_lv_kEYHtXzcx7qxbzvEgs2i1UrsSDD_4LaYPM/s829/b.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="645" data-original-width="829" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkKGC38ZIn2ahUp3xMVSVM-_DSdJTxc1a1ZexRCSxd2J2YUH8I1Og7vSxz7IzWOpDbmTfD2sOJp0fvWbSjBxiTbqvvL45GgnVKL_H_5_lv_kEYHtXzcx7qxbzvEgs2i1UrsSDD_4LaYPM/w632-h492/b.jpg" width="632" /></a><br /><br /><br /><br /><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9Io1UoZrJoirlThrSk-4selSV-QbE38KDtnKRUmf6DaxDRYOF1uyy_GAZrPjfnYgMqfUoykT5bxw18NQnRQFKBxagFGMpkfdtdi-CFttUqf2oyhxI9EZ0upHPbj8CSWV8mHY1R5v6uHc/s1600/a1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="674" data-original-width="960" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9Io1UoZrJoirlThrSk-4selSV-QbE38KDtnKRUmf6DaxDRYOF1uyy_GAZrPjfnYgMqfUoykT5bxw18NQnRQFKBxagFGMpkfdtdi-CFttUqf2oyhxI9EZ0upHPbj8CSWV8mHY1R5v6uHc/s640/a1.JPG" width="640" /></a></div><br /><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcU7Z3I-loysTc6QE9zvvyyvQ2etMdUd5WPL28H0fU53PLUnzu0GnYxfV1F68NZzbDdTe2R6aWazPiYQCaLPisj61Ov7g4KASt0Eup2vMhFdh94PALWqY-8hZTc3qU2-yJeLlJPVOKTQQ/s1600/a1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="661" height="506" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcU7Z3I-loysTc6QE9zvvyyvQ2etMdUd5WPL28H0fU53PLUnzu0GnYxfV1F68NZzbDdTe2R6aWazPiYQCaLPisj61Ov7g4KASt0Eup2vMhFdh94PALWqY-8hZTc3qU2-yJeLlJPVOKTQQ/s640/a1.JPG" width="640" /></a><span style="color: #1f1c1c;"></span></div><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmlwGnTAH3P-IQHZ57XaFmmbGK08tYnTqSOjK1VmePfOlZP8iG5c0g7rRg7990xNPRmkcks_rAeBTsMXunyYQfNuAB2kfrTXNdDff1h6Njrf7dT2rLKro4Itg55L7sYmAZq9IRTC6jREA/s1600/a1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="404" data-original-width="500" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmlwGnTAH3P-IQHZ57XaFmmbGK08tYnTqSOjK1VmePfOlZP8iG5c0g7rRg7990xNPRmkcks_rAeBTsMXunyYQfNuAB2kfrTXNdDff1h6Njrf7dT2rLKro4Itg55L7sYmAZq9IRTC6jREA/s640/a1.JPG" width="640" /></a><span style="color: #1f1c1c;"></span></div><div style="margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm4MByCzGnjuOh3eosWQ5S-8A21qmdX1IxShqrqI7rpU-Pvfd3-SOnNKQX2b7u46yk0hEqcoQMrfnsVl9FE5ioK4URKzFLd4OYPpYUTzMtN0aYymdKFTrP0Ugsa3nx-rqNXeX2g0D3MHk/s1600/a1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="620" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm4MByCzGnjuOh3eosWQ5S-8A21qmdX1IxShqrqI7rpU-Pvfd3-SOnNKQX2b7u46yk0hEqcoQMrfnsVl9FE5ioK4URKzFLd4OYPpYUTzMtN0aYymdKFTrP0Ugsa3nx-rqNXeX2g0D3MHk/s640/a1.JPG" width="640" /></a><span style="color: #1f1c1c;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhisDsjNzWESpGkVSsN3q4GepOO7-d7MU_kl1V9Ki4MH0yFfnhTjlCi0MbW2ocb4DUn-BtppVsPPbqXSiaCzCkr7gtf5zZ2b6ks8VDYlSIlh5gkq343zwb17dGHfiSzLZHfAam90TgHdgI/s1600/a1.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="866" data-original-width="1149" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhisDsjNzWESpGkVSsN3q4GepOO7-d7MU_kl1V9Ki4MH0yFfnhTjlCi0MbW2ocb4DUn-BtppVsPPbqXSiaCzCkr7gtf5zZ2b6ks8VDYlSIlh5gkq343zwb17dGHfiSzLZHfAam90TgHdgI/s640/a1.JPG" width="640" /></a></div><span><br />S<span style="font-size: medium;">ecretary of State Rex Tillerson was fired by President Donald Trump, according to White House officials’ statements on March 2018. He was in office for a little over a year, one of the shortest tenures in modern history. The former Exxon Mobil CEO, whose nomination was initially greeted warmly by prominent foreign policy hands, left office without any major accomplishments. </span></span></span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><br /></span></div></div><div dir="ltr" style="text-align: left;" trbidi="on"><span><span><span style="font-size: medium;">Many expected Tillerson to be one of the “adults in the room,” helping Secretary of Defense James Mattis rein in some of Trump’s wildest ideas. His attempts to play that role backfired — his ham-handed attempts to manage Trump alienated the president, who has reportedly complained about his “totally establishment” views on foreign policy.</span><br /></span><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Cl3rsXJbL9e7WPNi8YQDbmEpxxXSLvHV-fAlBtHZOB6xHFyCDMJyxNq4N-cc4T-GXv6W_dNEJ5j6tceq99ysVjn9RAtIU3GIO5FSXGxhjzneudtxWJSaNTXrWk3JLH1i_-eforsHKOU/s1600/a.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="542" data-original-width="720" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2Cl3rsXJbL9e7WPNi8YQDbmEpxxXSLvHV-fAlBtHZOB6xHFyCDMJyxNq4N-cc4T-GXv6W_dNEJ5j6tceq99ysVjn9RAtIU3GIO5FSXGxhjzneudtxWJSaNTXrWk3JLH1i_-eforsHKOU/s640/a.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfBcWff8El-qbobVKij5gaR-uzhpiaazX9akL9p-rTRYi1aTWQZuK0S-BZN-VzpMzR7uScPNlSwyhcHy_XH3q4jHgb7kTpVulsUs5LRtRX30jIJvgRUZvHUJCrNZVujDaFIqb4xfgW24M/s1600/%25D9%2586.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="409" data-original-width="600" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfBcWff8El-qbobVKij5gaR-uzhpiaazX9akL9p-rTRYi1aTWQZuK0S-BZN-VzpMzR7uScPNlSwyhcHy_XH3q4jHgb7kTpVulsUs5LRtRX30jIJvgRUZvHUJCrNZVujDaFIqb4xfgW24M/s640/%25D9%2586.jpg" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">After months of escalating tensions between North Korea and the United States, officials made a stunning announcement on March 2018: Kim Jong-un, the North’s leader, had invited President Trump to meet and discuss his country’s nuclear program — and Mr. Trump accepted. The report was particularly surprising given that no sitting American president has ever met with a North Korean leader, and that Mr. Trump himself had ruled out direct talks unless North Korea agreed to take measurable steps toward relinquishing its nuclear arsenal.</span></div></td></tr></tbody></table><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih4UapsKMsmToukzvGUNGvjz7c3ZwYwVHnaR1x3EUcs2-RgRRYKr6EaZlCgtEZnijNMbtcCIBMgmeCHrF4rM-CAQj4DIVjpRDIwoWG2wFmN-9YeEh9OriAQVjz_VxXakHeT66V847ltFM/s1600/%25D9%2586.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: right;"><span><img border="0" data-original-height="759" data-original-width="1009" height="722" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih4UapsKMsmToukzvGUNGvjz7c3ZwYwVHnaR1x3EUcs2-RgRRYKr6EaZlCgtEZnijNMbtcCIBMgmeCHrF4rM-CAQj4DIVjpRDIwoWG2wFmN-9YeEh9OriAQVjz_VxXakHeT66V847ltFM/w963-h722/%25D9%2586.jpg" width="963" /></span></a><div style="margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio71TFZpV0lxx-h77qNzT0iEQ-k8LSGkBZ2uwwVPQj_SWkz-k1gTlYXn2vhbH5x2o_zX6F149MgTKgzDVU1QM7sB8NIMFk53FGHTuOVcHtzfWXmTakSQ8nAkWPXzXaKaQUageYQewfIRc/s1600/%25D9%2582.jpg" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio71TFZpV0lxx-h77qNzT0iEQ-k8LSGkBZ2uwwVPQj_SWkz-k1gTlYXn2vhbH5x2o_zX6F149MgTKgzDVU1QM7sB8NIMFk53FGHTuOVcHtzfWXmTakSQ8nAkWPXzXaKaQUageYQewfIRc/s1600/%25D9%2582.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="420" data-original-width="600" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio71TFZpV0lxx-h77qNzT0iEQ-k8LSGkBZ2uwwVPQj_SWkz-k1gTlYXn2vhbH5x2o_zX6F149MgTKgzDVU1QM7sB8NIMFk53FGHTuOVcHtzfWXmTakSQ8nAkWPXzXaKaQUageYQewfIRc/s640/%25D9%2582.jpg" width="640" /></a></div></span></div><br /><br /><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5HFHL2cqbRaxF9DuuiBP_9d2PmNqjlQRxJGTEf2aJhCDAGlmLky7lWI9Qjc2wFtTMMHXO5ToX0lO3gDawZULZluzS2802_izUdn87ep4YtUPhbS7U5jXYEczEzWzx6YhnbciWAIhxytU/s1600/d.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="518" data-original-width="984" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5HFHL2cqbRaxF9DuuiBP_9d2PmNqjlQRxJGTEf2aJhCDAGlmLky7lWI9Qjc2wFtTMMHXO5ToX0lO3gDawZULZluzS2802_izUdn87ep4YtUPhbS7U5jXYEczEzWzx6YhnbciWAIhxytU/s640/d.jpg" width="640" /></a></div></td></tr></tbody></table></div><div class="pb-subscribe-button" style="background: transparent; border: 0px; box-sizing: border-box; color: #1f1c1c; font-family: Calibri; margin: 0px auto; outline: 0px; padding: 10px 0px 15px; text-align: center; vertical-align: baseline;"><br /></div><p><span><span style="color: #1f1c1c; font-family: Calibri;">On June 14th 2018 Rob Rogers, Pittsburgh Post-Gazette editorial cartoonist, announced that, after a weeks-long conflict with his editors regarding unpublished anti-Trump cartoons, he has been fired from the paper.</span> </span></p><blockquote class="tr_bq" style="color: #1f1c1c; font-family: Calibri; text-align: left;"><div class="separator" style="clear: both;"><span>... But in the past few weeks, editorial director Keith Burris and publisher John Robinson Block have refused to publish six of Rogers’s cartoons, all criticizing Trump or his policies. Block and Burris have also rejected many of Rogers’s rough sketch ideas for several months. This wasn’t the first time Block has used his position to defend President Trump’s actions; in January he demanded an editorial run in the Post-Gazette and the Toledo Blade (where he is also the publisher) supporting Trump’s use of the term “shithole countries.” I realize now I didn’t recognize this other danger of an authoritarian president: his enablers and the willing supporters who squash dissent and help attack the free press and subvert the Constitution.(...) </span></div></blockquote><p> </p><blockquote class="tr_bq" style="color: #1f1c1c; font-family: Calibri;"><div class="separator" style="clear: both;"><span>The purpose of an editorial cartoonist is to hold politicians and powerful institutions accountable — and we all know how little President Trump thinks he, his family or his sycophants should be held accountable. Rogers was the first American editorial cartoonist to lose his job as a result, but he won’t be the last. Trump has many “fixers.” -- Democracy Dies in Darkness, Ann Telnaes, The Washington Post, June15, 2018</span></div></blockquote><p style="color: #1f1c1c; font-family: Calibri;"><span><br /></span></p><p style="color: #1f1c1c; font-family: Calibri;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYFZlwNm8Dw_U-nqtlly-LEUT9UpCM5ACPyvJhXeLmLCp4a2Kca4eFo91Q9mP5Jy1FePRPDiHS9cJjaP97keCrBJ4VBM54GQKjk74GL1S1IG5LX5smoJ7DIAj6EwUdDiCFQC4yMjRMuwM/s950/aaaa.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="713" data-original-width="950" height="520" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYFZlwNm8Dw_U-nqtlly-LEUT9UpCM5ACPyvJhXeLmLCp4a2Kca4eFo91Q9mP5Jy1FePRPDiHS9cJjaP97keCrBJ4VBM54GQKjk74GL1S1IG5LX5smoJ7DIAj6EwUdDiCFQC4yMjRMuwM/w692-h520/aaaa.png" width="692" /></a></div><br /><p></p><p class="css-axufdj evys1bk0" style="border: 0px; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><span><span face="nyt-imperial, georgia, times new roman, times, serif" style="color: #333333;">On May 2018, Trump declared that he was withdrawing from the Iran nuclear deal, unraveling the signature foreign policy achievement of his predecessor Barack Obama, isolating the United States from its Western allies and sowing uncertainty before a risky nuclear negotiation with North Korea.</span></span></p><p style="color: #1f1c1c; font-family: Calibri;"><span></span></p><p class="css-axufdj evys1bk0" style="border: 0px; color: #333333; font-family: nyt-imperial, georgia, "times new roman", times, serif; font-stretch: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; line-height: 1.875rem; margin: 0px 0px 0.9375rem; max-width: 100%; padding: 0px; text-size-adjust: 100%; vertical-align: baseline; width: 600px;"><span>The decision, while long anticipated and widely telegraphed, left the 2015 agreement reached by seven countries after more than two years of grueling negotiations in tatters. The United States then reimposed the stringent sanctions it imposed on Iran before the deal and introduced new penalties.</span></p><p style="color: #1f1c1c; font-family: Calibri;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1dIvnURabZSifX84AeWvNZa3kFrIVWoauEL8-r7wZhGU8GSXDxcZMlZkEOUYgFHkOt-n0rUWYkE9KpStu0M6bJ21u_M1OlS-avkL93DkqZS7HCyspmqBowoHzbOYplEn-MjEBIpemrEU/s1200/aaaa.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="916" data-original-width="1200" height="625" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1dIvnURabZSifX84AeWvNZa3kFrIVWoauEL8-r7wZhGU8GSXDxcZMlZkEOUYgFHkOt-n0rUWYkE9KpStu0M6bJ21u_M1OlS-avkL93DkqZS7HCyspmqBowoHzbOYplEn-MjEBIpemrEU/w820-h625/aaaa.png" width="820" /></a></div><br /><span><br /></span><p></p><p style="color: #1f1c1c; font-family: Calibri;"><span><br /></span></p><p style="color: #1f1c1c; font-family: Calibri;"><span><br /></span></p><p style="color: #1f1c1c; font-family: Calibri;"></p><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU166RuLY7gM0EVKFGt-VJNGkxhZRWk-gEp4erGnI3tQGHQzSDfWEGPpUKWq1d2Z-WBbCAKphw9cJRsknRD_Ho6LZ3kIb01kHwRZ0ZlnNjD1esfpyybWstY6Dgz50L_-1mOjHyw4lP1k8/s2048/b.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1470" data-original-width="2048" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU166RuLY7gM0EVKFGt-VJNGkxhZRWk-gEp4erGnI3tQGHQzSDfWEGPpUKWq1d2Z-WBbCAKphw9cJRsknRD_Ho6LZ3kIb01kHwRZ0ZlnNjD1esfpyybWstY6Dgz50L_-1mOjHyw4lP1k8/w598-h430/b.jpg" width="598" /></a></div><span><span style="color: #1f1c1c; font-family: Calibri;">The next day, he met Trump in the Oval Office. Mattis made his case for keeping troops in Syria. Trump rejected his arguments. Thirty minutes into the conversation, Mattis told the president, “You’re going to have to get the next secretary of defense to lose to ISIS. I’m not going to do it.” He handed Trump his resignation letter, a letter that would soon become one of the most famous documents of the Trump presidency thus far. T</span><span style="color: #1f1c1c; font-family: Calibri;">he Atlantic- October 2019</span><br /><span style="color: #1f1c1c; font-family: Calibri;"> </span></span><p style="color: #1f1c1c; font-family: Calibri;"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #1f1c1c; font-family: Calibri; margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyocrSXoKoUXpgZDvtjQHYLFWDKfrh0ijeHVrwYJajPfm7TdPX2lWR_1rvtYTNMplRRmZdJF8b4lwF278so1eNJQMYEZG9BDi1vKbamblih_PlhQZjDr1bkJU0rKTxrvKH2rBwywBn8tA/s1600/%25D9%2586.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="545" data-original-width="807" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyocrSXoKoUXpgZDvtjQHYLFWDKfrh0ijeHVrwYJajPfm7TdPX2lWR_1rvtYTNMplRRmZdJF8b4lwF278so1eNJQMYEZG9BDi1vKbamblih_PlhQZjDr1bkJU0rKTxrvKH2rBwywBn8tA/w576-h388/%25D9%2586.jpg" width="576" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span><span><br />The Times is taking the rare step of publishing an anonymous Op-Ed essay. We have done so at the request of the author, a senior official in the Trump administration whose identity is known to us and whose job would be jeopardized by its disclosure. We believe publishing this essay anonymously is the only way to deliver an important perspective to our readers. -- OP Ed. New York Times , Sept. 5, 2018</span><br /></span><blockquote class="tr_bq"><span>President Trump is facing a test to his presidency unlike any faced by a modern American leader. It’s not just that the special counsel looms large. Or that the country is bitterly divided over Mr. Trump’s leadership. Or even that his party might well lose the House to an opposition hellbent on his downfall. The dilemma — which he does not fully grasp — is that many of the senior officials in his own administration are working diligently from within to frustrate parts of his agenda and his worst inclinations.</span></blockquote></td></tr></tbody></table><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEVa46K3BtctiFAjs9fttICKNHCCN_ajn1wzfZoiVcZ5cPcy_XjNJtuCUHJT0bYyVspJFTBXy6Jc6ckpSrEjvQabK_7EV2TaqWdzrr4zd5TBhCDLak-IXIC_lBVuJN1tO11rBVhNSCfoY/s2048/b.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1512" data-original-width="2048" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEVa46K3BtctiFAjs9fttICKNHCCN_ajn1wzfZoiVcZ5cPcy_XjNJtuCUHJT0bYyVspJFTBXy6Jc6ckpSrEjvQabK_7EV2TaqWdzrr4zd5TBhCDLak-IXIC_lBVuJN1tO11rBVhNSCfoY/w683-h504/b.jpg" width="683" /></a></div><br /><div style="text-align: left;"><span>On December 7, 2018, the US media reported that Kelly and Trump were no longer on speaking terms and that Kelly was expected to resign in the coming days. On December 8, Trump announced that Kelly would be leaving at the end of the year.</span></div><div style="text-align: left;"><span><br /></span></div><div style="text-align: left;"><span>The typical thing to say about Kelly is that he brought order to the White House process. He was the “grown-up in the room” who enforced discipline, but, ultimately, even Kelly, a retired Marine Corps general, could not curb President Donald Trump’s most egregious instincts.</span></div></div></div></div></div></div></div></div></div></div></div></div></div></div><br /><br /><div style="text-align: center;"><br /></div><br /><br /><span> </span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7UVCABb2QCcja0jC9UNYBmev-q5ZznQG-Ok8RoQVC3uLdJt_OFmxUPgDiqm2hPJKG-d9Q50PA_x16yyJLz_POnAB8JSP3xUYtQ-PRIvzmPbaaBuAZDo3Xn2fnYmcbZgxdjCCP8W2UeKk/s1600/%25D8%25B4.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="809" data-original-width="1140" height="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7UVCABb2QCcja0jC9UNYBmev-q5ZznQG-Ok8RoQVC3uLdJt_OFmxUPgDiqm2hPJKG-d9Q50PA_x16yyJLz_POnAB8JSP3xUYtQ-PRIvzmPbaaBuAZDo3Xn2fnYmcbZgxdjCCP8W2UeKk/s640/%25D8%25B4.png" width="640" /></a></td></tr><tr><td class="tr-caption"><blockquote class="tr_bq" style="text-align: left;"><span>President Donald Trump’s entire impeachment mess began over his efforts to pressure Ukraine to investigate former Vice President Joe Biden’s family and Democrats with the help of his personal lawyer Rudy Giuliani. But even as an impeachment vote in the House Judiciary Committee loomed, both men continued to coordinate on Giuliani’s Ukraine efforts on behalf of his powerful client.</span></blockquote></td></tr></tbody></table><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaDVqTs7NPIZgPeSmZndqkr3vJ5Cxp0w8qiMA5EmHplnuVMcnJ2z9a6TbcY1ovKnwzoQSWwg99AGP-N2_DZGYraCUBV1PHsAbwkXmIzijC84RXsiNtwCaBaLJ0YEn0lyJA_oiSVWHTRx8/s1600/%25D8%25B4.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="596" data-original-width="807" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaDVqTs7NPIZgPeSmZndqkr3vJ5Cxp0w8qiMA5EmHplnuVMcnJ2z9a6TbcY1ovKnwzoQSWwg99AGP-N2_DZGYraCUBV1PHsAbwkXmIzijC84RXsiNtwCaBaLJ0YEn0lyJA_oiSVWHTRx8/s640/%25D8%25B4.png" width="640" /></a></td></tr><tr><td class="tr-caption"><div style="text-align: left;"><span><br /></span></div><div style="text-align: left;"><span>Trump became the third president in American history to be impeached in December 2019, when the House of Representatives voted to impeach him on charges of abuse of power and obstruction of Congress over the Ukraine scandal. <br /><br />Democratic lawmakers say Trump allegedly withheld about $400 million in military aid while pressuring Ukrainian president Volodymyr Zelensky into launching a pair of investigations that would benefit Trump in the 2020 election. <br /><br />“If the Senate doesn’t permit the introduction of all relevant witnesses and of all documents that the House wants to introduce, because the House is the prosecutor here, then the Senate is — is engaging in an unconstitutional and disgusting cover-up,” Jerry Nadler, a New York Democrat, said. <br /><br />Alan Dershowitz, one of Trump's lawyers, argued that a quid pro quo involving a president’s political benefit was fine because all presidents believe their elections are in the public’s interest. “If a president does something which he believes will help him get elected in the public interest, that cannot be the kind of quid pro quo that results in impeachment,” he said. <br /><br />Even as key Republican senators acknowledged Trump’s guilt on charges of abusing power and obstructing Congress, they defied public opinion on January 31, 2020, by voting to block witnesses and documents, paving the way for the president to be acquitted and claim exoneration.</span></div></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkI9H3_jhi-ks2jOWDR1uw4tEQeaMhKeOgbSe9e4f7Fm7bkpBzSRb-MHUfLntTL0qXMqu_Hcq_94HBJ2M6me313JiJSd1C9StVpzgZMsyBamgqVz78Yifh6TcSYKuOl5syVVZ4Oi8LvnY/s1600/%25D8%25B4.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="586" data-original-width="807" height="465" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkI9H3_jhi-ks2jOWDR1uw4tEQeaMhKeOgbSe9e4f7Fm7bkpBzSRb-MHUfLntTL0qXMqu_Hcq_94HBJ2M6me313JiJSd1C9StVpzgZMsyBamgqVz78Yifh6TcSYKuOl5syVVZ4Oi8LvnY/s640/%25D8%25B4.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span><span><br />The Senate acquitted President Trump of charges that he abused his power and obstructed Congress, as Republicans turned back an election-year attempt by House Democrats to remove him from office for pressuring a foreign power to incriminate his political rivals. Senator Mitt Romney of Utah voted to convict President Trump on one of the two impeachment charges, making him the only Republican to support removing Mr. Trump from office.<br /></span><br /></span></td></tr></tbody></table><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheUBxK-DTxPNVteFBSmrtjE6eq4NdMaUhrpFdhNi91QBOPNnG-0HsonRRSDP789NIG5WuYVFBlVo4syq9ydGakuZ4xkw_Xv9Ff6auQQOsHfM8CyjJ-cxG8WwAjM64QJ1UoWZ2ajATluKQ/s1600/A.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="773" data-original-width="1000" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheUBxK-DTxPNVteFBSmrtjE6eq4NdMaUhrpFdhNi91QBOPNnG-0HsonRRSDP789NIG5WuYVFBlVo4syq9ydGakuZ4xkw_Xv9Ff6auQQOsHfM8CyjJ-cxG8WwAjM64QJ1UoWZ2ajATluKQ/s640/A.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span><span><br />The prospect that Barr had misled senators about his independence emerged on March 24, when he released a four-page summary of Mueller's report that eerily echoed the language of the White House propaganda machine. Barr confirmed his critics' worst suspicions on April 18, when he preempted the release of the redacted report with a news conference in which he portrayed White House efforts to derail the investigation as the reasonable reaction of a president "frustrated and angered" about the allegations against him. --<span> </span></span><span>Brian Dickerson, USA TODAY, May 2, 2019</span></span></td></tr></tbody></table><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgteB-i6cFijAewwK3DEp2G07A_WTBktTbJoucwaaMdvMbcjSvVPDi1wzWqwGDsqoTujZ2ZdWCkyvzEUPAPL7vws5UjWBu5WQd7CkBWXdUaXAkfI0KI3c4ynCNDQyLEOpCRtLgXUnUwly4/s1600/Screenshot+2020-02-15+at+10.36.12+PM.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="561" data-original-width="807" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgteB-i6cFijAewwK3DEp2G07A_WTBktTbJoucwaaMdvMbcjSvVPDi1wzWqwGDsqoTujZ2ZdWCkyvzEUPAPL7vws5UjWBu5WQd7CkBWXdUaXAkfI0KI3c4ynCNDQyLEOpCRtLgXUnUwly4/s640/Screenshot+2020-02-15+at+10.36.12+PM.png" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><div style="background-color: white; color: #222222; font-family: "Open Sans", sans-serif; margin-bottom: 28px;"><br /></div><div style="background-color: white; color: #222222; font-family: "Open Sans", sans-serif; margin-bottom: 28px;"><span>More than 1,000 former U.S. Justice Department officials on February 2020 called for Attorney General William Barr to resign over his handling of the trial of a longtime adviser of President Donald Trump. The former officials, who served under both Republican and Democratic administrations, criticized Barr, the country's top law enforcement officer, for overruling his own prosecutors in a case that has prompted accusations that the Trump administration is weakening the rule of law.</span></div><div style="background-color: white; color: #222222; font-family: "Open Sans", sans-serif; margin-bottom: 28px;"><span>The Justice Department abandoned prosecutors' initial recommendation to give the veteran Republican operative Roger Stone seven to nine years in prison after he was found guilty in November of seven counts of lying to Congress, obstruction and witness tampering. That prompted all four prosecutors to quit the case.</span></div><div style="background-color: white; margin-bottom: 28px;"><span face="Open Sans, sans-serif" style="color: #222222;"><span>Roger Stone, has a tattoo of Richard Nixon’s face on his upper back. Right in the center, under his neck, there’s a smiling, black and white portrait of the 37th president known “Tricky Dick.” “The reason I’m a Nixonite is because of his indestructibility and resilience,” Stone told The New Yorker. “He never quit. Stone added in the interview that he got the tattoo at the Ink Monkey tattoo shop in Venice Beach.</span></span></div></td></tr></tbody></table><br /><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYZCeIZtlxWHu2sC5j70T43qncyxiv92F4hjEUvx7XvXoeyCQH0JmhraKxcq7x0KDhKzNbSzrc-2Nedjs9OqENL7xSmiAFm9ZJMZXx45FKxMlYi08prbwH5u760ff8bqtUVvP5C0-hu7A/s1600/B.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1064" data-original-width="1560" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYZCeIZtlxWHu2sC5j70T43qncyxiv92F4hjEUvx7XvXoeyCQH0JmhraKxcq7x0KDhKzNbSzrc-2Nedjs9OqENL7xSmiAFm9ZJMZXx45FKxMlYi08prbwH5u760ff8bqtUVvP5C0-hu7A/s640/B.JPG" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_fO3F94XRAuKmHjSRo0eRxuKm9G7KgCOv-VELUyXmQEDbtAjWHgVLwbIHhBcohMzVkKkuxgsST5A9D1yMGAVb2uNwxBY65xp50JqQRVtnPMy2DemXO-Pv9ZoHwz3er2BI6eac_7fyPco/s1600/B.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="451" data-original-width="600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_fO3F94XRAuKmHjSRo0eRxuKm9G7KgCOv-VELUyXmQEDbtAjWHgVLwbIHhBcohMzVkKkuxgsST5A9D1yMGAVb2uNwxBY65xp50JqQRVtnPMy2DemXO-Pv9ZoHwz3er2BI6eac_7fyPco/s640/B.JPG" width="640" /></a></div><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqFqoYCESLCqzTF1tfse1WyfOtsETqPAafYQzrgD2Ddcwwv5IHWucfvol04pxxiVsoA7mAMjJxetWp9iEQJK32yuRYki4NjvPAZl6X2r2K5QjCA3T_gKpBRRYUUah_72uy4gSgiRqcn4M/s1600/A.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1149" data-original-width="1600" height="458" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqFqoYCESLCqzTF1tfse1WyfOtsETqPAafYQzrgD2Ddcwwv5IHWucfvol04pxxiVsoA7mAMjJxetWp9iEQJK32yuRYki4NjvPAZl6X2r2K5QjCA3T_gKpBRRYUUah_72uy4gSgiRqcn4M/s640/A.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span><br /><span>John R. Bolton, the former national security adviser, says in his new book that the House in its impeachment inquiry should have investigated President Trump not just for pressuring Ukraine but for a variety of instances when he sought to use trade negotiations and criminal investigations to further his political interests.<br /><br />The book, “The Room Where It Happened,” was obtained by The New York Times in advance of its scheduled publication and became a political lightning rod in the thick of an election campaign and a No. 1 best seller on Amazon. The Justice Department went to court for the second time seeking to stop publication even as Mr. Trump’s critics complained that Mr. Bolton should have come forward during impeachment proceedings rather than save his account for a $2 million book contract.</span></span></td></tr></tbody></table><br /> </span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnuDj-WOXIW1B-_l7fRIAkjc8V2CYZK9dyfCwXxQrBq7Yr9JjZNqj51CpS0ShvwgbUuwXJ5Ucs3SK-QL3AcGBg27fDbxu-R1f7d4oYXOc8Ix0ISnXOHXaLHpAcTM4fBlqHKMUDRcBrvO4/s807/b.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="612" data-original-width="807" height="475" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnuDj-WOXIW1B-_l7fRIAkjc8V2CYZK9dyfCwXxQrBq7Yr9JjZNqj51CpS0ShvwgbUuwXJ5Ucs3SK-QL3AcGBg27fDbxu-R1f7d4oYXOc8Ix0ISnXOHXaLHpAcTM4fBlqHKMUDRcBrvO4/w625-h475/b.png" width="625" /></span></a></div><div style="text-align: center;"><span face="Helvetica, Arial, sans-serif" style="background-color: white; color: #050505; font-size: medium; white-space: pre-wrap;">Jeff Sessions is buying a drink for BB!</span></div><span><br /><div class="zn-body__read-all" style="background-color: #fefefe; box-sizing: border-box; color: #262626; font-family: CNN, "Helvetica Neue", Helvetica, Arial, Utkal, sans-serif; font-size: large;"><div class="zn-body__paragraph" style="-webkit-font-smoothing: antialiased; box-sizing: border-box; line-height: 1.66667; margin-bottom: 15px; margin-right: 0px;"><span>CNN reported on December 2020 that Trump was frustrated with Barr for saying in an interview that the Justice Department had found no evidence of widespread election fraud. The two men had a "contentious," lengthy meeting inside the West Wing on that subject, according to a person familiar with the meeting. Later, in a press interview, Trump declined to say whether he trusted Barr, a sign that the attorney general, like his predecessor Jeff Sessions, has fallen out of favor with the president.</span></div></div><br /><br /><span style="font-size: large;"><br /></span><div class="separator" style="clear: both;"><span style="color: #cc0000; font-size: x-large;">Covid -19 Endemic and Insurrection</span><br /><span style="font-size: large;"><br /></span></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-size: large; margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZjC9MBHZaDuLDuwxtjc3SWlBFTciDCLrspVWPB862eITUWuiYUUnmqMYA7ZYONOIjhKdAISRUR0d-zBm_-6fPSr6C1thbGi20f9UTvxuKvri80MZxBxbx8kSNMBHS5jV7j7D4YqgCzRo/s1600/A.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="625" data-original-width="807" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZjC9MBHZaDuLDuwxtjc3SWlBFTciDCLrspVWPB862eITUWuiYUUnmqMYA7ZYONOIjhKdAISRUR0d-zBm_-6fPSr6C1thbGi20f9UTvxuKvri80MZxBxbx8kSNMBHS5jV7j7D4YqgCzRo/s640/A.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span><br />On April 23rd 2020, Trump suggested during the White House briefing that experts look into creating injectable treatments for coronavirus using sunlight or disinfectants, prompting public ridicule and Reckitt Benckiser, the company that makes Lysol, to issue a warning to not ingest its products. The next day, Trump claimed he was joking.</span></td></tr></tbody></table><span style="font-size: large;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-size: large; margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2cd3MIbg-agORV8tGiYH556ACudOi4R1adMUXePmD2lrP6KgNk_MkE35b-o5ir1N4Ch6tc3pK90a-xzW3XZl8_NsTs-IOcBxEFuQE6txMJ20Kj8ZnHJeCmnjpflJh9vDqIL5CXWY5NUU/s1600/A.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="543" data-original-width="807" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2cd3MIbg-agORV8tGiYH556ACudOi4R1adMUXePmD2lrP6KgNk_MkE35b-o5ir1N4Ch6tc3pK90a-xzW3XZl8_NsTs-IOcBxEFuQE6txMJ20Kj8ZnHJeCmnjpflJh9vDqIL5CXWY5NUU/s640/A.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="background-color: white;"><span style="color: #2a2a2a; font-family: PublicoText, Georgia, TimesNewRoman, Times New Roman, Times, Baskerville, serif;"><span><br />"So supposing we hit the body with a tremendous — whether it's ultraviolet or just a very powerful light — and I think you said that hasn't been checked because of the testing," Trump said, speaking to Bill Bryan, who led the Department of Homeland Security's science and technology division, during the briefing. "And then I said, supposing you brought the light inside the body, which you can do either through the skin or some other way, and I think you said you're going to test that, too." </span></span></span><span style="color: #2a2a2a; font-family: PublicoText, Georgia, TimesNewRoman, Times New Roman, Times, Baskerville, serif;"><span><br />He added: "I see the disinfectant that knocks it out in a minute, one minute. And is there a way we can do something like that by injection inside or almost a cleaning? As you see, it gets in the lungs, it does a tremendous number on the lungs, so it would be interesting to check that."</span></span></td></tr></tbody></table><br /><br /><br /><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-size: large; margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwjn7QJPpSF70EpIymV8MGQEXUqkhQjtw5acvK40uQZvUY08DlK0FwdbZ202atOKzBKzf9Kki72Pzt4cGR3HeU8nSR0HFeZdtRRI_cyNAzR_7gn4-o2twPYeq8NeETluaTWrKsmjSVtJs/s1600/A.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="545" data-original-width="807" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwjn7QJPpSF70EpIymV8MGQEXUqkhQjtw5acvK40uQZvUY08DlK0FwdbZ202atOKzBKzf9Kki72Pzt4cGR3HeU8nSR0HFeZdtRRI_cyNAzR_7gn4-o2twPYeq8NeETluaTWrKsmjSVtJs/s640/A.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><div style="color: #333335;">President Trump said in the Oval Office Thursday (May 28, 2020) that he would seek to shut down Twitter if it continued to not be "honorable" in its fact-checking and if there was a legal way to do so.</div><div style="color: #333335;"><i>Reality check:</i> Trump does not have the unilateral power to shut down social media platforms. Legal experts agree that doing so would be a violation of the First Amendment.</div><div style="color: #333335;"><br /></div><div style="color: #333335;"><i>The big picture:</i> The comment came as Trump signed an executive order targeting protections for Big Tech companies — a move catalyzed by the president's anger toward Twitter for issuing its first-ever fact-check on one of his tweets, which included misinformation on mail-in voting.</div><div style="color: #333335;"><br /></div><div style="color: #333335;"><i>What he's saying: </i>"If Twitter were not honorable, if you're going to have a guy like [Yoel Roth, Twitter's head of site integrity] being your judge and jury, I think just shut it down as far as I'm concerned." -- <i>Ursula Perano, Axios, May 28, 2020 </i>-</div></td></tr></tbody></table><br /><div class="separator" style="clear: both; font-size: large; text-align: center;"><br /></div><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-size: large; margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgprp8OduCElcxEeFxGDPB2sC1qed6JLiVWzaHvx5iT5VboF6FT-Y-q4jojsZ1GCghhZKbIX6RM-rmNfdPNFSF0gSM4knG9exPNKX1T33O-Av9VDqxyEJ5wCTqt6enkZgOC6fgL7EqvLOI/s1600/A.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="431" data-original-width="768" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgprp8OduCElcxEeFxGDPB2sC1qed6JLiVWzaHvx5iT5VboF6FT-Y-q4jojsZ1GCghhZKbIX6RM-rmNfdPNFSF0gSM4knG9exPNKX1T33O-Av9VDqxyEJ5wCTqt6enkZgOC6fgL7EqvLOI/s640/A.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><div><span><br /></span></div><div><span>On June 1, 2020, police reinforced by National Guard troops forcefully pushed back protesters outside the White House Monday evening to clear a way for President Donald Trump to visit a church, just minutes after he said he wanted a military show of force against violent protests gripping the country.</span></div><div><span><br /></span></div><div><span>As television cameras showed live images of Trump’s quick stop at the historic St. John’s Church, where a small fire caused damage to its basement during protests the night before, the president posed with a Bible and with senior members of administration. Moments before, police had cleared largely peaceful demonstrators from the area, using tear gas and beating some with batons and shields, including at least one news photographer.</span></div></td></tr></tbody></table><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-size: large; margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2s_K_fzan7p1NkC63llEdBXKiDEs9dmqUGzO0o2mUrOnpQapk1t1bbtQkuJNIIHDKHKeHf1x_w2g29JIQ3sT3x2tAlQDvW0prHuBTTNcWChhO6oi7uNwD8_BCqfWgrrBkFafdoQRIyro/s1600/A.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="586" data-original-width="807" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2s_K_fzan7p1NkC63llEdBXKiDEs9dmqUGzO0o2mUrOnpQapk1t1bbtQkuJNIIHDKHKeHf1x_w2g29JIQ3sT3x2tAlQDvW0prHuBTTNcWChhO6oi7uNwD8_BCqfWgrrBkFafdoQRIyro/s640/A.JPG" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span><span> </span><br /><span>On Monday (June 1, 2020) night, as federal law enforcement officers fired rubber bullets and chemical gas at protesters outside the White House, President Trump stood in the Rose Garden and issued a threat. If the nation’s governors don’t call up National Guard troops to “dominate the streets,” Trump said, “I will deploy the United States military and quickly solve the problem for them.” After Trump made the threat, three words began trending on Twitter: the Insurrection Act. <br /></span></span><span><span><br /></span><span> On Wednesday, (June 3, 2020) Defense Secretary Mark T. Esper said he does not support using active-duty military forces to deal with the unrest in U.S. cities — a statement that put him at odds with his boss. Then Trump was denounced by his former Defense Secretary, Jim Mattis, for the threat to invoke the Insurrection Act and dividing Americans. -- Washington Post</span></span></td></tr></tbody></table><br /><br /><br /><div class="separator" style="clear: both; font-size: large;"><span><br /></span></div><span style="font-size: large;"><span><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Eight2" style="color: #7f8866; text-decoration-line: none;"></a></span><br /></span><div class="separator" style="clear: both; font-size: large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX00fBAhyMnfAGRSC2HkkN6w-oIfWPN2WVVCuJt6T3f_phyaFZiuN2rUOa-ugsfbM8pFQsm-SJGIVfo9ulc9D7kBm7VbAPYkX1eXGrJ_HZExzb4i8jVf37jDnj_7tBpd6JyP2TLwcFGl8/s807/b.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="673" data-original-width="807" height="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX00fBAhyMnfAGRSC2HkkN6w-oIfWPN2WVVCuJt6T3f_phyaFZiuN2rUOa-ugsfbM8pFQsm-SJGIVfo9ulc9D7kBm7VbAPYkX1eXGrJ_HZExzb4i8jVf37jDnj_7tBpd6JyP2TLwcFGl8/w720-h600/b.png" width="720" /></a></div><br /><div class="separator" style="clear: both; font-size: large;"><div><span> </span></div><div><span><br /></span></div><div><span><br /></span></div><div><span><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqxeixhKuGKfV0G9TfVhKvxtzwz5htA7XFfm4m6N94RGc1T0ooCANJ_nhi79Yr8W3CwKixWLJokBuAOd0oFZLXYcL3BvYOXJj00zerv6w4yABBWMq6klXchwHkMY3IxcbZsdHcReS6DpE/s2048/aaaa.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1488" data-original-width="2048" height="521" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqxeixhKuGKfV0G9TfVhKvxtzwz5htA7XFfm4m6N94RGc1T0ooCANJ_nhi79Yr8W3CwKixWLJokBuAOd0oFZLXYcL3BvYOXJj00zerv6w4yABBWMq6klXchwHkMY3IxcbZsdHcReS6DpE/w719-h521/aaaa.png" width="719" /></a></div><br /><span><br /></span></div><div><span><br /></span></div><div><span><br /></span></div><div><span><br /></span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC_7ph7q1yErKUyL7C-TzHUHAODPTi1tNpmH2ltZf2srSWFKWx3vWIPNmNknsrvi-Hv3dkj2WgX2lXAiMmherLPkpyGf2JtHUiIqDWEnY6LleHHXGH6BLVPW3fjDgYatVsNpleAnamQzc/s807/b.jpg" style="clear: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" data-original-height="649" data-original-width="807" height="541" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC_7ph7q1yErKUyL7C-TzHUHAODPTi1tNpmH2ltZf2srSWFKWx3vWIPNmNknsrvi-Hv3dkj2WgX2lXAiMmherLPkpyGf2JtHUiIqDWEnY6LleHHXGH6BLVPW3fjDgYatVsNpleAnamQzc/w673-h541/b.jpg" width="673" /></a></div><div><span><br /></span></div><div><span><span>President Donald Trump announced on Twitter on Monday 9th November, 2020 that he has fired Secretary of Defense Mark Esper. The President jettisoned Esper two days after his Democratic opponent Joe Biden was projected as the winner of the presidential election, a conclusion that Trump refused to accept.</span></span></div><div><span style="color: #b45f06;"><span><br /></span></span></div></div><span style="font-size: large;"> </span><br /><div class="separator" style="clear: both; font-size: large;"><h4 style="margin: 0px; position: relative;"><span style="color: #b45f06;"><span><br /></span></span></h4><div><span><div class="separator" style="clear: both; color: #b45f06; text-align: center;"><br /></div><br /><span> </span></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLru_UVx4qv913he7vjofx-qhlfzhCCBvREMpy-Q19Q4K4ZVqji3rA3sZlUHipz0v4zaSJM7RpRTHLlIpWMjrlPoVDaqWHHMCnUcqwIR0_8jrgK9241Wo0CGjnUaOab14hl7FFhRZnBC0/s807/b.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="807" height="442" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLru_UVx4qv913he7vjofx-qhlfzhCCBvREMpy-Q19Q4K4ZVqji3rA3sZlUHipz0v4zaSJM7RpRTHLlIpWMjrlPoVDaqWHHMCnUcqwIR0_8jrgK9241Wo0CGjnUaOab14hl7FFhRZnBC0/w609-h442/b.jpg" width="609" /></a></div><br /></div><div><br /></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Rvg0-nVgCC7AYMe5DQD2yZ-PaMnRk9MR5G9U1_fuDCAb7xYYq5FmrKaiFLipluoOIyeUZGHU_zuY6D86sHjpZGRci3YJSi1_ddecuqBVEoFGEmuQhD5MHVeM-rWxaVp_Y0uWKFMtvIk/s807/+c2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="605" data-original-width="807" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Rvg0-nVgCC7AYMe5DQD2yZ-PaMnRk9MR5G9U1_fuDCAb7xYYq5FmrKaiFLipluoOIyeUZGHU_zuY6D86sHjpZGRci3YJSi1_ddecuqBVEoFGEmuQhD5MHVeM-rWxaVp_Y0uWKFMtvIk/w571-h428/+c2.jpg" width="571" /></a></div><br /><div><span>President Donald Trump's extraordinary call this weekend in which he asked Georgia's top election official to "find" enough votes for him to overturn the state's election results has threatened to exacerbate a schism among top Republicans -- and has put a renewed focus on Vice President Mike Pence. --</span><span>ABC News, Ben Gittleson 4 January 2021</span></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><span><span><br /></span></span></div><div><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmvraSIrPvNbLW1-ksYUao2lwFNvkD2CfUXWFgRrPnw7gKuMTXWTbYv8N11P9kwh-9xglvPNsyxmm27vcYb2UYXMUctWmuX8YMnL1DKn8R9mSFFzbgp9zQQ2Z5u-Fot4S1EXZCLbXdgbw/s807/+c2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="609" data-original-width="807" height="465" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmvraSIrPvNbLW1-ksYUao2lwFNvkD2CfUXWFgRrPnw7gKuMTXWTbYv8N11P9kwh-9xglvPNsyxmm27vcYb2UYXMUctWmuX8YMnL1DKn8R9mSFFzbgp9zQQ2Z5u-Fot4S1EXZCLbXdgbw/w619-h465/+c2.jpg" width="619" /></a></div><br /><span face="proxima-nova, Helvetica, Arial, sans-serif" style="background-color: white; color: #0d1321; letter-spacing: 0.345184px;"><span>Speaking to reporters on Thursday, U.S. Speaker of the House Nancy Pelosi accused U.S. President Donald Trump of inciting “…an armed insurrection against America,” adding that Trump committed a “seditious act” in her opinion by instigating and directing the angry mob which descended on the Capitol building. </span></span></span><span><span face="proxima-nova, Helvetica, Arial, sans-serif" style="background-color: white; letter-spacing: 0.33px;">January 7 2021</span><span face="proxima-nova, Helvetica, Arial, sans-serif" style="background-color: white; font-weight: 700; letter-spacing: 0.33px;"> </span></span></div><div><span><span><br /></span></span></div><div><span><span><br /></span></span></div><div><span><span><br /></span></span></div><div><span><br /><span><br /></span></span></div><div><span><span><br /></span></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCfg7i-PpV0ooxzWn68VcdKYI-BKPtRpYQ8LhSF8GClSIOvGIPHmQiErx19SXBnpq6IorZqc5I4gP80Iqqj08WvEndzbI7oaEAZAZV6UXI-5DiumFN4Oinz0OLllU11wPTiTku0JQfyCo/s2048/b.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1565" data-original-width="2048" height="379" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCfg7i-PpV0ooxzWn68VcdKYI-BKPtRpYQ8LhSF8GClSIOvGIPHmQiErx19SXBnpq6IorZqc5I4gP80Iqqj08WvEndzbI7oaEAZAZV6UXI-5DiumFN4Oinz0OLllU11wPTiTku0JQfyCo/w495-h379/b.jpg" width="495" /></a></div></div><div><span><span> </span></span></div><div><span><span>A statement Trump made in the midst of the 2016 election about the staunch loyalty of his supporters; “I could stand in the middle of Fifth Avenue and shoot somebody and I wouldn’t lose any voters,” was challenged by Nancy Pelosi, the speaker of the House of Representatives, showing him her signed second Trump impeachment, a week before he left office, she reminded him that no one is above the law! </span></span></div><div><span><span><br /></span></span></div><div><span><span><br /></span></span></div><div><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz2Z6lHZpSGbetVQx9OD6S4snCq4FqKKxxufdaW_Xy37gNlyLwEfJSEZ76SswV6xPl9JvNV8KC-wZcXf0IkLl_8aLxinrZ2ODH32Ha9AzIT-S2yHxLWGZSq_zUoLhyCA3WmYvvWtomUIo/s807/CCCC.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="586" data-original-width="807" height="403" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz2Z6lHZpSGbetVQx9OD6S4snCq4FqKKxxufdaW_Xy37gNlyLwEfJSEZ76SswV6xPl9JvNV8KC-wZcXf0IkLl_8aLxinrZ2ODH32Ha9AzIT-S2yHxLWGZSq_zUoLhyCA3WmYvvWtomUIo/w555-h403/CCCC.jpg" width="555" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixX5HA2cKAJo-JpSIjzDtzbO7j8Vg3ImDcNXcH2X01EDXu3kEHDB4hYfVaB0as9tVwQMPH-OKnDWDMI8jKCej8V8KRx52Ng7gsufGKWuJDZGX99BKe_lRbZFE1yId6-OPjrRnSTKiWiIY/s600/CCCC.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="436" data-original-width="600" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixX5HA2cKAJo-JpSIjzDtzbO7j8Vg3ImDcNXcH2X01EDXu3kEHDB4hYfVaB0as9tVwQMPH-OKnDWDMI8jKCej8V8KRx52Ng7gsufGKWuJDZGX99BKe_lRbZFE1yId6-OPjrRnSTKiWiIY/w522-h380/CCCC.jpg" width="522" /></a></div><br /><span><br /></span></span></div><div><span><span><br /></span></span></div><div><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI2FmwKYtu3rlAYtQRwbn0I8hb1ZccVtBtDA9A8KDaw1vvr1yFcq8kfXk1urnGsWMStVxb6FsnHO9VVenOwKshgbDb8_X3D34Sl9QL-RJna-WXV1ahzGOOiM8uJygpYgKIps48LpvNwE0/s807/bb.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="624" data-original-width="807" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI2FmwKYtu3rlAYtQRwbn0I8hb1ZccVtBtDA9A8KDaw1vvr1yFcq8kfXk1urnGsWMStVxb6FsnHO9VVenOwKshgbDb8_X3D34Sl9QL-RJna-WXV1ahzGOOiM8uJygpYgKIps48LpvNwE0/w544-h420/bb.jpg" width="544" /></a></div><br /><span> </span></span><span>Seven Republican senators joined with Democrats in voting to convict former President Donald Trump at the conclusion of his second impeachment trial. The vote was </span><span> </span><span><span>57 guilty to </span><span>43 not guilty -- However, 67 guilty votes needed to convict Trump.</span></span></div><div><span><br /></span></div><div><span>Senate Minority Leader Mitch McConnell (GOP), said the rioters had been "fed wild falsehoods by the most powerful man on Earth. Because he was angry he'd lost an election." "Former President Trump's actions that preceded the riot were a disgraceful, disgraceful dereliction of duty," added McConnell. "Trump is practically and morally responsible for provoking the events of the day."</span></div><div><span><br /></span></div><div><span><br /></span></div><div><span><br /></span></div><div><span><span><br /></span></span></div><div><span><span><br /></span></span></div><div><span><span><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ8Ac5yefCF5SqcZ9p9LF6bt-BIZtr_R0NTwt34rt1h-f4IASCa2ivumRNVv-qXVeiuNdmbpbzOfNQduAcRJQsMSCL3YLzTKYbcTaPQDdSF41BiiP49PieQAAyqom7odNeVcIuisQYiNo/s1098/b.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="756" data-original-width="1098" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ8Ac5yefCF5SqcZ9p9LF6bt-BIZtr_R0NTwt34rt1h-f4IASCa2ivumRNVv-qXVeiuNdmbpbzOfNQduAcRJQsMSCL3YLzTKYbcTaPQDdSF41BiiP49PieQAAyqom7odNeVcIuisQYiNo/w456-h314/b.jpg" width="456" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzRMsNKfd76SO_RxWLPr9JE5rv3eMNi45kOOs-ZsyBwdJAr9A_ERaDFs5fbXmD-ByTB-BS7Wn_WBBEXC8eceCRTY2WQskcyszvuGASRlJnEVVvqU6DTY6A2knLkI_EidQAvI4XQEGpmik/s1033/b.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="760" data-original-width="1033" height="329" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzRMsNKfd76SO_RxWLPr9JE5rv3eMNi45kOOs-ZsyBwdJAr9A_ERaDFs5fbXmD-ByTB-BS7Wn_WBBEXC8eceCRTY2WQskcyszvuGASRlJnEVVvqU6DTY6A2knLkI_EidQAvI4XQEGpmik/w448-h329/b.png" width="448" /></a></div><br /><div><br /></div></div><br /></span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><br /></span></div><span style="font-size: medium;"><p style="font-size: medium;"></p><div class="separator" style="clear: both; text-align: center;"><br class="Apple-interchange-newline" /><br /></div><div class="separator" style="clear: both;"><span style="background-color: white; color: #222222; font-family: Georgia, serif; font-size: 20px;"><br /></span></div><div class="separator" style="clear: both;"><br /></div><p></p><p style="font-size: medium;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhejE4zbCmYiAuEGysrJBfehfhZjmv3oJCp01aEGE9tSROIFSH0VfG_9CzUEs_ZKYMNnl9I29WZQvwd0ZXYIouLhItqdjzKMy7-2b-MDuOFTQnyRNbknIBbOgVAf8XAOkNehmbE7EOlf_Y/s1280/Screenshot+2021-08-16+1.48.57+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="334" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhejE4zbCmYiAuEGysrJBfehfhZjmv3oJCp01aEGE9tSROIFSH0VfG_9CzUEs_ZKYMNnl9I29WZQvwd0ZXYIouLhItqdjzKMy7-2b-MDuOFTQnyRNbknIBbOgVAf8XAOkNehmbE7EOlf_Y/w594-h334/Screenshot+2021-08-16+1.48.57+PM.png" width="594" /></a></div><br /><p></p><span style="font-size: medium;">On August 2021, J</span><span style="background-color: white; color: #222222; font-family: Georgia, serif; font-size: 20px;">oe Biden removed all U.S. troops from Afghanistan, and without the support of the U.S. military, the pro-Western government in Kabul fell to the Taliban in a matter a weeks.</span><div style="font-size: medium;"><span style="background-color: white; color: #222222; font-family: Georgia, serif; font-size: 20px;"><br /></span></div><div style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgzVCqOL43zzTsZMznusRZ9oCzlpBXbt1KYWH6-qjc49DHU60uolIVIrkAPNGiVLLZf4dQBdOleAw92onDdnbms2WbIIuSIZ3O41Ff_liFPYHQVtww0baOosF5kzZh29hENKkJ_LhkQeQ/s800/images+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="640" data-original-width="800" height="497" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgzVCqOL43zzTsZMznusRZ9oCzlpBXbt1KYWH6-qjc49DHU60uolIVIrkAPNGiVLLZf4dQBdOleAw92onDdnbms2WbIIuSIZ3O41Ff_liFPYHQVtww0baOosF5kzZh29hENKkJ_LhkQeQ/w622-h497/images+%25281%2529.jpg" width="622" /></a></div><div style="font-size: medium;"><br /></div><div style="font-size: medium;"><span style="background-color: white; color: #222222; font-family: Georgia, serif; font-size: 20px;">During the United States' 20-year mission in the country, a generation of young women and girls were able to get an education and work in many parts of society. Now their future is bleak under the fundamentalist rule of the Taliban. </span></div>
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</span><h4 style="margin: 0px; position: relative; text-align: left;"><span style="color: #b45f06;"><span><span style="font-weight: normal;"><span style="font-size: medium;"><br /></span></span></span></span></h4><h4 style="margin: 0px; position: relative; text-align: left;"><span style="color: #b45f06;"><span><span style="font-weight: normal;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmUdtrSOnz65fAbrVXjZW8Ji93_ifdvgXWb9gpxquuMOMq0yw9_jMerRnD0JfqLNR_M7HLsd5g9IkZRoFTnleEOI8kI7yAzxI7DphGVlowMncDPGOykm8JQXBY-xbpv7WxwSaWmtacvgg/s990/Screenshot+2021-08-21+1.31.51+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="990" height="534" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmUdtrSOnz65fAbrVXjZW8Ji93_ifdvgXWb9gpxquuMOMq0yw9_jMerRnD0JfqLNR_M7HLsd5g9IkZRoFTnleEOI8kI7yAzxI7DphGVlowMncDPGOykm8JQXBY-xbpv7WxwSaWmtacvgg/w833-h534/Screenshot+2021-08-21+1.31.51+PM.png" width="833" /></a></div><span style="font-size: medium;"><span><br /></span></span></span></span></span></h4><div><span><span><span><span style="font-size: medium;">The G7 met to debate Afghanistan. The decisions were already made. Knowing the US wouldn’t budge on extending an evacuation deadline, G7 leaders focused instead on vague conditions for dealing with the Taliban. -- Politico, August 24, 2021</span></span></span></span></div><div><span style="color: #b45f06;"><span><span style="font-weight: normal;"><span style="font-size: medium;"><br /></span></span></span></span></div><div><span style="color: #b45f06;"><span><span style="font-weight: normal;"><span style="font-size: medium;"><br /></span></span></span></span></div><div><span style="color: #b45f06;"><span><span style="font-weight: normal;"><span style="font-size: medium;"><br /></span></span></span></span></div><div><span style="color: #b45f06;"><span><span style="font-weight: normal;"><span style="font-size: x-large;"><br /></span></span></span></span></div><h4 style="margin: 0px; position: relative; text-align: left;"><span style="color: #b45f06;"><span><span style="font-weight: normal;"><span style="font-size: x-large;"><br /></span></span></span></span></h4><h4 style="margin: 0px; position: relative; text-align: left;">
<span style="color: #b45f06;"><span style="font-size: x-large;"><span style="font-weight: normal;"><span>Pope Benedict's Resignation</span></span><span> </span></span></span></h4>
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<tr><td class="tr-caption"><span style="font-size: medium;">On February 28, 2013, in an unexpected move, Pope Benedict XVI -- born Joseph Ratzinger -- announced, that he is to resign. Benedict was elected pope in 2005 after the death of Pope John Paul II. In his statement, Pope Benedict -- who was turning 86 in April -- said he had come to the certainty "that my strengths, due to an advanced age, are no longer suited to an adequate exercise of the Petrine ministry."</span></td></tr>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><span>The big takeaway from the plane chat, or at least the big media takeaway, was the pope's acknowledgement that gay priests exist and that they have as much right to their affinity with God as their heterosexual counterparts. When asked about the so called "gay lobby" within the Vatican, the pope replied:</span><br />
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<span style="font-size: medium;">When I meet a gay person, I have to distinguish between their being gay and being part of a lobby. If they accept the Lord and have goodwill, who am I to judge them? They shouldn't be marginalized.</span></blockquote>
<span style="font-size: medium;"><span>(...)When the thorny issue of women in the church came up, the pope kindly acknowledged that a woman's role "does not end just with being a mother and with housework," (something mainstream society figured out about a century ago). He went on to pay lip service to the need to expand women's role in some way, but while he had no concrete ideas on what this might entail, he made it clear than it would never include the right to be ordained alongside men:</span><br />
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<span style="font-size: medium;">On the ordination of women, the church has spoken and said no. John Paul II, in a definitive formulation, said that door is closed.</span></blockquote>
<i><span style="font-size: medium;">Sadhbh Walshe, The Guardian. Wednesday 31 July 2013</span></i></td></tr>
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<span style="font-size: medium;">After years of tense relations and inflammatory rhetoric between Muslims and the Vatican that sparked protests across Muslim-majority countries, Pope Francis sought to ease tensions, emphasized mutual values and shared beliefs, kissed a Quran and pushed for dialogue with Muslim communities since his election. His efforts mended a deep wedge between the two communities, as Muslims realized that the pope has come to embody religious values to which their communities also adhere. The growing relationship between the two faiths flourished as Pope Francis for the first time toured the U.S. in September 2015 amid growing anti-Muslim sentiment from Republican and conservative leaders.</span></div>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Seven2" style="text-decoration: none;"><span style="color: #cc0000; font-size: x-large; font-weight: normal;">Canada</span></a></h3>
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<span style="font-size: medium;"><span>Bro Jonathan (the old name for Uncle Sam) trying to seduce Miss Canada, while the chaperon, John Bull, falling asleep.</span><br />
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<span style="font-size: medium;"><span>In 1867, Canada became a federation under the British North America Act. The anxiety over being annexed by the US was one of the key contributing factors in the creation of Canadian Confederation. In the election of 1864 the Republican Party used annexation issue to attract Irish Americans vote. An annexation bill introduced by General Banks was passed in the United States House of Representatives in July of 1866. The bill authorized the United States President to</span><br />
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<span style="font-size: medium;">"publish by proclamation that, from the date thereof, the States of Nova Scotia, New Brunswick, Canada East, and Canada West, and the Territories of Selkirk (present-day Manitoba), Saskatchewan, and British Columbia, with limits and rights as by the act defined, are constituted and admitted as States and Territories of the United States of America" (<i><span>Library and Archives of Canada</span></i>)</span></blockquote>
<span style="font-size: medium;">The United States was to pay the Hudson’s Bay Company ten million dollars for the release of all of the property.</span></div>
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<tr><td><span style="font-size: medium;"><span>We in Canada Seem to Have Lost All Idea of Justice, Honor and Integrity, by J.W. Bengough,</span><br />
<span>The Mail, September 26th, 1873.</span><br />
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<span style="font-size: medium;"><span>In this cartoon related to Pacific Scandal, the first major political scandal in Canada after Confederation, Macdonald responds to Alexander Mackenzie, the leader of the opposition: “I admit I took the money and bribed the electors with it. Is there anything wrong about that?” The scandal led to the resignation of Macdonald, and a transfer of power to Mackenzie's Liberals.</span><br />
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<span>The scandal was related to John A. Macdonald and his Conservative colleagues George-Etienne Cartier solicitation of financial contribution from Hugh Allan, a Montreal shipping magnate and railway builder, for the 1872 general election, in exchange for giving Allan the lucrative contract to build the railway to B.C. . The Conservatives needed money to fight the election, particularly in Ontario and Québec, where a number of seats were in jeopardy. Despite Allan’s generosity in providing more than $350,000, Macdonald did poorly in the vote.</span><br />
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<span>John Wilson Bengough, originally a Toronto journalist, was Canada’s first important political cartoonist. His career paralleled the latter part of Macdonald's.</span></span></div>
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<tr><td><span style="font-size: medium;">In 1896 the Liberals under Wilfrid Laurier came into power. Between 1896 and 1905 Clifford Sifton, the main character in this cartoon, who became the new Minister of the Interior, assumed responsibility for immigration and settlement in Canada. He offered Canada as a commodity to potential overseas migrants, particularly to the American farmers, who had skills and capital. Sifton, and his successors, believed the darker the skin, the more 'foreign' the immigrant was. The ideal immigrant should have had the same religious, political and social institutions as the British.</span></td></tr>
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<tr><td><span style="font-size: medium;"><span>Wilfrid Laurier and Frederick Debartzch Monk Issues: Separate School, Autonomy Bill, and Dual Language, N. M'Connelly</span><br />
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<span style="font-size: medium;">Wilfrid Laurier, leader of the Liberal Party 1887–1919 and prime minister 1896–1911, was Canada's first French Canadian Prime Minister. Guided by his belief in the future independence of Canada, he resisted every effort the British Empire made toward federation of the empire in political, economic, or military terms. Nonetheless, in 1899, he agreed to help defray the costs of transportation and material of Canadians wishing to fight for England in the South African War; this conciliatory stance would bring reproach from those French Canadians fiercely opposed to any participation. Frederick Debartzch Monk’s was thus the only Conservative mp from Quebec to survive 15 years of Wilfrid Laurier’s regime. Throughout his political career, He tried to reform the Conservative party along the lines of the nationalist principles supported by the majority of French Canadians, and he worked to give it credibility in Quebec so it might become the pre-eminent force in the province.The South African War from 1899 to 1902 led him to demand increasing autonomy for Canada in all political, military, and commercial relations with Great Britain. On 18 November 1901, he put forward a political program entitled “Canada for Canadians,” which was based on respect for the two founding European “races,” autonomous in its relations with the British empire, and capable of directing its own economic development.</span></div>
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<tr><td><span style="font-size: medium;"><span>"What price unity?", Gib Potter , Saskatoon,1942</span><br />
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<span style="font-size: medium;">William Lyon Mackenzie won the Liberal party leadership in 1919 and led the party into government two years later. After a brief stint in opposition in 1926, the voters returned him to power later in the year. He lost the 1930 election, but was back on top in 1935. He is Canada's longest serving prime minister who redefined Canada's role in the British Empire. In fact, in his assertion that Canada would not necessarily follow the dictates of the government in London, King, more than anyone else, brought about the rebranding of the empire into the British Commonwealth. His government introduced Canada's first old age pension and he is the prime minister who led Canada out of the Great Depression, as well as leading Canada into and out of the Second World War until being retired in 1948.</span></div>
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<tr><td><span style="font-size: medium;"><span>"Him? - er, now let's forget him! Besides every family has got one in the cupboard .."</span><br />
<span>Vicky [Victor Weisz], Daily Mirror, 26 Jun 1957</span><br />
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<span style="font-size: medium;">John Diefenbaker at Commonwealth Conference of 1957, with Harold Macmillan of Britain ; Jawaharlal Nehru of India ; Kwame Nkrumah of Ghana; Roy Welensky of Rhodesia, Robert Gordon Menzies of Australia, Chaudhri Muhammad Ali of Pakistan, Tom Macdonald of New Zealand; Eric Louw of South Afica; and M. W. H. de Silva of Ceylon. </span></div>
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<span style="font-size: medium;"><span>In 1956 Diefenbaker was elected leader of conservative party and led it to what many deemed to be impossible - a minority victory - in 1957. In 1958, he led the party to the largest majority in Canadian history. In 1962, his party won another minority government in spite of the vote splintering caused in Quebec by the Ralliement des Créditistes led by Réal Caouette. In the Suez crisis, Diefenbaker and his Conservatives opposed the American position against Britain and France, and strongly rejected then-prime minister Louis St. Laurent's likening the role of the two European allies in Suez to that of the Soviet Union in its recent crushing of the Hungarian uprising.</span><br />
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<span>A staunch nationalist and a true believer in the fading Commonwealth, Dief saw advantage in continued close trade with the U.K. as a bulwark against Canadian domination by the rising U.S. superpower. Yet the world was changing. Britain was actively looking to enter the European Common Market, a move that would almost certainly strip Canada and the rest of the Commonwealth of trade preferences.</span></span></div>
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<tr><td><span style="font-size: medium;"><span>"Its Devastating!", Duncan MacPherson,</span><br />
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<span style="font-size: medium;"><span>Kennedy hated Dief largely for his anti-nuclear stance. Lester Pearson was the President's choice. Kennedy gave the go-ahead to his friend and America's leading pollster, Lou Harris, to become the Liberal's secret campaign advisor in the 1962 election. Diefenbaker survived with a minority government. The plot to bring down Canada's government came to a head in January, 1963. On Jan.3, top U.S. Air Force General Lauris Norstad held an Ottawa press conference and criticized Canada's antinuclear stance. On Jan. 12, Pearson announced his new policy of supporting U.S. nuclear weapons in Canada. In protest, Pierre Trudeau called Pearson the "defrocked priest of peace" and refused to run for the Liberals.</span><br />
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<span>Based on the advice of Willis Armstrong, head of the State Department's Canada Desk in Washington U.S. State Department issued a press release which called Diefenbaker a liar on nuclear issues. Fights broke out in Cabinet. Diefenbaker recalled Canada's ambassador from the U.S. On Feb. 5, Defense Minister Harkness announced his resignation and Pearson called for a non-confidence vote. Dief's minority government fell.</span></span></div>
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<span>Tom Innes, Prime Minister Pierre Elliott Trudeau's complete focus is on repatriation of Canadian Constitution, Calgary Herald, October 9, 1980</span><br />
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<span>During the 1980 referendum debate in Quebec, Pierre Trudeau had committed to bring Quebec into Canadian confederation. He saw the way to this end through the act of repatriating the Canadian Constitution form Great Britain with an amending formula and entrenched rights for all Canadians. After the Federal forces were victorious in the referendum, Trudeau quickly set to work to come up with an agreement among the Provincial Premiers which could be taken the British Parliament with the request that they pass an act giving recognizing Canada's complete sovereignty over all matters in Canada.</span><br />
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<span>On April 17, 1982 after the Canada Act had been passed in the British Parliament, it was signed into law by the Queen at a ceremony on Parliament Hill in Ottawa. Canada finally had brought the constitution and the Charter of rights and Freedoms home.</span></span></div>
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<tr><td><span style="font-size: medium;"><span>Ronald Reagan and Brian Mulroney, Aislin (alias Terry Mosher), 1988,</span><br />
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<span style="font-size: medium;">It was the most controversial agreement of its kind in Canadian history. Prime Minister Brian Mulroney's vision of free trade with the U.S. read like a Harlequin romance: Canada played the neglected lover, U.S., the negligent partner. It signalled a new era in Canada-U.S. relationship. Prime Minister Brian Mulroney and President Ronald Reagan belted out a rendition of When Irish Eyes Are Smiling that would make their ancestors proud. The St. Patrick's Day performance capped a very cozy 24-hour meeting in Quebec City. The Shamrock Summit would go down in history for the number of handshakes, embraces and praises.</span></div>
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<tr><td><span style="font-size: medium;"><span>Ingrid Rice, “The Reform Party has finally shaken its image of being nothing but a bunch of white racists” “We now have racists of every colour” , April 29, 1997</span><br />
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<span style="font-size: medium;"><span>There’s always been something phoney about Preston Manning’s populism. Remember how he was going to turn Stornoway, the official residence of the leader of the Opposition, “into a bingo hall”? Then, when he became leader of the Official Opposition he, er, moved in. Remember how his candidates — and newly elected MPs — railed against the “gold-plated” parliamentary pension plan? Then, with time, they all quietly opted in.</span><br />
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<span>Manning spent much of his own long political career channeling popular resentment against government by painting a picture of venality, corruption, self-interestedness and indifference to the popular will among everyone but himself plying the political trade. It was Manning’s caucus that dressed up as a mariachi band to mock the Senate. It was his party that ran campaign ads crossing out the faces of francophone leaders of other parties. In other words, Manning did what he could to corrode belief in our political institutions. But when it came to the test — on Stornoway, on pensions, or on Wildrose — he and his followers often could be found slinking quietly away.<i> <span>Paul Adams, Preston Manning’s democratic deficit , ipolitics, Dec 31, 2014</span></i></span></span></div>
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<tr><td><span style="font-size: medium;"><span>Aislin (Terry Mosher), November 1976, and September 2012.</span><br />
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<span style="font-size: medium;">The separatist Parti Québécois won its first election in November 1976 and changed Quebec's political landscape forever. The cartoon on the left depicts a rumpled PQ leader René Lévesque standing beside a lean, lanky and defeated federalist Liberal premier Robert Bourassa,(the cartoon now sits in Montreal's McCord Museum of Canadian History). On the right Pauline Marois the Parti Québécois leader who claimed victory over the incumbent Liberal Party Leader Jean Charest is depicted with François Legault, the leader of the third party CAQ.</span></div>
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<tr align="left"><td><span style="font-size: medium;">A two-year inquiry into Brian Mulroney’s dealings with German-Canadian arms lobbyist Karlheinz Schreiber has concluded that the former prime minister acted in an “inappropriate” way when he accepted large amounts of cash from Schreiber.The report by Justice Jeffrey Oliphant said Mulroney “failed to live up to the standard of conduct that he himself adopted in the 1985 ethics code.”</span></td></tr>
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<tr><td><span style="font-size: medium;"><span>By Graeme MacKay, July 5, 2009,</span><br />
<span>Queen Elizabeth has appointed prime minister Jean Chrétien to the Order of Merit, and a line up of former prime ministers (John Turner, Kim Campbell, Brian Mulroney, Paul Martin and Joe Clark) wonder how Chrétien, a self-described "little guy from Shawinigan, always gets away with it."</span><br />
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<span style="font-size: medium;">The award, founded in 1902 by King Edward VII, is given to "individuals of exceptional distinction in the arts, learning, sciences and other areas such as public service," according to a news release from the press secretary of the Queen. The order is restricted to 24 members as well as additional foreign recipients.</span></div>
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<tr><td><span style="font-size: medium;"><span>The Ghost of President Nixon consoling Prime Minister Stephen Harper</span><br />
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<span>Harper persistently maintained that he knew nothing about the $90,000 cheque that his right-hand man gave to Senator Mike Duffy. In a bitter speech in the Senate, Duffy tabled documents that showed a lawyer for the Conservative Party of Canada also paid his $13,560 legal bill as part of orchestrated effort to make the controversy over his living expenses go away.</span><br />
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<span style="font-size: medium;">"The reality is,that Mr. Duffy still has not paid a cent back to the taxpayers of Canada. He should be paying that money back. The fact that he hasn't, the fact that he shows absolutely no regret for his actions, and the fact that he has told untruths about his actions means that he should be removed from the public payroll ... On our side, there is one person responsible for this deception. That person is Mr. Wright.' — Prime Minister Stephen Harper</span></blockquote>
<span style="font-size: medium;"><span>According to Toronto Star it was Harper's administration culture that was responsible for this scandal.</span><br />
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<span style="font-size: medium;">It’s the kind of culture where enemies and secrecy abound. It’s a culture that breeds devotion among Harper’s largely white, male, pin-stripe-adorned disciples — not so much to a prime minister, but to an all-powerful potentate, who must be protected, whatever the cost. It’s a culture that permits a destructive hubris to flourish like a drug-resistant virus until it can’t be halted by shopworn political or public relations tactics. This constellation of corrosive characteristics was, of course, the defining nature of Tricky Dick Nixon and his criminal, constitution-subverting co-conspirators in the Watergate affair.</span></blockquote>
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<tr><td><span style="font-size: medium;"><span>Michael de Adder, The Hills Time</span><br />
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<span>In July 2014 the RCMP charged Mike Duffy, a former television journalist who became a senator, with 31 counts of bribery, fraud and breach of trust in relation to his Senate expenses. The charges were related to living and travel expenses claimed, contracts awarded by his office and a deal in which he received $90,000 from the Prime Minister’s former chief of staff to reimburse the government for his controversial expenses. Wright resigned when his payment to Duffy came to light, but the scandal grew as Harper faced repeated questions in Parliament over what he knew about the affair. He initially defended Wright and Duffy, but then changed his approach and called for Duffy’s suspension and claimed that Wright had been fired. Although Harper came to office promising he would never name an un-elected Senator, he included Duffy along with 17 others as part of a mass appointment that gave him a Conservative majority in the Senate.</span></span></div>
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<tr><td><span style="font-size: medium;"><span>"Poloz's slave ship": Glob and Mail editorial cartoon by David Parkins.</span><br />
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<span style="color: #1f1c1c; font-size: medium;">Speaking to a House of Commons committee on November 2014, the Governor of the Bank of Canada, Stephen Poloz, suggested young Canadians and others struggling to find work should acquire more experience through unpaid internships or volunteering until the country's hobbled job market picks up.</span></div>
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<span style="font-size: medium;"><span>One of Stephen Harper’s most remarkable achievements in politics has been to navigate his way from the nativist, turban-queasy, anti-immigration policies of Reform to those of a modern party, supporting immigration and wooing the ethnic vote. With his sidekick Jason Kenney scarfing perogies and papadums with equal enthusiasm, in 2011 Harper led the Conservatives to an even bigger victory among voters born abroad than he won among the general population.</span><br />
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<span>Turbaned Sikhs, Lebanese Christians and brown-skinned Hispanics know full well — from looking south of the border, for starters — that when the mood turns ugly for Muslims, the racism that ensues doesn’t bother with fine distinctions. Visible minority voters are critical in many of the seats around Toronto and in the lower mainland of B.C. on which the next election may turn. (...) More dramatically, the Conservative MP and former Harper communications chief, John Williamson, embarrassed the party when he talked about unemployed white people being displaced by “brown” temporary foreign workers. Stupid. Of course. Not just because it sounds racist, but because at least some of the “brown people” who vote will use it to connect the dots between themselves and Harper’s campaign of fear. That’s why several Conservative MPs criticized Williamson rather than close ranks around him. [<i>Paul Adams, iPOLITICS, Mar 10, 2015</i>]</span></span></div>
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<tr><td><span style="font-size: medium;"><span>Cartoon by Bruce McKinnon at the Chronicle Herald, March 2015</span><br />
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<span style="font-size: medium;">Liberal leader Justin Trudeau has accused Prime Minister Stephen Harper of deliberately sowing fear and prejudice against Muslims in Canada. The charge came in a strongly worded speech Mr. Trudeau delivered in Toronto Monday night to highlight his views on the importance of liberty in Canadian society. “These are troubling times,” the Liberal leader told a gathering organized by the McGill Institute for the Study of Canada. “Across Canada, and especially in my home province, Canadians are being encouraged by their government to be fearful of one another. “Fear is a dangerous thing. Once it is sanctioned by the state, there is no telling where it might lead. It is always a short path to walk from being suspicious of our fellow citizens to taking actions to restrict their liberty.”</span></div>
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<tr><td><span style="font-size: medium;">Stephen Harper: master manipulator, By Nick Davies , The Guardian, 14 Feb 2018<br />
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In the 11 years since he became leader of the country’s Conservatives, the party has been fined for breaking electoral rules, and various members of Team Harper have been caught misleading parliament, gagging civil servants, subverting parliamentary committees, gagging scientists, harassing the supreme court, gagging diplomats, lying to the public, concealing evidence of potential crime, spying on opponents, bullying and smearing. Harper personally has earned himself the rare rebuke of being found to be in contempt of his parliament. </span></div>
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<tr><td><span style="font-size: medium;"><span>Liberal leader Justin Trudeau, Editorial cartoon by Graeme MacKay, The Hamilton Spectator – Wednesday March 11, 2015</span><br />
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><span>Canadian Prime Minister Justin Trudeau’s Liberals held onto power after a closely fought election on Monday but were reduced to a minority government that will need the support in Parliament of a smaller left-leaning party. </span><span>Canada’s economy, however, has been on a general upswing in 2019. The Canadian dollar has been the best-performing G10 currency this year, rising more than 4% against its U.S. counterpart, as the economy added jobs at a robust pace and inflation stayed close to the Bank of Canada’s 2% target. </span><br />
<span>Ahead of the vote, opinion polls showed a tight race between Trudeau and his main rival, Conservative leader Andrew Scheer. “Tonight we have put him on notice,” Scheer said in Regina, Saskatchewan, of Trudeau. “His leadership is damaged and his government will end soon and when that time comes, we will be ready and we will win. “We are the government in waiting,” added Scheer, 40, whose party won 122 seats.</span><br />
<span>Reuters - MON, OCT 21 2019</span></span></td></tr>
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<span style="font-size: medium;"><br /><span> </span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipHP3Ey1uP7mERehegYbEqUgDzsalFGMoGKgZTd8bG0OFZgI6VewoRgnlXkghcynX6WBqZSQgpgvrEcMkhlOQBlvx-Yoc4eskvjN9H9gsJPkIWQ-TK05qisHHkL7Yy4PygiLFJ3YzEsso/s1024/b.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="776" data-original-width="1024" height="387" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipHP3Ey1uP7mERehegYbEqUgDzsalFGMoGKgZTd8bG0OFZgI6VewoRgnlXkghcynX6WBqZSQgpgvrEcMkhlOQBlvx-Yoc4eskvjN9H9gsJPkIWQ-TK05qisHHkL7Yy4PygiLFJ3YzEsso/w512-h387/b.jpg" width="512" /></span></a></div><span style="font-size: medium;"><br /><span>"The Trudeau government is the first one in the Western world to bluntly call Trump out for his fabrications and fractiousness. Instead of kissing the royal arse of this clown prince, the rest of the world would do well to follow Canada’s lead and start pushing back against the threats, lies, and institutional nihilism of this most dangerous head of state."(...)</span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span face=""Open Sans", Helvetica, Arial, sans-serif" style="background-color: white; color: #181818; font-size: medium;">Good on Foreign Affairs Minister Chrystia Freeland for making the trip to Washington to denounce to U.S. lawmakers, face-to-face, Trump’s ill-considered and likely illegal tariffs on steel and aluminum. It was shrewd of the minister to meet with the Senate Foreign Relations Committee, whose Republican chairman, Bob Corker, is leading congressional efforts to kill Trump’s tantrum tariffs. And it was downright brilliant of Freeland to call a spade a spade during her U.S. trip.</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"> Michael Harris, iPolitics . Jun 14, 2018</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0MhsCq_tlKcLgo1wLEUSOecwgkgvqs5KdR3B7xu4DIVjUHzawtiKZjDcAk-fntf3EvgIg8LLvWdtf63aGoIPo1_ZKVDbu2tu84oxCSwJMhXamwR8gRfpocx8dTQ3BK1oFm9JVg8VgfA/s1200/b.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="1023" data-original-width="1200" height="555" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0MhsCq_tlKcLgo1wLEUSOecwgkgvqs5KdR3B7xu4DIVjUHzawtiKZjDcAk-fntf3EvgIg8LLvWdtf63aGoIPo1_ZKVDbu2tu84oxCSwJMhXamwR8gRfpocx8dTQ3BK1oFm9JVg8VgfA/w650-h555/b.jpg" width="650" /></span></a></div><span style="font-size: medium;"> During a news conference in June 2020, a reporter asked Trudeau: "You've been reluctant to comment about the words and actions of the U.S. president. But we do have now Donald Trump calling for military action against protesters. We saw protesters tear-gassed yesterday to make way for a presidential photo-op. I'd like to ask you what you think about that. And, if you don't want to comment, what message do you think you're sending?"</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;">The Canadian Prime Minister paused before responding - as the cameras recorded his expressive silence, -- for 21 seconds -- which was quite ingenious. He looked down at his lectern, opened his mouth as if to speak - then stopped, shifted his weight and uttered a barely audible "um" ...</span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;">"We all watch in horror and consternation what's going on in the United States," he finally said. "It is a time to pull people together, but it is a time to listen." </span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span><br />
<span style="color: #990000; font-size: x-large;">Spain After Franco</span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span><span style="color: #990000; font-size: large;">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Spain’s royal accession faced its first dispute on May 2014, over plans to grant the outgoing king legal privileges against prosecution for paternity scandals. The Spanish government were examining how to change the law to ensure King Juan Carlos can be judged only before the Supreme Court after he abdicates. Paternity cases cannot be heard in the Supreme Court as they are civil matters, so the king will, in effect, be exempt from having to answer claims. He is facing suits from two people who say they are the fruit of extramarital affairs. The king has always denied being unfaithful to Queen Sofia, despite claims from a number of women that he had affairs.</span></td></tr>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Eight0" style="text-decoration: none;"><span style="color: #e06666; font-size: x-large; font-weight: normal;">Britain before and after Margaret Thatcher</span></a></h3>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span>By Low, 'The Manchester Guardian', May 15, 1953</span><br />
<span>Churchill is implying that the withdrawal of 80,000 British troops from the Suez Canal Zone will remove a critical buffer zone between Egypt and Israel that will lead to war</span></span></td></tr>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span>By Low, 'The Daily Herald', February 17, 1953</span><br />
<span>Neguib amiable greets Eden while asking Britain to evacuate the canal zone forthwith without conditions.</span></span></td></tr>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span>Decline and fall of the British Empire,</span> By Cummings, 'The Daily Express', September 8, 1955 </span></td></tr>
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<tr><td class="tr-caption"><span face=""arial" , "helvetica" , sans-serif" style="font-size: medium; font-style: oblique;">By Cummings, 'The Daily Express', March 5, 1956</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSU_MNpFWE3P3Y8fyI7JSZ1t3GRERJbMhHe_9dGE8cMTlIT_ptwQGLs6ameIk7tkWS7DIg9b-iWE97NeaAtGPc6jLdubwNW-nKdeKYQ1xOtfmFo1FZsdgkeMi5MO0mZbosadfK63xPTLs/s1600/91-amsel.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" height="727" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSU_MNpFWE3P3Y8fyI7JSZ1t3GRERJbMhHe_9dGE8cMTlIT_ptwQGLs6ameIk7tkWS7DIg9b-iWE97NeaAtGPc6jLdubwNW-nKdeKYQ1xOtfmFo1FZsdgkeMi5MO0mZbosadfK63xPTLs/w576-h727/91-amsel.jpg" width="576" /></span></a></td></tr>
<tr><td class="tr-caption"><span face=""arial" , "helvetica" , sans-serif" style="font-size: medium; font-style: oblique;">By Vicky, 'The Daily Mirror', August 13, 1956</span></td></tr>
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<span style="font-size: medium;"><br /></span></div><div style="font-family: Tinos; text-align: left;"><span style="font-size: medium;"><br style="background-color: white; font-family: Calibri; text-align: center;" /><br style="background-color: white; font-family: Calibri; text-align: center;" /><div style="text-align: right;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpDkynawEp6IJRsow6C-1zBL32RI8XtqAmPnztdukDqxUDKZLmirpKJ50rKf77bJlNCvEWaubrrMigGmfwSY_1XmjO6wKZYGYx_T9GKPt6sWLRe-7PM2VhD0DGRBXfGr0ChrNW8zttgN4/s550/b.png" style="background-color: white; font-family: Calibri; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="550" data-original-width="513" height="733" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpDkynawEp6IJRsow6C-1zBL32RI8XtqAmPnztdukDqxUDKZLmirpKJ50rKf77bJlNCvEWaubrrMigGmfwSY_1XmjO6wKZYGYx_T9GKPt6sWLRe-7PM2VhD0DGRBXfGr0ChrNW8zttgN4/w905-h733/b.png" width="905" /></a></div><br style="background-color: white; font-family: Calibri; text-align: center;" /><div style="text-align: right;"><span style="background-color: white; font-family: Calibri; text-align: center;">By Vicky, 'The Daily Mirror', October 19, 1956</span><span style="background-color: white; font-family: Calibri; text-align: center;"> </span></div><span style="background-color: white; font-family: Calibri; text-align: center;">Eden warns Israel that the British were prepared to take military action against Israel under the terms of the Anglo-Jordanian treaty.</span><br style="background-color: white; font-family: Calibri; text-align: center;" /><br style="background-color: white; font-family: Calibri; text-align: center;" /></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnejybaVx3R8nSLJ2JVPgLfciKEFRARL7FSVjJ-YMfkVrMkzNuXE_KV-vOg-lXn4RIGSL0v5wIeQ801pe4Plwk7DQEOQgo-BDoJCEZGd5Mk7dGl92h2UOWZrluHk1tLTpnhUygXLXmVhU/s1600/91-amsel.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" height="616" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnejybaVx3R8nSLJ2JVPgLfciKEFRARL7FSVjJ-YMfkVrMkzNuXE_KV-vOg-lXn4RIGSL0v5wIeQ801pe4Plwk7DQEOQgo-BDoJCEZGd5Mk7dGl92h2UOWZrluHk1tLTpnhUygXLXmVhU/w465-h616/91-amsel.jpg" width="465" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;"><span>by Illingworth, 'Punch', September 26, 1956</span><br />
<span>Depicted: John Foster Dulles, Anthony Eden and Guy Mollet</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3QGTBrvn1xaW0amGFlw3gJ6alleX9Z8TEY49fMqHXQ4elj0eI6-p3XAbpNwaFVNRqIHeXsBge8r-xPcvM9N8VnCobzVgFaiqCcrpwIe-QqH4CNqkN6i0v88WeapbTWblNVUt4Qr38yTM/s1600/91-amsel.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" height="624" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3QGTBrvn1xaW0amGFlw3gJ6alleX9Z8TEY49fMqHXQ4elj0eI6-p3XAbpNwaFVNRqIHeXsBge8r-xPcvM9N8VnCobzVgFaiqCcrpwIe-QqH4CNqkN6i0v88WeapbTWblNVUt4Qr38yTM/w627-h624/91-amsel.jpg" width="627" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;"> 'Head on a Plate' Sir Anthony Eden's resignation. <span>By Illingworth, January 12, 1957</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMpj1ZmFGuZ8hArsOGQ7tK4oEB2r8GZlgC2wxetb1ciAxJsiEkMykZwZwtMzE00v9pY_qNmO3sflkkz3rIML0nO-_8CiCW9fEezWHKYAIytYcuLlGh8L-vpQ__Rfgao8SBsC2a45dncvU/s1600/91-amsel.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" height="625" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMpj1ZmFGuZ8hArsOGQ7tK4oEB2r8GZlgC2wxetb1ciAxJsiEkMykZwZwtMzE00v9pY_qNmO3sflkkz3rIML0nO-_8CiCW9fEezWHKYAIytYcuLlGh8L-vpQ__Rfgao8SBsC2a45dncvU/w862-h625/91-amsel.jpg" width="862" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">By Vicky, 'The Daily Mirror', February 1, 1957</span></td></tr>
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<span style="font-size: medium;"><br /></span></div><div style="font-family: Tinos; text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><div class="separator" style="clear: both; font-family: Tinos; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2SdnB-IRWnfCeelYjygw_GGrkrIru2GC18ViqfYUJBls6BAd5IkAO-FYKkND9DgX0buFQsGGl6iBwYFqPi5aN3tNYHwuE3G6Aw4PO_f4BXVjn2HDcQtvG6HzOCxFCaaP62Au0lXCgwnI/s593/b.png" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="450" data-original-width="593" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2SdnB-IRWnfCeelYjygw_GGrkrIru2GC18ViqfYUJBls6BAd5IkAO-FYKkND9DgX0buFQsGGl6iBwYFqPi5aN3tNYHwuE3G6Aw4PO_f4BXVjn2HDcQtvG6HzOCxFCaaP62Au0lXCgwnI/w657-h426/b.png" width="657" /></span></a></div><span style="font-size: medium;"><br /></span><div style="text-align: center;"><span style="font-size: medium;">By Cummings, 'The Daily Express', June 27, 1961</span></div><div style="text-align: center;"><span style="font-size: medium;"> Depicted: John F. Kennedy, Nikita Khruschev, Harold MacMillian and Abd al-Karim Kassem.</span></div></div><div style="font-family: Tinos; text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="font-family: Tinos; text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="font-family: Tinos; text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="font-family: Tinos; text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="font-family: Tinos; text-align: left;"><span style="font-size: medium;"><br /></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyvZ2D-eweRwzwTG_cqZPuPWJY7tn600DGNnoflG8BacariUvjUR5ZGnYK1vxWTEbrMU38c8JMH89QiFSKAa8KVgDSnpLaXu6ag3wXpe-PAIhopimGPssUtbVDgzkH2acb8SjGd0CrP60/s1600/8dde09502cb0486eb3ba3a5aec2b7fd5.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" height="586" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyvZ2D-eweRwzwTG_cqZPuPWJY7tn600DGNnoflG8BacariUvjUR5ZGnYK1vxWTEbrMU38c8JMH89QiFSKAa8KVgDSnpLaXu6ag3wXpe-PAIhopimGPssUtbVDgzkH2acb8SjGd0CrP60/w942-h586/8dde09502cb0486eb3ba3a5aec2b7fd5.png" width="942" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;">President Kennedy got a more ambiguous reception overseas than he did at home. Many cartoons played up his youth and inexperience. This one is by Vicky, the pen name of Victor Weisz. Weisz was the opposite of the gag-first political cartoonist. He was a passionate and driven man who wanted to use his cartoons to change the world. His left-leaning politics clashed with the editor of the News Chronicle in 1947, sending him first to the Daily Mirror and then the Evening Standard.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDFu8Zn2GVfvsnW-HbmuF15xkbinm4emI4JHSd0p72KOs69ZT-dZupIw0IqTvkKqcYqFbMpgHtYUhNOik8-EWEq_Is6rzc8SU-d3VrQVv9bWg4j_Fx16t6ic6uKWA14K1pXFTYwBsS6ZxU/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDFu8Zn2GVfvsnW-HbmuF15xkbinm4emI4JHSd0p72KOs69ZT-dZupIw0IqTvkKqcYqFbMpgHtYUhNOik8-EWEq_Is6rzc8SU-d3VrQVv9bWg4j_Fx16t6ic6uKWA14K1pXFTYwBsS6ZxU/s640/a1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
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<span>David Low, The "New Democratic Party", 1946</span></span></div>
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<span style="font-size: medium;">In 1946 Winston Churchill asked Macmillan to join a committee to look into reshaping the Conservative Party. On 3rd October, Macmillan published an article in the Daily Telegraph where he suggested that the name should be changed to the "New Democratic Party". In the article he called for the Liberal Party to join Conservatives in an anti-socialist alliance. He wrote in his diary that to obtain an alliance with the Liberals, it would be worthwhile "to offer proportional representation in the big cities in exchange."</span></div>
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<span>Keith Waite, "WE'RE MERELY PROTECTING OUR UNDER COVER MEN."</span><br />
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<span>John Profumo, the Secretary of State for War in the British government under Conservative Prime Minister Harold MacMillan began an affair with Christine Keeler, a London call girl in 1961. Keeler had been the lover of Yevgeny "Eugene" Ivanov, a senior naval attache at the Russian embassy in London. Profumo was forced to step down from his position on June 5, 1963. An official report was released in September 1963 and a month later Prime Minister MacMillan resigned claiming ill health.</span><br />
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<span><br /><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY_Hk_rmuoR6tozHRQyWrZdC8Qi_hNP7YQbpaMyFofBDXecO8tVM1OMSKdp9MDf5I9nNaKvBw_d4NSAxTuguSUtHJgDEmqJZmCYnpYf8jZH0I5bnzsAENg5OEtfQso39Tt-9iaywOMkgs/s1600/a5.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="949" data-original-width="918" height="766" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY_Hk_rmuoR6tozHRQyWrZdC8Qi_hNP7YQbpaMyFofBDXecO8tVM1OMSKdp9MDf5I9nNaKvBw_d4NSAxTuguSUtHJgDEmqJZmCYnpYf8jZH0I5bnzsAENg5OEtfQso39Tt-9iaywOMkgs/w740-h766/a5.jpg" width="740" /></a></div></span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZjYoSmPPUc471l5h5ol6Ct5Elg2haHDI0dyBdGopMu8KMx6wt9g4V2K_Y39z1W4PacJwyiNfYCN5TS7NQcd4hkG89josUPZbFUYKQgeJpmqutmoKilgvz9X6EibVfGnCKjliGtrptN5o/s1600/a.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="376" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZjYoSmPPUc471l5h5ol6Ct5Elg2haHDI0dyBdGopMu8KMx6wt9g4V2K_Y39z1W4PacJwyiNfYCN5TS7NQcd4hkG89josUPZbFUYKQgeJpmqutmoKilgvz9X6EibVfGnCKjliGtrptN5o/w809-h376/a.png" style="border: none; position: relative;" width="809" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: medium;">On 3 December 1969, the British cartoonist, Michael Cummings, outlines the inflexibility of the stance taken by France's General Charles de Gaulle and his successor Georges Pompidou regarding the issue of the United Kingdom’s accession to the European Communities, despite efforts made by successive Prime Ministers, Harold Macmillan and Harold Wilson, to comply with France’s wishes.</span></td></tr>
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<span>Harold Wilson and Lyndon Johnson, On US entry into Vietnam War ,The New Statesman Magazine April 1965</span><br />
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<span>Paul Rigby, " But, Monsieur, 'se are your Friends?" The Sun, 19th Oct. 1972</span><br />
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<tr align="left"><td class="tr-caption"><span style="font-size: medium;">‘One less obstacle, but not the end of the road.' For the cartoonist Fritz Behrendt, a multitude of problems awaits the British Prime Minister, Harold Wilson, before the UK can accede to the European Communities, despite the exit of General de Gaulle from the political stage. (12 June 1969)</span></td></tr>
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<span style="color: #1f1c1c; font-size: medium;">The Heath Government was elected in June 1970 determined to take Britain into the E.E.C. The key question was whether the French would agree? Twice before, under De Gaulle, France had vetoed British applications. De Gaulle's successor, Georges Pompidou, was known to be more favourable, but a French "oui" could not be taken for granted. The key question, posed by Pompidou to Heath was; is Britain ready to make "a historic change in (its) attitude", a "fundamental choice" in favour of the European Community?</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh6l7GXulA1GFagD4oCpuk2Kmpg8yGnoxvvI0W9bg-RAYRWajDAyNu6TZdiSRF7iRtN6-UphbFjKOu7isljQc0SMmbhjnVS_OEE2ES-wmv4CKz1P2mWfcWVvvH5K7tdWF9cKfYHCoWIYQ/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="638" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh6l7GXulA1GFagD4oCpuk2Kmpg8yGnoxvvI0W9bg-RAYRWajDAyNu6TZdiSRF7iRtN6-UphbFjKOu7isljQc0SMmbhjnVS_OEE2ES-wmv4CKz1P2mWfcWVvvH5K7tdWF9cKfYHCoWIYQ/w606-h638/a.jpg" style="border: none; position: relative;" width="606" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">In the wake of the Treaty of Rome being signed in Parliament the cartoon cover by Glan Williams for the edition of October 23 1971, shows a minuscule Edward Heath handing over the British Isles on a platter to a cluster of historical figureheads including Ceasar, Emperor Nero, Kaiser Willhelm, Mussolini, Hitler, Richelieu and Napoleon.</span></td></tr>
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<span>Edward McLachlan, The SDP - pudding in danger - or - Carving up the votes, Mail on Sunday, 17 Apr 1983</span><br />
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<span style="color: #1f1c1c; font-size: medium;">This cartoon depicting Margaret Thatcher (Conservative)and Michael Foot (Labour) carving of Roy Jenkins (SDP) is based on James Gillray's cartoon The plumb-pudding in danger: - or - state epicures taking un petit souper' depicting William Pitt and Napoleon Bonaparte; published 26 February 1805. Michael Foot inherited the leadership at the most difficult time for the Labour party.Two things happened that made it impossible for him to win the 1983 general election. First, in 1981, the party came close to falling apart as the "gang of four" - Shirley Williams, Bill Rogers, David Owen and Roy Jenkins - walked out and formed the SDP in protest at his left-wing polices. Second the Falklands War, which made Margaret Thatcher hugely popular – before then she had been a very unpopular prime minister. Put together, it made it impossible for Foot to carry victory.</span></div>
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<span style="font-size: medium;">Stanley Franklin, Daily Mirror</span></div>
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<span style="font-size: medium;">On 19 January 1976 Thatcher made a scathing attack on the Soviet Union, declaring that “The Russians are bent on world dominance, and they are rapidly acquiring the means to become the most powerful imperial nation the world has seen...They put guns before butter...” The Soviet Defence Ministry newspaper Krasnaya Zvezda (“red star”) gave her the nickname "Iron Lady", and this was eagerly taken up by her supporters.</span></div>
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<tr><td class="tr-caption"><span style="font-size: medium;">This cartoon was published in the Daily Mirror the day after Thatcher's longest-serving cabinet minister, Geoffrey Howe, delivered a scathing resignation speech, voicing his discontent over her refusal to better integrate the United Kingdom with European economies:</span></td></tr>
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<span>Trog [Wally Fawkes], Observer, 20 Mar 1988,</span><br />
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<span style="color: #1f1c1c; font-size: medium;">Thatcher retired from Parliament at the 1992 General Election, but she left a lasting legacy. This cartoon by Brookes shows her as an elderly and surprisingly masculine figure, rejoicing in the success of her offspring - the New Labour Prime Minister Tony Blair.</span></div>
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<span>Steve Bell on the revelation that Tony Blair thought Gordon Brown 'mad, bad and dangerous'</span><br />
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<span style="color: #1f1c1c; font-size: medium;">Steve Bell’s career at The Guardian started in 1981. He was born in London in 1951, he studied art at Leeds University and worked for magazines including the New Statesman and Time Out before joining The Guardian. His job gives him the chance to comment through humour on some of the biggest events of the past 25 years and mercilessly rib the people that made history. But altogether he was handed such ridiculous looking characters as Ronald Reagan and Mikhail Gorbachev to work with, it was not always easy to produce a daily strip. He recalls struggling with Neil Kinnock, the Labour leader from 1983 until 1992. He said: "Kinnock was very hard to draw, because all there was to him was the fact he was basically ginger. I always used to go big on the freckles, just to add some definition. It wasn’t very fair, he wasn’t that freckly but that was all I could think of for those nine long years.</span></div>
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<span>Peter Brookes, The Times, May 25, 2010</span><br />
<span>The Chancellor of the Exchequer, George Osborne's £6.2 billion of budget cuts included banning first-class travel for government departments, and scrapping chauffeur-driven cars for specific ministers.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span face="system-ui, -apple-system, BlinkMacSystemFont, "Segoe UI", Roboto, Ubuntu, "Helvetica Neue", sans-serif" style="background-color: white; color: #14171a; font-size: medium; text-align: start; white-space: pre-wrap;">Peter Brookes on Donald Trump’s state visit to the UK
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #2a2a2a; font-family: PublicoText, Georgia, TimesNewRoman, "Times New Roman", Times, Baskerville, serif; font-size: medium; text-align: start;">"His Royal Highness The Duke of Edinburgh has decided that he will no longer carry out public engagements from the autumn of this year. In taking this decision, the duke has the full support of the queen," Buckingham Palace said in a statement on May 2017.</span></td></tr>
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<span style="color: #1f1c1c; font-size: medium;">Gary Barkers, David Cameron, Rupert Murdoch and Paul Stephenson, snug as a bug political cartoon, The Guardian</span></div>
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<span><span style="color: #1f1c1c; font-size: medium;">Rupert Murdoch's once-commanding influence in British politics dwindled to a new low on July 12th 2012, when all three major parties in Parliament joined in support of a sharp rebuke to his media empire and a parliamentary committee said it would call him, along with two other top executives, to testify publicly next week about the phone hacking scandal enveloping his media empire. The following day, Murdoch's News Corporation announced that it is withdrawing its bid for BSkyB.</span></span></div>
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<span><span style="color: #1f1c1c; font-size: medium;">Cameron's judgment, and that of the chancellor, George Osborne, in appointing the former editor of the News of the World Andy Coulson as their director of communications looked increasingly inexplicable. Cameron was being accused of an improperly contractual relationship with Neil Wallis, a former News of the World deputy editor, as his meetings with News International executives in a year exceeded those with all other news organisations put together. Not a single figure from the BBC was granted an audience.</span></span></div>
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<span><span><span style="color: #1f1c1c; font-size: medium;">Implying that he could not impart operational information to Cameron since he was too compromised with the chief suspects, Sir Paul Stephenson announced he was stepping down as the UK's most senior police officer. Just hours before his resignation, Deputy Prime Minister Clegg, told the BBC that a growing public perception of police corruption was deeply concerning. Stephenson dated his relationship to Wallis back to 2006. From October 2009 to September 2010, Wallis's part-time work at the Met involved strategic communications, advising the commissioner, as the force said there was no need to reopen the investigation into phone hacking at the News of the World.</span></span></span></div>
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<span style="color: #1f1c1c; font-size: medium;">Libor, the London inter-bank lending rate, is considered to be one of the most crucial interest rates in finance, upon which trillions of financial contracts rest, and the exposure of its rigging has shocked many beyond the world of finance. Every day a group of leading banks submit rates for 10 currencies and 15 lengths of loan ranging from overnight to 12 months. Since the rates submitted are estimates not actual transactions it's relatively easy to submit false figures</span></div>
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<span style="font-size: medium;"><span style="color: #1f1c1c;">At the height of the financial crisis in late 2007, many banks stopped lending to each other over concerns about their financial health with some banks submitting much higher rates than others. Barclays was one of those submitting much higher rates, attracting some media attention. This prompted comment that Barclays was in trouble. Following much internal debate and a controversial conversation with a Bank of England official, Barclays began to submit much lower rates. The Libor scandal has further undermined trust in banks.</span><span style="color: #1f1c1c;"> </span><i style="color: #1f1c1c;">BBC</i></span></div>
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<span style="color: #1f1c1c; font-size: medium;">Economist David Blanchflower argued there is no longer a credible candidate among top UK bankers to take over as the next governor of the Bank of England in the wake of recent banking scandals. Professor Blanchflower, who served on the Bank's monetary policy committee between 2006 and 2009, believed the escalating Libor crisis meant Sir Mervyn King's replacement could not come from the banking sector. An internal appointment was also out of the question, he argued, with Bank staff such as deputy governor Paul Tucker facing criticism over their actions. He proved to be right.</span></div>
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<span style="font-size: medium;">According to Time magazine: "From the South Sea bubble in 1720 to the 1990s implosions of the Bank of Credit and Commerce International and of Barings Bank and through a gallery of rogue traders and dodgy deals that have posed existential threats to financial institutions on several continents during the past quarter of a century, the common factor is not that they were caused by foreigners in London. London itself, especially its compact financial district known as the City, is implicated. ... Individuals and institutions may end up on trial. Yet a swelling sentiment would like to see a bigger entity in the dock: London. It's no longer enough to explain the City's supremacy as a global incubator for scandals by citing its global supremacy as a center for international finance, the world's most potent competitor to New York City, a place where transactions covering literally trillions of dollars, pounds and euros are executed every day."</span></div>
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<tr><td><span style="font-size: medium;"><span>The Spanish banking crisis, Chris Riddell, The Observer</span><br />
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<span style="font-size: medium;">In 2012, Spain asked euro region governments for a bailout worth as much as 100 billion euros ($125 billion) to rescue its banking system, thus becoming the biggest euro economy up to then to seek international aid. In this cartoon UK prime minister David Cameron tells German Chancellor Angela Merkel: "We must do something Angela!". Merkel replies, "We?".</span></div>
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<span style="font-size: medium;"><span>The Chancellor's New Clothes, 27 November, 2012</span><br />
<span>George Osborne stunned the markets by announcing that Mark Carney, the Canadian central banker, will replace Sir Mervyn King as the next Governor of the Bank of England. Carney is "the outstanding central banker of his generation with unparalleled expertise in financial regulation" Osborne said." He has got what it takes to help bring families and businesses through these incredibly challenging economic times...my responsibility was to get the best for Britain, and with Mark Carney we've got that."</span><br />
<span>Canada came through the financial crisis of 2007-8 relatively unscathed, thus boosting Carney's reputation. Under his governorship, the Bank of Canada cut interest rates to record lows and supplied emergency liquidity to the banking system to prevent a collapse.</span><br />
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<tr><td><span style="font-size: medium;"><span>Ben Jennings, The Guardian, Friday 13 September 2013</span><br />
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<span style="font-size: medium;">"The Bank is acutely aware of the risk of unsustainable credit and house price growth and will be monitoring it closely," Mark Crney said in Nottingham in August 2013. "The important thing to recognise is that we now have tools other than interest rates that can be used to contain risks in the property and financial sectors. We are now fully prepared to deploy them if that were needed." The Bank could, he said, use its newer tools to recommend that banks and building societies "restrict the terms on which new credit is provided, or even to raise capital requirements on mortgage or other types of lending". This would allow the Bank to avoid raising wider interest rates across the economy even as it acted to put the brakes on specific areas.</span></div>
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<tr><td><span style="font-size: medium;"><span>Joe Weisenthal, Business Insider of Financial Post on August 2913, asked Did Mark Carney make the best-timed job switch ever?</span><br />
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<span style="font-size: medium;">Mark Carney has been in office for barely over a month, and all the economic data is looking bright. The history books will show a remarkable rebound right as he assumed office. Brilliant timing.</span></blockquote>
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<tr><td><span style="font-size: medium;">November 2013, Mark Carney was forced to defend his forward guidance against criticism that the policy is ineffective.The Governor of the Bank of England told lawmakers that he and fellow policymakers were wary about official measures of investment in Britain. "We're not putting full weight on that data and it has to be said that it doesn't entirely feel right that investment is, as measured, falling at a time when we see continued strengthening investment intention,(...) I was much more comfortable with the data in Canada," Carney said.</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><span>Bank of England chief Carney, the 'unreliable boyfriend' has left savers in a perilous situation</span><br />
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<span style="font-size: medium;">The Bank of England governor acted last month with what some saw as undue haste by halving interest rates to just 0.25 per cent. Now, building societies are following suit.
Mr Carney insisted the emergency cut would save Britain from recession and soaring unemployment — just as our post-Brexit economy began firing on all cylinders.
The dapper Canadian, dubbed the “Unreliable Boyfriend” by City cynics after repeatedly getting his forecasts wrong, infamously caused a Brexit storm with overblown warnings of economic doom.
Many think he should have been sacked for stoking the very economic uncertainty he claimed an Out vote would cause.
Now his impetuous rate cut has made life tougher for a generation brought up to believe thrift was good.-- Trevor Kavanagh, Sun Columnist
5th September 2016,
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<tr><td><span style="font-size: medium;"><span>Scotland voted decisively to stay in the United Kingdom by about 55% to 45%.</span><br />
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<span style="font-size: medium;">Prime minster Cameron promised draft legislation by the end of January 2015 on handing more powers over tax, spending and welfare to Scotland, which should had come into effect after the May 2015 general election. According to him:</span></div>
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<span style="font-size: medium;">"Just as Scotland will vote separately in the Scottish Parliament on their issues, of tax, spending and welfare, so too England, as well as Wales and Northern Ireland should be able to vote on these issues and all this must take place in tandem with, and at the same pace as the settlement for Scotland."</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH7oTIPfVFkXiRULNi3waOkW6IPkw_ryau_XSXSjVow-MX3DJUrLrjNYdDmPmRkNETD3_QM-Scs8RhalYe3I9Ck4KHXBK3AcRnK8iiI8Wq0-3NhP2h8IZll0efnHB365BVZ1rMVR5k8Y8/s1600/W.JPG" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="556" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH7oTIPfVFkXiRULNi3waOkW6IPkw_ryau_XSXSjVow-MX3DJUrLrjNYdDmPmRkNETD3_QM-Scs8RhalYe3I9Ck4KHXBK3AcRnK8iiI8Wq0-3NhP2h8IZll0efnHB365BVZ1rMVR5k8Y8/w610-h556/W.JPG" style="border: none; position: relative;" width="610" /></span></a></td></tr>
<tr><td><span style="font-size: medium;"><span>Joep Bertrams, Dutch political cartoonist, 2016</span><br />
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<span style="font-size: medium;"> With less than ten weeks before British referendum on the EU on 23 June, and with undecided voters still in huge numbers, David Cameron is having a hard time persuading his fellow citizens to vote "In", as the Panama papers leaks revealed British Prime minister and his family took advantage of an offshore fund owned by his late father.</span></div>
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<span style="color: red; font-size: x-large;">Brexit Referendum </span></div>
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<span style="font-size: medium;">The UK was to vote on whether to remain in the EU on Thursday 23 June, 2016. Prime Minister David Cameron made his historic announcement in Downing Street after briefing the cabinet. He said he would be campaigning to remain in a reformed EU - and described the vote as one of the biggest decisions "in our lifetimes".Mr Cameron claimed his EU reform deal will give Britain "special status" within the bloc - tackling concerns over migrants getting "something for nothing" from the benefit system and exempting the country from the EU drive for "ever-closer union". But critics argued it did nothing to tackle high levels of immigration or take back powers from Brussels.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUkdvkguYNxNca1_RUlb_j1D08sB1nBf3DyNgFqpEm5kUBjIS0z9d-WysGfFifh1SehrNsHv64R0mL0KzAAkqaZBwERQV_pDBvKFpT8lA2RtJxXZ7uE9BVvqnT52lHvGBNr_R_1VyrtnU/s1600/b.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUkdvkguYNxNca1_RUlb_j1D08sB1nBf3DyNgFqpEm5kUBjIS0z9d-WysGfFifh1SehrNsHv64R0mL0KzAAkqaZBwERQV_pDBvKFpT8lA2RtJxXZ7uE9BVvqnT52lHvGBNr_R_1VyrtnU/s640/b.png" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">So, Europeans stay at home ... and we stay in Europe.</span></td></tr>
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<tr><td><span style="font-size: medium;">British fine taste: - As usual the special sausage!</span></td></tr>
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<tr><td><span style="font-size: medium;"><span>Slovakia, June 26, 2016, Martin Stove</span><br />
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<span style="font-size: medium;">The United Kingdom's break with the European Union is an unprecedented "political earthquake" that sweeps away decades of diplomatic harmony and unravels a post-World War II dream of a unified voice to guarantee peace, economic prosperity and security.</span></div>
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<span style="font-size: medium;">After 43 years in European coalitions, the U.K. is parachuting out of a 28-nation bloc that is riven with divisions over the refugee crisis, weighed down with the Greek debt drama and relatively powerless in the face of Russian aggression in Ukraine. The EU is also weathering populist, far-right revolts among large swaths of its 500 million citizens in France, Hungary, the Netherlands, Poland.( Kim Hjelmgaard, USA TODAY, June 26, 2016)</span></div>
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<tr><td><span style="font-size: medium;"><span>Slovakia, June 30, 2016, Marian Kamensky</span><br />
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<span style="font-size: medium;">The economic fallout from Britain’s vote to leave the European Union was swift and stark. The pound cratered to its lowest level in three decades. When the London Stock Exchange opened the next morning, its leading share index immediately fell by more than 8 percent, the largest single-day drop since the 2008 financial crisis.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUljuKSWj_L9m12HvEpvJ7m4KCyOIoh5W1wErrbn0GzjllUSD786oqHiwwh0T1dcVx963NGi1FEfgc2luzV9HFQtmK2yehsj2ugphwf9E9CuP2ytl783JpmhcIXMC5TXFtWcQabH1O3W4/s1600/Screen+Shot+2016-07-04+at+5.46.40+PM.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUljuKSWj_L9m12HvEpvJ7m4KCyOIoh5W1wErrbn0GzjllUSD786oqHiwwh0T1dcVx963NGi1FEfgc2luzV9HFQtmK2yehsj2ugphwf9E9CuP2ytl783JpmhcIXMC5TXFtWcQabH1O3W4/s640/Screen+Shot+2016-07-04+at+5.46.40+PM.png" style="border: none; position: relative;" width="640" /></span></a></td></tr>
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<span style="font-size: medium;">The world is looking at Britain and asking: What on Earth just happened? Those who run Britain are asking the same question. Never has there been a greater coalition of the establishment than that assembled by Prime Minister David Cameron for his referendum campaign to keep the U.K. in the European Union. There was almost every Westminster party leader, most of their troops and almost every trade union and employers’ federation. There were retired spy chiefs, historians, football clubs, national treasures like Stephen Hawking and divinities like Keira Knightley. And some global glamour too: President Barack Obama flew to London to do his bit, and Goldman Sachs opened its checkbook. And none of it worked. The opinion polls barely moved over the course of the campaign, and 52% of Britons voted to leave the EU. That slender majority was probably the biggest slap in the face ever delivered to the British establishment in the history of universal suffrage. [FRASER NELSON, The WSJ June 24, 2016, ]</span></div>
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<span style="font-size: medium;">The Brexit vote will fuel concerns in Westminster that the future of the United Kingdom is now in serious doubt. The SNP warned during the campaign that if - as has happened - the UK overall voted to leave the EU but Scots voted to remain, Scotland would be taken out of the EU "against its will" and this could be the trigger for another independence vote. Senior SNP figures have said the vote shows Scotland sees its future in the EU and the issue of its own constitutional status could be revisited. First Minister Nicola Sturgeon has said the issue is now back "on the table" while her predecessor Alex Salmond has gone further, saying a second vote could take place within the next two and a half years, depending on how long it takes the UK to depart. (...) There are also concerns in Northern Ireland about the implications of the Brexit vote for its relationship with the Republic of Ireland. Remain campaigners warned that a Brexit vote could herald the return of "hard" border controls between the North and South. The Irish government has said the future of the border is one of a number of priority issues in its contingency planning.[BBC]</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhplyVeYslWNZZmM0a7hHm2CYp9mGqCh7y3SU8YcNBlvPiZNZ7hLTFWoUP-kYwr8rlSuCYUSxAJYPDfGIHf8h_vk_lfCMGD7K0jjNTSC811vJ-oDnK__RtNd9Wzh_4IDEMqLHRRGrgrAXs/s1600/A.JPG" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="1066" data-original-width="1600" height="527" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhplyVeYslWNZZmM0a7hHm2CYp9mGqCh7y3SU8YcNBlvPiZNZ7hLTFWoUP-kYwr8rlSuCYUSxAJYPDfGIHf8h_vk_lfCMGD7K0jjNTSC811vJ-oDnK__RtNd9Wzh_4IDEMqLHRRGrgrAXs/w791-h527/A.JPG" width="791" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Political cartoonist Peter Brookes (UK, inducted in 1988) created On Osborne’s Scary Brexit Forecast for The Times, published on 20 April 2016.</span></td></tr>
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Prime Minister Theresa May called a snap U.K. general election in the hope of strengthening her hand in negotiations to take Britain out of the European Union.</span></div>
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But that gamble has backfired: Rather than handing May a landslide victory, the election has left no party with a clear majority, throwing into doubt who will govern Britain.
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Negotiators from the U.K. and EU reached a draft Brexit deal in 11th-hour talks, although there were serious doubts that the agreement will be approved by U.K. lawmakers back in Westminster. European Commission President Jean-Claude Juncker called the deal “fair and balanced.” Johnson faced a Saturday deadline by law to request an extension to the current Brexit departure date of Oct. 31, 2019 had no deal been reached. However, Juncker has implied that EU leaders won’t allow an extension, even if Johnson asks. This sets up a complicated and difficult day for the U.K. Parliament on Saturday. There are doubts a deal will be approved in Westminster, with opposition parties already criticizing it.</span></td></tr>
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<span style="font-size: medium;">The UK officially left the European Union on Friday 31 of January 2020, at 23:00 GMT after 47 years of membership, and more than three years after it voted to do so in a referendum.
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The UK was aiming to sign a permanent free trade agreement with the EU, along the lines of the one the EU has with Canada, by the end of the transition period in December, 2020. But European leaders had warned that the UK faces a tough battle to get a deal by that deadline.
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August 2021</span></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzlLa8QuUBWDVC82YYIZyc8TeGDq0TTp_15wS56kzgae2eoITaUQUW5SQZQsXcyKRVX39Sb6RzuqLqEb5HSNBtsOtsQUEYJI7Ls5AVyXZLLj5C0lFy3sn56uTPTPFHsGt02w_m5JFuDrr4kfuUywBZN_MCId0JNeuMkwqLDmoDoiccavm3NZ9oosHv/s1920/5126.webp" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1231" data-original-width="1920" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzlLa8QuUBWDVC82YYIZyc8TeGDq0TTp_15wS56kzgae2eoITaUQUW5SQZQsXcyKRVX39Sb6RzuqLqEb5HSNBtsOtsQUEYJI7Ls5AVyXZLLj5C0lFy3sn56uTPTPFHsGt02w_m5JFuDrr4kfuUywBZN_MCId0JNeuMkwqLDmoDoiccavm3NZ9oosHv/w600-h384/5126.webp" width="600" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGL7Zd73z9XoaGJOq3FSapvEh8JwkdS5UhFzO62s82WrS4cELENl0Cp1362BARRJVQcQ_QFMEZQRU2nGJ6v8NJ1q3jfxucvwtWDP2IjkPtMVvyCrAJ-uH26IesRdP5gwAnn7p_EORDlvQ3k_WV7JCTNdtiUJjuGf2CS-tHi9nU98lM5-nKxQS1u8hA/s962/374567323.article-962.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="578" data-original-width="962" height="366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGL7Zd73z9XoaGJOq3FSapvEh8JwkdS5UhFzO62s82WrS4cELENl0Cp1362BARRJVQcQ_QFMEZQRU2nGJ6v8NJ1q3jfxucvwtWDP2IjkPtMVvyCrAJ-uH26IesRdP5gwAnn7p_EORDlvQ3k_WV7JCTNdtiUJjuGf2CS-tHi9nU98lM5-nKxQS1u8hA/w609-h366/374567323.article-962.jpg" width="609" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: left;"> After Jeremy Hunt, her new chancellor buried Liz Truss’s economic strategy with a series of humiliating U-turns after he took over from the sacked Kwasi Kwarteng, who wanted to reduce taxes on the rich and subsidize the poor for increased costs of energy due to the war in Ukraine; Truss announced on 20 October 2022 that she was quitting No 10 after a calamitous 45 days in office. She was the shortest-serving UK prime minister ever, having presided over what has been one of the most politically turbulent and economically damaging periods in modern history. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVnhcibPFylmYC-kiDdoSMmNyp0iJXnwnt_LJPJ_12p49vSSmd5zwu0RF4ZEWTF4UqoABuaHKetaFvTCfRB1F7zHbgKpP2wRD1NyvF3kiQWV-LtmK7juIR9t5DAVvFq_qFlvlHbvPyQpQ6h4tyogkGHCpirXG2sEGxjCqo5pzVIy74lurDZFnSaKAX/s1984/Ff3XdYZWQAESxTk.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1373" data-original-width="1984" height="399" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVnhcibPFylmYC-kiDdoSMmNyp0iJXnwnt_LJPJ_12p49vSSmd5zwu0RF4ZEWTF4UqoABuaHKetaFvTCfRB1F7zHbgKpP2wRD1NyvF3kiQWV-LtmK7juIR9t5DAVvFq_qFlvlHbvPyQpQ6h4tyogkGHCpirXG2sEGxjCqo5pzVIy74lurDZFnSaKAX/w577-h399/Ff3XdYZWQAESxTk.jpeg" width="577" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpNthQASxZQyLtkNJCnsHjOWGWHBu89_9fVPgh7uBi0WX3H00wibSQpbP0qkJ5NpTGSoTY-A9jNoh5n_pw9EOB90QN6tmBIjO5XbD_3BqSoYBqtG_9rIJ-kYgWN2dGFQcBJpbzTtAcmiy3c4eDiKC7bErvLIKtgQFghzQ4VUxq8OTCqYLDbXWG86Ff/s268/images.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="188" data-original-width="268" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpNthQASxZQyLtkNJCnsHjOWGWHBu89_9fVPgh7uBi0WX3H00wibSQpbP0qkJ5NpTGSoTY-A9jNoh5n_pw9EOB90QN6tmBIjO5XbD_3BqSoYBqtG_9rIJ-kYgWN2dGFQcBJpbzTtAcmiy3c4eDiKC7bErvLIKtgQFghzQ4VUxq8OTCqYLDbXWG86Ff/w512-h360/images.jpeg" width="512" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsCogVvRcwHow0kE1kuAnpPa747ZViSwJ9cBR_Q6QB-K3bkx1fNYuGZ_TdGlOFsRvXu-uwcI0JiFH2EHIG6RYWUlUaemS7W7VzPA6VToR6JS8oy_UIqONglKqI18KBWBaK8czSMSEoN2_C4_swHQyjOEEt3KEMQ3bKNEGN5nojMhtvDBHUDMgxpwb-/s1049/Screenshot%202022-11-01%2011.12.09%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="784" data-original-width="1049" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsCogVvRcwHow0kE1kuAnpPa747ZViSwJ9cBR_Q6QB-K3bkx1fNYuGZ_TdGlOFsRvXu-uwcI0JiFH2EHIG6RYWUlUaemS7W7VzPA6VToR6JS8oy_UIqONglKqI18KBWBaK8czSMSEoN2_C4_swHQyjOEEt3KEMQ3bKNEGN5nojMhtvDBHUDMgxpwb-/w530-h396/Screenshot%202022-11-01%2011.12.09%20PM.png" width="530" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div>Rishi Sunak has become the new UK Prime Minister, following Liz Truss’s dramatic resignation on 20 October 2022. </div><div class="separator" style="clear: both; text-align: center;"><div style="text-align: left;">The former Chancellor faced questions about his own tax affairs and his commitment to the UK, after it emerged he had held onto US green card status well into his tenure as the head of the Treasury. His personal affairs also came in for scrutiny after it was revealed his wife Akshata Murty not only had links to Russia, but was also shielding her vast wealth from the UK taxman by holding non dom status.</div><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgadl8tu1eWynNjee2KAzRA6G0E-ui5nncB050iwl2F1vPL-lNWnncrl7oBZm__rE9bnrhUAN3QRGNrBqlCmED6Cot-DzEXmp6jWGSr0UROhvrxbaxmOAGEyPQ1oUIw8Ze-oxS9x2D_oXEh0lhM4LKuzhkoRDJgbyzpzeQgjxE3ggrWLh6-68iUJSn2/s1280/_methode_times_prod_web_bin_1213f52a-a1a2-11ed-befb-a61c39e55892.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="411" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgadl8tu1eWynNjee2KAzRA6G0E-ui5nncB050iwl2F1vPL-lNWnncrl7oBZm__rE9bnrhUAN3QRGNrBqlCmED6Cot-DzEXmp6jWGSr0UROhvrxbaxmOAGEyPQ1oUIw8Ze-oxS9x2D_oXEh0lhM4LKuzhkoRDJgbyzpzeQgjxE3ggrWLh6-68iUJSn2/w616-h411/_methode_times_prod_web_bin_1213f52a-a1a2-11ed-befb-a61c39e55892.jpg" width="616" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><h3 style="margin: 0px; position: relative; text-align: left;">
<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Eight10" style="text-decoration: none;"><span style="color: #cc0000; font-size: x-large; font-weight: normal;">France and Germany After WWII</span></a></h3>
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<span style="font-size: medium;"><span>Jean Eiffel,"Acceptez vous de prendre pour mari et légitime époux?", L’Express, septembre 1958</span><br />
<span>De Gaulle returned to power in 1958 thanks to the crisis of May 13. The crisis stemmed from the institutional weakness of the Fourth Republic, concentrating too much power in the parliament at the expense of the executive branch. As a result there were 24 governments in 12 years since the end of WWII. Meanwhile, the French army faced a daunting crisis due to the uprising of French Algeria. De Gaulle agreed to become President in exchange for constitutional reform</span><br />
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<span style="font-size: medium;"><span>Fritz Behrendt, Algemeen Handelsblad, June 1962,</span><br />
<span>The German cartoonist reflects on the the oversized ego of General de Gaulle, President of the French Republic.</span><br />
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<span style="font-size: medium;"><span>Michael Cummings (1919-*), 'Anything to declare, gentlemen?', L'Aurore, July 1961.</span><br />
<span>Paris customs officers Konrad Adenauer, German Chancellor, and Charles de Gaulle, French President, ask Harold Macmillan, British Prime Minister who tries to smuggle the Commonwealth into the common market despite the warning: 'Common market: imports of special favours for the Commonwealth and agricultural protectionism forbidden.'</span><br />
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<span style="font-size: medium;">The cartoonist, Spinga, legitimately asks if Bonapartism is not one of the characteristics of French politics. Obviously, there are differences between Gaullism and Bonapartism. De Gaulle did not attack the civil liberty (assaults on the freedom of the press had begun under the Fourth Republic during the war in Algeria). De Gaulle never introduced aggressive militarist strategy ( in fact, his most resolute opponents were senior army officers). Furthermore, De Gaulle never aimed at establishing an empire. Nevertheless, some elements of Bonapartism may be detected in the regime that he established in 1962. The Gaullists are supporters of a strong sovereign state. They like a planned economy and a centralized authoritarian state led by a charismatic and powerful leader such as Bonaparte or De Gaulle.</span></div>
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<tr><td><span style="font-size: medium;"><span>General de Gaulle’s European policy, Ekö, 7 September 1960</span><br />
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<span style="font-size: medium;">Charles de Gaulle’s road to Europe: not together, but side by side.’ Following a press conference held on 5 September 1960, General de Gaulle is accused of rejecting supranationality as a means of unifying Europe; instead, he develops his idea of a Europe of states. To the right of the French President, German Chancellor Konrad Adenauer.</span></div>
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<span style="font-size: medium;"><span>William Elias Papas, The Guardian, May 1967,</span><br />
<span>Charles de Gaulle's action plan towards the United Kingdom’s application for accession to the European Communities.</span><br />
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<span style="font-size: medium;">‘Rêveries. Savage! …’ 13 November 1964,
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cartoonist Padry draws an ironic cartoon of the strained relations between the new Federal Chancellor Ludwig Erhard, who has a highly Atlanticist view and favours direct relations with the United States, and French President Charles de Gaulle, a fervent defender of national sovereignty. The period of good relations and complicity between Adenauer and de Gaulle (sat together at the piano) seems to be over. The atmosphere has become much more chilly between Paris and Bonn. On the left, Chancellor Ludwig Erhard, smoking a cigar, is disturbing the good relations that once existed between the Franco-German duo with his jukebox (‘made in USA’)</span></div>
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<span style="font-size: medium;"><span>JAK, Raymond Jackson (1927 - 1997), Evening Standard, Dec. 1969</span><br />
<span>"Well, for a start, Harold, can you do this?" French President Georges Pompidou and Prime Minister Harold Wilson</span><br />
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<span style="font-size: medium;"><span>Lodge, Nevile Sidney, 1918-1989; Evening post (Newspaper. 1865-2002),1973</span><br />
<span>'Pardon, Monsieur The President, but as he was leaving, the New Zealand Deputy Prime Minister scribbled on your front door!,' A disgruntled Deputy PM has been to visit Pompidou to protest nuclear weapons testing in the Pacific without success. To show his frustration, the visitor has changed the name on the door to President Bombido and the presidential aide is telling the president about the graffiti.</span><br />
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<span style="font-size: medium;"><span>Fritz Behrendt, ‘A teaspoonful a day,’ 1974.k</span><br />
<span>The French President, Valéry Giscard d’Estaing, and the German Chancellor, Helmut Schmidt's recommended dose of European Economic Community (EEC) medicine for the British Prime Minister, Harold Wilson's ailment.</span><br />
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<tr><td><span style="font-size: medium;"><span>‘Ludwig, why are you opposed to this union?", Hans Geisen, 1964</span><br />
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<span style="font-size: medium;"><span>In January 1963, Konrad Adenauer signed the Franco-German friendship treaty with Charles de Gaulle in Paris. The "mystical communion" between the two old Catholics was strong, and both men shared the same political belief: Europe was no stronger than the bonds that linked France and Germany. It was a far-reaching treaty, unique for both countries in the kind of political machinery it set up.</span><br />
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<span>However, a few months later Adenauer and his "German Gaullists" were gone, and Chancellor Ludwig Erhard, an avowed Atlanticist, replaced Adenauer as party leader. He understood that France could not provide the protection the U.S. could, and noted the relative importance of America in the world economy, thus believed it would be best to stick with the Atlanticist approach. The Bundestag had added a preamble to the treaty that de Gaulle told Willy Brandt was a "personal offense," and the General, wearily, would remark that treaties, like young girls and roses, faded all too quickly. Erhard’s emphasis on the primacy of economics over concern for security and national interests first reflects a basic tenet of Atlanticist thought: the west is linked not just by common values and interests, but also by close economic ties that link the interests of countries in a way that makes a pure nationalist read on policy impossible.</span></span></div>
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<tr><td><span style="font-size: medium;"><span>"After so many years ..." Hans Geisen, Swiss, 1980</span><br />
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<span style="font-size: medium;">President Valéry Giscard d'Estaing and Chancellor Helmut Schmidt pursuit of a policy of rapprochement between France and the Federal Republic of Germany (FRG) is represented as the growing relationship of the nascent collaboration of their predecessors, the German Chancellor Konrad Adenauer and French President Charles de Gaulle.</span></div>
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<tr><td><span style="font-size: medium;"><span>Mirko Szewczuk, "Better holding Acheson's hand when Stalin is on the roof!", 1949</span><br />
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<span style="font-size: medium;">Dean Acheson was the first Secretary of State who visited the Federal Republic. He was Truman's Secretary of State, and he came here at the request of President Truman. It was extremely important and valuable for us that it was Dean Acheson, whom I esteem highly, who came at that time and the visit strengthened our morale profoundly. <i>Adenauer</i></span></blockquote>
<span style="font-size: medium;">Dean Acheson visited Adenauer shortly after the founding of the Federal Republic in November 1949. American policy aimed at integration of the Federal Republic in the Western world. Gradually will Adenauer revitalize the potentials of the Federal Republic. However, the cartoonist suggests that the East German Prime Minister Otto Grotewohl and the President of the Republic Wilhelm Pieck, acting as Soviet leader Joseph Stalin's guard dogs, are the real threat. Otto Grotewohl began taking an active part in the revived Social Democratic Party of Germany after the defeat of the fascist regime in Germany. He fought for the unity of the German workers’ movement as a result of which the Communist Party and the Social Democratic Party of Germany were united as the Socialist United Party in the eastern part of Germany. At the unification congress in April 1946, Grotewohl was elected to the Central Board of the Socialist United Party, and he and Wilhelm Pieck became its chairmen. After the proclamation of the German Democratic Republic on Oct. 7, 1949, he became the prime minister of the GDR. Wilhelm Pieck who had moved to Soviet controlled Germany after the Second World War, was elected President of the newly-established German Democratic Republic in 1949. He was part of the 1919 Spartakist rebellion, along with Rosa Luxemburg and Karl Liebknechton, which had been crushed and most of its leaders were arrested and executed, but he was released unharmed, and remained active in the German Communist Party.</span></div>
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<tr align="left"><td><span style="font-size: medium;">The formation of the European Common Market (composed of France, West Germany, Italy, the Netherlands, Belgium, and Luxembourg) in 1957 brought unprecedented prosperity to those countries. By 1962, 11 additional countries in Western Europe had applied to join. The Soviet Union and its East European satellites held aloof, but Valtman suggests that they may be viewing the development with considerable concern. Here Soviet leader Nikita Khrushchev (1894-1971) watches construction while his little dog (who resembles East German leader Walter Ulbricht (1893-1973)) strains at the leash.</span></td></tr>
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<span style="font-size: medium;"><span>Plantu,‘I’ve even included a catalytic converter, just for you!’ , April 1985</span><br />
<span>The French President, François Mitterrand tries to sweeten the deal for the German Chancellor Helmut Kohl as part of his plan for the Eureka (European Research Coordination Agency) project, coordinating scientific and technological research at Community level .</span><br />
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<span style="font-size: medium;"><span>Walter Hanel, "Welcome", 1993</span><br />
<span>French President François Mitterrand and the German Chancellor Helmut Kohl are standing at the door to welcome the accession of Austria, Finland and Sweden to the European Community, but the quality of life inside the house is not much different.</span><br />
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<span style="font-size: medium;"><span>Steve Bell, Guardian, June 2004</span><br />
<span>Jacques Chirac gently decried George Bush's plan to reform Arab states with free elections, independent media and improved legal systems. Democracy was not a commodity that could be exported. It had to be an Arab model of democracy not a western one.</span><br />
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<span style="font-size: medium;"><span>Carlo Schneider, 2005</span><br />
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<span style="font-size: medium;">On 4 March, President Jacques Chirac announced that France will hold its referendum on the European Constitution on 29 May 2005. Chirac’s statement came less than two weeks after the Spanish people had voted overwhelmingly in favour of the Constitution, albeit with a low turnout. Just a few days before the announcement of the French date, the Dutch government had decided to hold its consultative referendum on 1 June. Against the background of the Constitutional Treaty’s rejection in the referendums in France and the Netherlands in spring 2005, the referendum euphoria changed into a referendum phobia. All member states except of Ireland where a referendum was legally required decided to ratify the Treaty of Lisbon via the parliamentary procedure only.</span></div>
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<span style="font-size: medium;"><span>Christo Komarnitski, Apologies to Delacroix, Sarkozy and Carla Bruni.</span><br />
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<span style="font-size: medium;">Carla Bruni- Sarkozy's wife claimed to journalist Nathalie Saint-Cricq that "Nous sommes des gens modestes". This invited ridicule in her bid to recast her husband Nicolas a “man of the people". According to Daily Telegraph reporter Henry Samuel; "The comment from the heiress to a tyre fortune who earned almost £5 million per year at the height of her catwalk fame has turned Mrs Bruni-Sarkozy into a laughing stock on the internet. One commentator on Le Monde’s website describing the claim as coming from “Marie Antoinette in Sarkoland.””.</span></div>
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<span style="font-size: medium;">Sarkozy's expulsion of Roma gypsies was a dark episode in the history of France. According to Libération: “France stands accused”. It stated that "the degraded image of Sarkozy’s France isn’t just an image. It’s a reality as reported day after day in the foreign press.”</span></div>
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<span style="font-size: medium;">Dave Brown, The Independent 2012. Nicolas Sarkozy tried to exploit a Toulouse shootings in March to boost his chances of re-election and keep the focus on security.</span></div>
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<span style="font-size: medium;"><span>Hagen, Verdens Gang - Oslo, Norway, 2012.</span><br />
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<span>Sarkozy as the train bearer for the Miss France, who's no other than the far-right candidate Marine le Pen</span></span></div>
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<span style="font-size: medium;">After his electoral victory Francois Hollande went to Berlin to talk with Germany's chancellor Angela Merkel. He stated "I want growth to be not only a word, not just a word that can be uttered and followed by tangible acts in proof. The best method is to put everything on the table." and Merkel responded: "I am pleased that we have agreed on talking about the different ideas in terms of growth. And I'm not worried that we could not have common ground. Possibly we have some different opinions but I really look forward to our cooperation."</span></div>
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<tr align="left"><td><span style="font-size: medium;"><span>When al-Qaeda-linked insurgents who had took over the northern half of the Mali in 2012, and then in the early January 2013, moved farther south, imperilling the capital, Bamako, France’s Socialist president, François Hollande, who has been wary of throwing his weight around in his country’s former colonial domains, send troops to bolster Mali’s feeble and fractious administration . According to Economist:</span><br />
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<span style="font-size: medium;">Getting into a war is always easier than getting out. France therefore needs to limit its ambitions. ... Europeans and others should help with economic development and military training. But for the country to have a hope of working properly, Malians must also sort out their chaotic politics. A year ago, soldiers at the head of Mali’s ragged army overthrew an elected government. On paper, civilians are back in charge, but no one is sure who really pulls the strings. Outsiders can clear the way, but in the end it is the Malians who must mend Mali.</span></blockquote>
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<tr><td><span style="font-size: medium;"><span>Angela Merkel, is having dinner with French president, François Hollande, at Das Austerity Euro-Café. Austerity preaching Merkel is having a miniscule single sausage for dinner, while Hollande is enjoying a sumptuous repast and obviously ordering the most expensive wine from the list.</span><br />
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<span style="font-size: medium;">On January 2014, Didier Migaud, president of the independent Cour des Comptes body, warned that France faced a costly increase in its debt servicing costs once interest rates rise, as is likely when the economy begins recovering. "The level that's been reached has put our country in a danger zone," Migaud said. "Efforts undertaken so far are not sufficient to get out. What wasn't done in 2011, 2012 and 2013 only adds to the extra distance that will have to be travelled in the coming years," Migaud said. "This extra distance won't be the least demanding - quite the contrary."</span></div>
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</span><div style="text-align: left;"><span style="font-size: medium;">Emmanuel Macron visited Washington in April 2018 that was dominated by differences with the United States over trade and the nuclear accord with Iran. Donald Trump gave his French counterpart a red carpet welcome at the White House. The media called them "An odd couple". According to Bloomberg:<br />
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The world seems fascinated by the strikingly warm rapport between Donald Trump and Emmanuel Macron — one of those relationships that has many reaching for the cliched "bromance" label. Both men like to play up their friendship with long, vigorous hand-shakes and air kisses. They exchange endless smiling pleasantries and talk about how often they speak on the phone, like a cooing young couple.</span></blockquote> </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Emanuel the First Receives Vladimir the Great at Versailles<br /></span><div style="text-align: left;"><span style="font-size: medium;">
Macron- There we have the great Ttianon palace, there the great canal, and there , the great ...</span></div>
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Putin - Da, da, your country is great ,... , But where is its king?</span></div>
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<span style="font-size: medium;"><span>Emmanuel Macron wants to be king and savior of Europe. </span><span style="text-align: center;">With German Chancellor Angela Merkel weakened by domestic strife in her twilight years in office, Britain sidelined by its civil war over Brexit, and Italy marginalized under a feuding coalition of rival populists, the French president has positioned himself as the indispensable European leader.</span></span></div>
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<span style="font-size: medium; text-align: center;">The golden thread that connects his muscle-flexing in Brussels and diplomatic activism on the international stage is a strategic ambition to make Paris the go-to political hub of a stronger, more united Europe, through which all the other spokes are connected.</span></div>
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</span><h4 style="margin: 0px; position: relative; text-align: left;"><span style="color: #b45f06; font-size: medium;"><div class="separator" style="clear: both; text-align: center;">شد <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx-_88kCste-EjwHqOtp-Aq7dPqeHIAbj_HshjRqtcYD2rw0dKYVJyyVUo_EQ6vFJtkLh0YvnlZRCDHSE8wTqhrOptq7C93FqJR420njr0YTj5wDC_tx8WnQX8SpyHZCyVykRMfWlUxi0/s1593/aa.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1593" height="477" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx-_88kCste-EjwHqOtp-Aq7dPqeHIAbj_HshjRqtcYD2rw0dKYVJyyVUo_EQ6vFJtkLh0YvnlZRCDHSE8wTqhrOptq7C93FqJR420njr0YTj5wDC_tx8WnQX8SpyHZCyVykRMfWlUxi0/w634-h477/aa.png" width="634" /></a></div><br /><span><br /></span></span></h4><div style="text-align: left;"><span style="font-size: medium;">"For three years, we were made the apology of amateurism, which smelled good the spring freshness, of this majority, of this young president. From this amateurism, we passed to incompetence . no other word. The reality is incompetence. The inability to do things, " Christian Jacob. Jan. 6, 2021</span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><h4 style="margin: 0px; position: relative; text-align: left;"><span style="color: #b45f06;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfyoQEu3ujyq_ufNEmJfVpS1CVq-OMn9gZH2S3V5EqztZdYj2mkkLHmXTjzDExOaAeGZgqhDNWMG5ZDdnH4hQn9O__0nTCpwkBBAfDD-K16c6wjlaZbMscT0U3B__y-at-tdneZjYhfxA/s1017/aaaa.png" style="font-weight: 400; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="575" data-original-width="1017" height="451" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfyoQEu3ujyq_ufNEmJfVpS1CVq-OMn9gZH2S3V5EqztZdYj2mkkLHmXTjzDExOaAeGZgqhDNWMG5ZDdnH4hQn9O__0nTCpwkBBAfDD-K16c6wjlaZbMscT0U3B__y-at-tdneZjYhfxA/w798-h451/aaaa.png" width="798" /></a></span></span></h4><div><span style="font-size: medium;"><div class="separator" style="clear: both; color: #b45f06; text-align: center;"><br /></div>Macron responds to yellow vests </span></div><div><span style="font-size: medium;">'We have to give in on something without giving way on anything'<br /><br /></span></div><div><br /></div><div><span style="font-size: medium;"><span style="color: #b45f06;"><p style="color: black; font-size: medium; text-align: left;"><br /></p><p style="color: black; font-size: medium; text-align: left;"><br /></p><p style="color: black; font-size: medium; text-align: left;"><span face="nyt-imperial, georgia, "times new roman", times, serif" style="background-color: white; color: #333333; font-size: 1.25rem;"></span></p><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgAn9VXv3ZLEDWPJuoY9QY3BKZUz_ehjy5gGDGrCPfsMwDUaYsfSytYmlCdqS0Ow9H95Oi2LgLBctWrvT7qIg_bdPnOCGpt_yqiQLLY9B9WtlWw5zZ9Yo-PeKORXIKyB_9p8RcJKh7BhLlVg4YnsI6uJRqMeYZrtRQOtpuGQKMSC3WDxFI_708clEuB=s900" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="556" data-original-width="900" height="339" src="https://blogger.googleusercontent.com/img/a/AVvXsEgAn9VXv3ZLEDWPJuoY9QY3BKZUz_ehjy5gGDGrCPfsMwDUaYsfSytYmlCdqS0Ow9H95Oi2LgLBctWrvT7qIg_bdPnOCGpt_yqiQLLY9B9WtlWw5zZ9Yo-PeKORXIKyB_9p8RcJKh7BhLlVg4YnsI6uJRqMeYZrtRQOtpuGQKMSC3WDxFI_708clEuB=w546-h339" width="546" /></a></div><br /><p></p><p style="color: black; font-size: medium; text-align: left;"><span style="font-size: large;"> President Biden’s announcement of a deal to help Australia deploy nuclear-powered submarines has strained the Western alliance, infuriating France and foreshadowing how the conflicting American and European responses to confrontation with China may redraw the global strategic map. </span>The New York Times Sept. 16, 2021 </p></span></span></div><div><span style="font-size: medium;"><span style="color: #b45f06;"><br /></span></span></div><div><span style="font-size: medium;"><span><div class="separator" style="clear: both; color: #b45f06; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgkdTIy6WuWZsNBWYfSreD8tAD7YwZHOJ8z_jkHAKNy9lgZ3lBd-npcWYOyzbprXN5uFMaOYhKXmYidcjCSQ3EKm_HluI_Ov_fsLjr9DCwwCqWVVaegppRW-KT_VUttgAI1-FmeuSyQc-spWJfvAJmJXh-1523r1qD-K652szd1SJKHhWhLfidI8SVq50M" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1200" data-original-width="1920" height="376" src="https://blogger.googleusercontent.com/img/a/AVvXsEgkdTIy6WuWZsNBWYfSreD8tAD7YwZHOJ8z_jkHAKNy9lgZ3lBd-npcWYOyzbprXN5uFMaOYhKXmYidcjCSQ3EKm_HluI_Ov_fsLjr9DCwwCqWVVaegppRW-KT_VUttgAI1-FmeuSyQc-spWJfvAJmJXh-1523r1qD-K652szd1SJKHhWhLfidI8SVq50M=w602-h376" width="602" /></a></div><br /><div style="text-align: left;"><div>On Februay 2024 President Macron had called an emergency meeting of Ukrainian allies in Paris, after Kyiv’s forces suffered battlefield losses in large part for lack of critical ammunition from the US and Europe. His real point was to show the Kremlin that whatever happens in the US, Europe won’t give up on Ukraine. Instead, he upgraded Europe’s pledge of support for the country’s defense from “as long as it takes” to “whatever it takes.”</div><div><br /></div><div>European leaders rejected the prospect of sending combat troops to Ukraine, undercutting French President Emmanuel Macron’s promise to do whatever it takes to keep Russia from winning the war.</div><div><br /></div><div>Emmanuel Macron’s refusal to rule out sending troops to Ukraine has caused an uproar across the French political spectrum. “Madness!” said the leftist leader Jean-Luc Melenchon. “Our children!” cried Marine Le Pen, from the hard right. </div></div></span></span></div><div><span style="color: #b45f06;"><span style="font-size: medium;"><br /></span></span></div><div><span style="color: #b45f06;"><span style="font-size: x-large;"><br /></span></span></div><h4 style="margin: 0px; position: relative; text-align: left;">
<span style="color: #b45f06;"><span style="font-size: x-large; font-weight: normal;">Chancellor Angela Merkel's Germany</span></span></h4>
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<span style="font-size: medium;">Berlin was uneasy about Hollande's war. Experience has shown that those involved, no matter what their capacity, can quickly become enmeshed in war, said one source in the Merkel government. Germany feared that if the French meet more resistance from the Islamists than expected, Paris could request additional urgent military support from its partners. Such a situation would have placed Berlin in a difficult dilemma, having to choose between solidarity with France and its own declared unwillingness to become directly involved in the fighting.</span></div>
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<span>Chancellor Angela Merkel of Germany frequently stressed the limits of Germany’s powers to bail out other countries and rejected joint efforts like eurobonds to pool debt. Behind the scenes, however, Ms. Merkel was pressing allies in Paris, Rome and elsewhere to cede more power to Brussels over their national budgets before Germany would agree to provide further backing for efforts to bolster the euro zone.</span></span></div>
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<tr><td><span style="font-size: medium;">Vive l’Independance Européenne! (Three Cheers for European Independence!), Plantu (Jean Plantureux), 2012</span></td></tr>
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<tr><td><span style="font-size: medium;"><span>Exhibition Tour: small pointed compliant? Putin of Russia and Merkel of Germany in the bustling Hanover international trade-fair. the signs read; "Process automation control technology", and Hanover trade fair. Merkel says; "So here is the department 'short-process'... To which Putin thinks "Now she comes right back with 'Pussy Riot'.</span><br />
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<span>In November 2012, German Chancellor Angela Merkel and Russian President Vladimir Putin clashed in Moscow over human rights and democracy as they struggled to show a united front amid rising criticism from Germany. Putin fired back at the visiting German Chancellor for raising questions about the imprisonment of the Pussy Riot protesters, suggesting she was poorly informed about the punk group's true nature. The exchange, at a Russian-German business forum in Moscow, came amid growing German criticism of Russia's human rights record and its moves to crack down on dissent.</span><br />
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<span>Later in April 2013 when in Germany one of the world’s largest industrial exhibitions - Hannover Messe-2013 opened, Russian President laughed off a protest against him by topless women in Germany, joking that he liked what he had seen while sharply rebuffing German criticism of his human rights record. Merkel told Putin in a speech at the fair that Russia needed "an active civil society" including freedom for non-governmental organisations, after a wave of controversial state inspections of foreign-funded NGOs in Russia.</span></span></div>
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<span style="font-size: medium;">Why Angela Merkel wins the election?</span></div>
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<span>Chancellor Angela Merkel won a stunning, near-historic victory in Germany's elections in September 2013, with her Christian Democrat-led conservative bloc scoring 41.5 per cent of the vote to 25.7 per cent for the Social Democrats, her main rivals. Under Germany's mixed-member proportional electoral system, that left her five seats short of the first single-party absolute majority in the Bundestag in 50 years.</span></span></td></tr>
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<tr><td><span style="font-size: medium;"><span>I bet this is a friendship test, and the more you withstand, without defending yourselves, the more they respect you!</span><br />
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<span style="font-size: medium;">Now that a German intelligence official has been arrested under suspicion of passing secret information back to America – potentially concerning an NSA investigation, and reportedly under direction by the CIA – finally the Merkel government is admitting that the long honeymoon is over. Tap my cellphone, shame on you; fool me with a double agent, shame on an ignorant nation. (Malte Spitz in Berlin, the Guardian , Monday 7 July 2014)</span></div>
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<tr><td><span style="font-size: medium;">It is so relaxing in China, You do not even deny that you're eavesdropping on me,so let's drop pleasantries and go straight into talking business!</span></td></tr>
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<tr><td><span style="font-size: medium;"><span>The group, which calls itself Patriotic Europeans Against the Islamization of the West (and goes by the German acronym PEGIDA), demonstrates against economic migrants and a supposed "cultural foreign domination of our country" -- whatever is meant by that. <span>Marian Kamensky is the editorial cartoonist for the switzerland satirical montly magazine Nebelspalter and Germany's satirical magazine Eulenspiegel and the US-Payboy.</span></span><br />
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<span style="font-size: medium;"><span>What is going on in Germany, the world's second most popular destination for immigrants? Has the open-mindedness for which Germans had long been praised now ended? Are we seeing a return of the vague fear of being overwhelmed by immigrants that Germany experienced in the 1990s, when a hostel for asylum seekers was burned down? How large is the new right-wing movement, and will it remain limited to Dresden, or is it spreading nationwide?</span><br />
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<span>So far, protests held under the PEGIDA label in under cities -- like Kassel and Würzburg -- have attracted only a few hundred people at a time. In fact, some of the protests attracted significantly larger numbers of counter-demonstrators. And while thousands of "patriotic Europeans" aim to take to the streets in Dresden again in the coming days, their counterparts in Germany's western states are taking a Christmas break. PEGIDA supporters are waiting until after the holidays to return to the streets in cities like Cologne, Düsseldorf and Unna. (<i>The End of Tolerance? Anti-Muslim Movement Rattles Germany, By SPIEGEL Staff -December 21, 2014</i>)<i></i></span></span></blockquote>
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<span style="font-size: medium;">- Are they supposed to be Germans?</span></div>
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<span style="font-size: medium;">- Probably foreigners!</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsQvto0J91doodPkJnJYqDkzcMIhKmjh2leLPpQM_yexZhP-3dee5FgVx1ao1wYbdypQYPfSBp1sVoCiN2t0YRbUdkDNfYOQuDs-nVwKTsofqpG7r_aTqmdgEaWoow2NppampL9-yY-nw/s1600/16-12-12-macron.jpg" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="584" data-original-width="840" height="519" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsQvto0J91doodPkJnJYqDkzcMIhKmjh2leLPpQM_yexZhP-3dee5FgVx1ao1wYbdypQYPfSBp1sVoCiN2t0YRbUdkDNfYOQuDs-nVwKTsofqpG7r_aTqmdgEaWoow2NppampL9-yY-nw/w748-h519/16-12-12-macron.jpg" width="748" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"> In 2017, La République En Marche, the new center-left party founded by the 39-year-old new president Emmanuel Macron, the youngest president in French history took over the parliament — giving him the actual power to govern </span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;">Macron to Merkel, "I love older women."<br />
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<span style="font-size: medium; text-align: center;"><span>From the start Macron positioned himself as a global player. He stood up to Russia’s Vladimir Putin, calling the Russian news outlets RT and Sputnik news “agencies of influence and propaganda, lying propaganda,” while standing next to Putin at a press conference. He has positioned himself as Trump’s direct opponent on climate change, has made it very clear his allegiances lie with German Chancellor Angela Merkel on international issues, and has cheekily presented France as a viable alternative for scientists and globalists seeking to escape Trump’s America.[Many cartoonists have tried to make fun of the fact that</span><span style="text-align: center;">Macron'</span><span>s wife is 65 to his 39, of which this is an example, which at least refers to a political message]</span></span></div>
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<tr><td class="tr-caption"><span style="font-size: medium;"><span> Merkel as the Statue of Liberty, Heiko Sakurai, 2015 </span><br />
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<span style="font-size: medium;">Merkel is holding a sign saying "We can do it!", while standing on a podium with the inscription "Give me your tired, your poor, your huddled masses." In 2015, in the climax of the refugee crisis, Merkel surprised the world by allowing nearly a million refugees into Germany</span></div>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"> <span>The German election, in September 2017, saw Chancellor Angela Merkel's CDU party lose ground to most rivals, particularly the far-right Alternative for Germany (AfD), Marian Kamensky, Vienna </span></span></td></tr>
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<span><span style="font-size: x-large;"><br /></span><div style="text-align: left;"><span style="color: red; font-size: x-large;"><span>European Debt Crisis</span> </span></div></span>
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<tr><td><span style="font-size: medium;"><span>David Simonds, the Observer, Mario Draghi , Governor of the European Central Bank (ECB), Mark Carney (Governor of Bank of England) , Janet Yellen chair of Federal Reserve Board and Bank of Japan's Governor Haruhiko Kuroda are competing in the BBC’s Strictly Come Dancing, 2014.</span><br />
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<span style="font-size: medium;"><span>So let’s play central bank Strictly. The first one safely through to the next round is the US Federal Reserve. Always confident and assured, the Fed presides over an economy that is growing at 3% a year and creating hundreds of thousands of new jobs every year. The judges were impressed at the elegant way it is planning to start raising rates next year.</span><br />
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<span>Also through to the next round is the Bank of England. Threadneedle Street’s very own Anton du Beke, Mark Carney, has refused to be panicked into an early increase in interest rates and has been rewarded with a combination of robust growth, falling inflation and a cooling housing market.</span><br />
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<span>The Bank of Japan is also through. In previous rounds, the judges have been critical of the BoJ’s hesitant performances and said Tokyo needed to start “going for it”. The improvement since the BoJ embraced aggressive quantitative easing has been obvious, although there is plenty of work still to be done.</span><br />
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<span>Now for the first bank in this week’s dance-off: the central bank of Russia. Clearly, it has not been a good week for Moscow. The oil price is collapsing, and because energy accounts for 70% of Russia’s exports, that’s led to a dramatic fall in the rouble. A lower rouble means higher inflation and the threat of capital flight. The judges’ problem with the CBR is that it appears to be trying to do two dances at once: it can’t make up its mind whether it should be supporting the rouble or not. So it pushed up interest rates last week, but only by a percentage point; not enough to hold up the exchange rate. The upshot will be higher inflation and weaker growth: a dance disaster.</span><br />
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<span>The other central bank in this week’s bottom two is the European Central Bank. Unlike the central bank of Russia, the ECB has been in the dance-off many times and is still struggling with its familiar problem: keeping time with the music. Week after week, the judges call for the ECB to raise the tempo, and their low scores reflect the fact that Frankfurt has yet to show it can jive as well as waltz.</span><br />
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<span>Up until now, the ECB has been kept in the process because the viewers clearly like Mario Draghi. They go for his easy charm and are seduced by his promise that the ECB is practising new moves. By hinting that the ECB is about to embark on its own QE programme, Draghi has proved what you can do with a flash of leg.</span><br />
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<span>But it’s all too little, too late. The eurozone is not growing and deflation looms. An election in Greece that brings to power the anti-austerity Syriza party threatens to reignite the euro crisis, and next time it could be terminal. By the time the ECB gets around to QE – assuming it ever does – bond yields in Greece, Italy and Portugal may well be going through the roof. The judges always say on Strictly that any one can be taught to dance. The ECB proves them wrong.</span></span></blockquote>
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<i><span style="font-size: medium;">(the Guardian, 14, December 2014)</span></i></blockquote>
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<span style="font-size: medium;">"Greece won't take orders any more, especially orders through emails," Greek Prime Minister Alexis Tsipras told his left-wing parliamentary group, denying that he had returned empty-handed from a European tour.</span></div>
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<span style="font-size: medium;">In an apparent reference to the tough stance taken by the ECB and others, Tsipras said: "Greece cannot be blackmailed because democracy in Europe cannot be blackmailed."</span></div>
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<span style="font-size: medium;">The ECB's decision to stop accepting Greek bonds in return for funds shifted the burden onto Athens' central bank to finance its own banks, dealing a big setback to government efforts to buy time to negotiate a new debt deal. (Feb 5, 2015)</span></div>
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<span style="font-size: medium;">Prime Minister Alexis Tsipras' government said it will not extend a bailout programme due to expire at the end of February 2015, and refused to cooperate with the so-called troika of international lenders. It also said it will reverse some unpopular measures imposed by foreign creditors and halt some privatisations, raise the minimum wage, rehire fired public sector workers and restore a bonus for poor pensioners.</span></div>
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<tr><td><span style="font-size: medium;"><span>Exiting for utopia -- "not "Memorandum" but "Programme"; not "Troika" but "Committee"; not "Yiannis" but "Yanis"</span><br />
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<span>Greece’s finance minister Yanis Varoufakis demanded for Greece to be awarded an emergency bridging loan to help keep the country afloat as it seeks to negotiate with the Troika.</span><br />
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<span>In an ominous prelude to the showdown between Europe's largest creditor and its most indebted government, it was revealed that Wolfgang Schauble German finance minister refused a request from George Osborne to give Varoufakis his personal mobile phone number. Mr Varoufakis was in London for talks with the UK Chancellor earlier that week.</span><br />
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<span>In a tense exchange, Schaeuble said Europe’s creditors had gone to the limit of what was “possible and reasonable” on Greece’s debt arrangements. “Yes we must respect Greek voters, but we must also respect the voters of other European countries,” said Mr Schauble. (February , 2015)</span></span></div>
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<tr><td><span style="font-size: medium;"><span>"we insist on soap from your fat" ... "we are discussing fertilizer from your ashes",</span><br />
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<span style="font-size: medium;">The cartoonist of the leftist Greek newspaper Avgi depicts German Finance Minister Wolfgang Schäuble in a Nazi uniform. "I always uphold the principle of free speech, but on a very personal level I find this caricature offensive and the cartoonist should be ashamed," German Finance Ministry spokesman Martin Jaeger said during a press conference. (February 2015)</span></div>
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<tr><td><span style="font-size: medium;"><span>The acclaimed Brazilian cartoonist Carlos Lattuf portrays Greek Prime Minister Alexis Tsipras holding Greece in order not to collapse, as he is returning an envelop that reads “austerity” (crossed out) to an EU authority.- July 2015</span><br />
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<span style="font-size: medium;">Greeks voters overwhelmingly rejected austerity proposals from the country’s creditors - the ECB, EU and IMF - in a snap referendum called by the leftist Syriza government. "If the Greek government thinks it must hold a referendum, then let it hold a referendum," said German Finance Minister Wolfgang Schaeuble when he arrived at the eurozone finance ministers meeting on May 2015. He went on to add, "That might even be a helpful measure for the Greek people to decide whether it is ready to accept what is necessary, or whether it wants something different." After months of negotiations between Greece and its creditors over a deal to extend its bail-out programme, on June 26th Alexis Tsipras, the prime minister, shocked his counterparts by terminating negotiations just days before the bail-out was due to expire and announcing he would put the matter to a referendum.</span></div>
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<span style="font-size: medium;">A desperate Alexis Tsipras pledged to impose the very austerity measures which he urged his compatriots to reject in the Greek's referendum. His government has proposed a raft of budget cuts and tax rises in order to secure a new three-year rescue programme worth €75 billion (£53 billion). As he arrived for the meeting of finance ministers in Brussels , Wolfgang Schäuble, the German finance minister, said the pledges of Greece’s government carried no credibility.</span></div>
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<span>Members of his own party, Syriza, voted against the reform plan in parliament, with 17 lawmakers voted against the plan, abstained or were absent from the vote. This meant that although Mr Tsipras has an overwhelming majority in his parliament - of 251 votes out of 300 - he was forced to rely on other parties after failing to gain more than 151 votes from Syriza MPs.</span><br />
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<span>According to Daily Telegraph" Less than a week after they triumphantly gave international creditors a bloody nose by rejecting a harsh austerity plan, angry and bewildered Greeks are left wondering how they now find themselves swallowing an even worse deal"</span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzhBndadXQErnnj54AvqeWhMfL-AkuUPl8DncrPketYmniLdpt2ppVd78dVTlOyxoGrUaDAFn7n4IFLR98kPyDiGahcRY9kpKdC4xALP78JpyZjnqbJnl2vQfFc8-MdUr8c-6TKevyvEI/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="579" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzhBndadXQErnnj54AvqeWhMfL-AkuUPl8DncrPketYmniLdpt2ppVd78dVTlOyxoGrUaDAFn7n4IFLR98kPyDiGahcRY9kpKdC4xALP78JpyZjnqbJnl2vQfFc8-MdUr8c-6TKevyvEI/w806-h579/a.jpg" style="border: none; position: relative;" width="806" /></span></a></td></tr>
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<span style="font-size: medium;">In the end, Europe’s wealthy powers decided to grant Greece a new lifeline in exchange for new budget-cutting and tax-hiking measures, and Greece is slated to avoid a sudden banking collapse that would likely have forced it out of the 15-year-old currency pact. The agreement in Brussels Monday likely avoids not only an economy-crushing event but also a major reversal for 60 years of increasing European unity. But the story is far from over, with Greece in line for years of economic adjustment (read: pain), and many new doubts about the long-term potential of the euro zone and its capacity to turn the continent into the United States of Europe.</span></blockquote>
<span style="font-size: medium;"> <span style="text-align: center;"><i>Matt O’Brien The Washington Post, Jul 13 2015</i></span></span></div>
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<tr><td><span style="font-size: medium;"><span>Merkel and Hollande joined Poroshenko of Ukraine and Putin for a marathon negotiating session that began early on February 11th, 2015 evening and continued into the morning of 12th.</span><br />
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<span style="font-size: medium;">The summit discussions came as pro-Moscow separatists tightened the pressure on the Ukrainian government by launching some of the war's worst fightin<span>g,</span></span></div>
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<tr><td><span style="color: #333333; font-size: medium; line-height: 22.5px;">"After 17 hours, negotiations in Minsk have finished: ceasefire from Feb. 15 at zero hours, then withdrawal of heavy weapons. Therein lies hope," Ms Merkel's spokesman Steffen Seibert said on Twitter.<br /><br /></span></td></tr>
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<tr><td><span style="color: #333333; font-size: medium; line-height: 22.5px;">The deal reached in the Belarussian capital included a ceasefire that would come into effect on 15 February, followed by the withdrawal of heavy weapons.</span></td></tr>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Nine" style="text-decoration: none;"><span style="color: #cc0000; font-size: x-large; font-weight: normal;">China of Mao Zedong, Deng Xiaoping, Jiang Zemin, and Hu Jantao</span></a></h3>
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<tr><td><span style="font-size: medium;">Uluschak, Edd: ROCKET CAPABILITY WORLD WAR III “Deal me in!” (April 29, 1970)</span></td></tr>
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<tr><td><span style="font-size: medium;"><span><span face=""arial" , "helvetica" , sans-serif">Edd </span><span face=""arial" , "helvetica" , sans-serif">Uluschak, </span><span face=""arial" , "helvetica" , sans-serif">"Funny, you don't look like a decadent, warmongering, depraved imperialist, capitalist dog." "Yes, but would you buy a used rick-shaw from him?"</span><span face=""arial" , "helvetica" , sans-serif">February 21, 1972</span></span><br />
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<span style="font-size: medium;">In the mid-1960s, having failed to win either the presidency or the governorship of California, Richard Nixon had ample time to think about international relations, his primary policy interest. Like most China specialists, he concluded that the United States should end its efforts to isolate China. After winning the presidential election, Nixon's initial overtures to Chinese leaders won a favorable reception. The Great Proletarian Cultural Revolution was burning out, and Mao Zedong and Zhou Enlai were uneasy about what they perceived as the rising Soviet threat. The invitation they issued to their suitors from Washington indicated that a high-level mission to China would be welcomed -- provided the Americans understood that resolution of differences over Taiwan would be the price of rapprochement..</span></div>
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<tr><td><span style="font-size: medium;"><span>Herbert Block, “Mushrooming cloud,” Washington post April 1, 1965,</span><br />
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<span style="font-size: medium;">Communist China exploded its first atomic bomb in October 1964, and the State Department warned in February 1965 that the Chinese, under Mao Zedong, were preparing another nuclear test. The Soviet Union insisted that the Chinese tests did not pose a threat,</span></div>
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<span style="font-size: medium;">Although he brought stability to China, violence was central to Deng Xiaping's formation. As Roderick Macfarquhar and Michael Schoenhals have shown in their epic book “Mao's Last Revolution”, Deng was responsible for purges in the later years of the Cultural Revolution that matched the Gang of Four for brutality. In 1975 he ordered the army to crack down on a Muslim village in Yunnan province, an action which resulted in 1,600 deaths including those of 300 children. Deng's response to the student and worker protests 14 years later was hardly out of character.</span></div>
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<span style="font-size: medium;">Deng Xiaoping will be remembered as the man who put China on the path to economic reforms. He launched capitalist-style market reforms in 1978. They helped push China through a metamorphosis from a drab Leninist state solely dependent on its staid state economy to a dynamic economic powerhouse. But according to state media, the Gini Coefficient for China climbed from 0.18 in 1978 to 0.452 in 1995, and reached the warning level of 0.51 in 2002. The index is an economic measurement of the rich-poor disparity used by the United Nations and the World bank and a reading between 0.3 and 0.4 is regarded as normal but 0.4 or above is considered serious.</span></div>
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<span style="font-size: medium;">Tiananmen Square was followed by a period of repression marked by mass arrests and executions. Thousands were jailed, harassed and threatened. Some were executed, shot in the back of the neck, and photographs of the bodies were posted all over the country as warnings. Human rights groups reported that 50 to 100 people were executed in the wake of the Tiananmen Square crackdown, some for things as minor as setting a police motorcycle on fire or taking photographs of tanks around the square. Another 15,000 to 20,000 were detained, with 99 of those still in prison in ten years later.</span></div>
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<span style="font-size: medium;">Jiang Zemin's rise to power stemmed from a politburo purge of liberal leaders in 1989, after the ruthless suppression of the pro-democracy demonstrations in Tiananmen Square. Paramount leader Deng Xiaoping, who held all the real power, needed to find a new protege to lead the Communist Party. Jiang, who as Shanghai party chief had weathered the student protests without resorting to violence, fitted the bill. By the time Deng finally died in February 1997, Jiang Zemin had been given enough time to establish himself.</span></div>
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<tr><td><span style="font-size: medium;"><span><span face=""arial" , "helvetica" , sans-serif">Ingrid </span><span face=""arial" , "helvetica" , sans-serif">Rice, </span><span face=""arial" , "helvetica" , sans-serif">Vancouver Sun, </span><span face=""arial" , "helvetica" , sans-serif">November 26, 1996</span></span><br />
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<span style="font-size: medium;"><span>Jiang Zemin who brought China into the World Trade Organization and rebuilt ties to the United States after a breakdown in 1989, favored deeper ties to the West and more opportunities for China’s private sector. He did not possess the indomitable behind-the-scenes power of Deng Xiaoping, who ushered in market reforms after the death of Mao Zedong. But a year of division and uncertainty at the end of Hu Jintao's tenure created openings for him to influence the election of Hu's successor, Xi Jinping.</span><br />
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<span>The Tiananmen Square massacre was a pivotal event in Jiang’s political career. In 1989, as Party chief of Shanghai, Jiang suppressed the liberal newspaper the World Economic Herald and, while other provincial officials waited, very promptly supported the Central Party’s call for martial law in mid-May. According to The Real Story of Jiang Zemin, Deng Xiaoping, pleased at Jiang’s show of toughness, secretly made him general secretary in the days before the massacre. After the massacre, Jiang was responsible for chasing down and suppressing the remnants of the democracy movement.</span></span></div>
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<tr><td><span style="font-size: medium;">Hu Jintao succeeds Jiang Zemin</span></td></tr>
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<tr><td><span style="font-size: medium;">China’s top Communist leaders, including Mao Tse-tung and Deng Xiao-ping, edge out Tibetan deities before a horrified Tibetan monk. This refers to the government’s mandate that a photo of the leaders be placed in Tibetan monasteries at a time when monks continue to light themselves on fire to protest Chinese rule.</span></td></tr>
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<span style="font-size: medium;"><span>Hu Jintao ensured that China would not repeat the same mistake as the Soviet leaders, reforming politics before fixing the economy. He and his Standing Committee colleagues focused nearly single-mindedly on economic growth. The question facing him when he came into office was what to do about the huge differences between the rich and the poor across the country. But beginning in 2007, after the dramatic collapse of Western export markets, he and his colleagues decided to focus on economic growth, no matter how unevenly wealth was spread across society. His original plans to lift taxes on farmers and concentrate on social welfare were quickly shelved as the party bet that, by keeping the economy humming above all else, it could stay a step ahead of the lower classes' growing anxieties.</span><br />
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<span>Hu's legacy included creating 96 Chinese billionaires - in US dollar term, but 150 million Chinese still lived in poverty. The country became the second richest in the world on aggregate, but per capita income hovered near 90th, similar to per capita income in Cuba and Namibia. Shanghainese enjoyed a per capita income of more than $12,000 a year. Residents of Guizhou, China's poorest province, earned a mere $2,500 a year.</span></span></div>
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<tr><td><span face=""arial" , "helvetica" , sans-serif" style="color: #444444; font-size: medium; font-style: italic; line-height: 17px;">“The Dear Leader’s Death.” Chinese President Hu Jintao wipes tears off the cheeks of Kim Jong Il’s successor with a special handkerchief, as leaders of the United States, South Korea and Japan anxiously look on.</span></td></tr>
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<span style="font-size: medium;">The Chinese government continues to systematically erase from the public record any mention of the events of June 1989 that do not conform to the government's assessment of the bloody crackdown as a "political disturbance." China's online censors quickly remove any references to the 1989 crackdown, and internet search engines in China are carefully calibrated to filter out any images or references to the deaths of unarmed civilians for search requests on topics including "Tiananmen Square" and "June 4." Web searches for such terms typically yield "page could not be found" messages, and generally do not inform the user that the search has been censored. Under dictates of China's official Propaganda Department, the domestic print media are forbidden to publish articles on the events of June 1989 inconsistent with the government's version. In 2003, then-US Senator Hillary Rodham Clinton pulled her memoirs from sale in China after it was revealed that her Chinese publisher had without her approval omitted her references to the 1989 democracy demonstrations in Tiananmen Square.</span></div>
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<span style="font-size: medium;">As of June 2012, China was the second largest holder of U.S. securities (after Japan) at nearly $1.6 trillion (down from $1.7 trillion as of June 2011). Her large holdings of U.S. securities have raised a number of concerns in both China and the United States. For example, in 2009, (then) Chinese Premier Wen Jiabao stated that he was “a little worried” about the “safety” of China’s holdings of U.S. debt. The sharp debate in Congress over raising the public debt ceiling in the summer of 2011 and the subsequent downgrade of the U.S. long-term sovereign credit from AAA to AA + by Standard and Poor’s in August 2011 appears to have intensified Chinese concerns. In addition, Chinese officials have criticized U.S. fiscal and monetary policies, such as quantitative easing by the U.S. Federal Reserve, arguing that they could lead to higher U.S. inflation and/or a significant weakening of the dollar, which could reduce the value of China’s U.S. debt holdings in the future. Some Chinese analysts have urged the government to diversify its reserves away from U.S. dollar assets, while others have called for more rapid appreciation of China’s currency, which could lessen the need to hold U.S. assets.</span></div>
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<span style="font-size: medium;">In contrast, the women married to previous Chinese leaders, from Deng Xiaoping to Hu Jintao, and stayed largely behind the scenes, Peng Liyuan, the wife of Xi Jinping appeared on national television in January 2012 as the closing act of a military-themed Chinese New Year gala. "People are who the Party cares about forever," Ms Peng, wearing a white military uniform, sang to a rapt audience which included President Hu Jintao and her husband. Peng Liyuan was already famous when she met Xi Jinping in 1986.</span></div>
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<span style="font-size: medium;">Nicknamed "The Peony Fairy", Peng Liyuan joined the Chinese People's Liberation Army early in her career and made her name as an entertainer approved by the Communist Party, appearing frequently on state television to sing propaganda songs with titles like Plains of Hope and People From Our Village.Peng Liyuan did not always enjoy a rosy relationship with the Communist Party. Like Xi Jinping, her family was persecuted during the Cultural Revolution.In an interview with Chinese television in 2004, Ms Peng said her father was categorised as a "counter-revolutionary" because some of their relatives served in the Taiwanese army.</span></div>
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<tr><td><span style="font-size: medium;">The caption refers to Confucius' dictum: "Discretion is the better part of valor!". Angela Merkel tells Chinese President "Great! China will therefore engage billions in euro crisis!" and then asks would it be in "Yuan or U.S. dollar?" to which he replies " we thought more in terms of fortune cookies!"</span></td></tr>
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<span>On September 2015, President Barack Obama announced; that he had reached a “common understanding” with Chinese President Xi Jinping on curbing economic cyber espionage, but threatened to impose U.S. sanctions on Chinese hackers who persist with cyber crimes. The two leaders said they agreed that neither government would knowingly support cyber theft of corporate secrets or business information.</span></span></div>
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<tr><td><span style="font-size: medium;"><span>Peter Brookes, The Times, October 2015</span><br />
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<span style="font-size: medium;">In their visit to Britain Xi Jinping and his wife saw a joint statement describing the trip as opening a "golden era" in UK-China relations, and the Queen hailed the president's "milestone" trip. Ministers expected more than £30bn of deals which many thought that the Chinese president "walked all over" the British establishment, who "kowtowed" to him, ignoring human rights and other trade issues</span></div>
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<span style="font-size: medium;"><span>Mr Trump has no time for the geopolitics that offers choices to nations such as Vietnam, Malaysia, Thailand and Singapore.
The opening here for Mr Xi is obvious enough — a US president receptive to the idea of replacing the rules-based international system with one based on bilateral bargains struck between the most powerful nations. Smaller states are left to fend for themselves. Mr Xi coined a phrase for the construct some years ago — “a new model of great power relations”. The ambition is to replace US with Chinese leadership in the western Pacific. The logic of Mr Trump’s belligerent isolationism runs in the same direction.</span> <span><i>Philip Stephens, Financial Times, APRIL 5, 2017 </i></span></span></div>
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In March 2018, the National People's Congress of China approved the plan to drop presidential term limits. Following Mao Zedong's death in 1976-- in the wake of the Cultural Revolution, during which tens of thousands of people were killed and the country was racked by civil war -- his successors moved away from one-man rule towards a consensus system where power was shared by a handful of high-ranking Party officials. This resulted in relatively straightforward transition of power from Presidents Jiang Zemin to Hu Jintao to Xi Jinping, after each served two five-year terms in office. Early in Xi's first term however, it became apparent he would seek to buck this trend. He was declared "core leader" of the Party, and state media began building up his public image with the type of hagiography not seen since Mao.This culminated with "Xi Jinping Thought" being added to the Party constitution last year, at a key meeting in which Xi failed to nominate an obvious successor, fueling speculation he would stay on as leader past 2023.</span><div><span style="font-size: medium;"><br /></span></div><div><span style="font-size: medium;"><br /></span><span style="font-size: medium;"></span><div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><span>The Chinese government in 2018 admitted that it’s forcing religious minorities into “reeducation camps” as part of its crackdown on extremism — but new details show that these centers have a lot more in common with concentration camps. Thousands of guards carrying spiked clubs, tear gas, and stun guns surveil the government’s “students,” who are held in buildings ringed with razor wire and infrared cameras, according to a report published by the French news service Agence France-Presse.<br /><br />A United Nations human rights panel estimates that Chinese authorities have imprisoned as many as 1 million Uighurs. But a Hong-Kong based human rights group puts the number even higher: between 2 million and 3 million.</span> <span><br /></span></span></td></tr>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><span>Some 200 senior Communist Party officials gathered behind closed doors in January 2018, to take up a momentous political decision: whether to abolish presidential term limits and enable Xi Jinping to lead China for a generation. </span><br />
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In a two-day session in Beijing, they bowed to Mr. Xi’s wish to hold onto power indefinitely. But a bland communiqué issued afterward made no mention of the weighty decision, which the authorities then kept under wraps for more than five weeks.</span><br />
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><span> For weeks following the emergence of a mysterious pneumonia-like illness in Wuhan in December 2019, Chinese President Xi Jinping’s government systematically suppressed information related to the outbreak. Li Wenliang, the doctor whose early warning messages to colleagues were leaked and widely shared, ringing the alarm bell about the disease, was interrogated by police in Wuhan and publicly censured by authorities. By the time Dr. Li died from COVID-19 on Feb. 7, however, the Chinese state’s cover had been blown.</span><br />
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<span>China came in for criticism at home and globally over its early response to the outbreak, suppressing information and downplaying its risks, but its draconian efforts at control, including the lockdown of Wuhan and Hubei province, have been effective at curbing the spread.</span></span></td></tr>
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<span style="font-size: large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Ten" style="color: #7f8866; text-decoration: none;"></a><br /></span>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Ten" style="text-decoration: none;"><span style="color: #cc0000; font-size: x-large;">Narendra Modi's India</span></a></h3>
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</span><div style="text-align: left;"><span style="color: #b45f06; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="color: #b45f06;"><div class="separator" dir="rtl" style="clear: both; color: black;"><span style="color: #cc0000; font-size: medium;"></span></div><div class="separator" dir="rtl" style="clear: both; color: black;"><span style="font-size: medium;"><br /></span></div><div class="separator" style="clear: both; color: black;"><span style="font-size: medium;">India’s new Citizenship Amendment Act allows for a fast-track to citizenship for non-Muslim migrants, thereby discriminating against Muslims. The proposed national register requires residents to prove their citizenship with documentation – which many in India lack. Together, these laws place Muslims without documentation in a quandary. Large detention centres are being built to house India’s Muslim residents who are declared ineligible for citizenship. Like the US immigration policy so admired by Hitler, these laws are a mask: they are designed to privilege Hindus in the citizenship laws of the world’s largest democracy. (...)</span></div><div class="separator" style="clear: both; color: black;"><span style="font-size: medium;">There is more to fascism than changing citizenship laws. Fascist movements seek one-party rule: over the courts, the police, the military and the press. They involve a cult of loyalty to a single leader and nostalgia for a mythic past when the nation was dominated by the privileged group. But the core of fascist ideology is realised in changing citizenship laws to privilege a single ethnic group. This is why we regard the Nuremberg Laws as a defining moment in German history, and the concentration camp as the defining Nazi institution.</span></div><div class="separator" style="clear: both; color: black;"><span style="font-size: medium;">-- Jason Stanley, The Guardian, 24 Feb 2020 </span></div><div class="separator" style="clear: both; color: black;"><span style="font-size: medium;"><br /></span></div><div class="separator" style="clear: both; color: black;"><span style="font-size: medium;"><br /></span></div><div class="separator" style="clear: both; color: black; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy_nqSAT-42oDk95ZQjOy3uyHe55si4w1gr0LkuWyrYWaRCeYZM5GDg_aQgslKemiN7Dr7c5v5cMHRjT6__esLYIIxX8zENu0i0RRdw6credh7XNJeD5ZMbZMzzqktHrUC_tDOyagn4x0/s400/b.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="291" data-original-width="400" height="381" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy_nqSAT-42oDk95ZQjOy3uyHe55si4w1gr0LkuWyrYWaRCeYZM5GDg_aQgslKemiN7Dr7c5v5cMHRjT6__esLYIIxX8zENu0i0RRdw6credh7XNJeD5ZMbZMzzqktHrUC_tDOyagn4x0/w523-h381/b.jpg" width="523" /></span></a></div><span style="font-size: medium;"><br style="color: black;" /></span><div class="separator" style="clear: both; color: black;"><span style="font-size: medium;"><br /></span></div><div class="separator" style="clear: both; color: black;"><span style="font-size: medium;"><br /></span></div><div class="separator" style="clear: both; color: black; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDoAu098YjMqIuaECgZnWpgiyzJUq3ZWLmw6AysstTNOYiMOszZv3sAYgPA_OJUTwhdPM45fINrUQiyY-mbfaHWlKX_1YrH337KXc5vR1UE9wJFOpecvXRUrboG54xQ0Oc2ym8tnYNtn0/s652/b.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="536" data-original-width="652" height="485" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDoAu098YjMqIuaECgZnWpgiyzJUq3ZWLmw6AysstTNOYiMOszZv3sAYgPA_OJUTwhdPM45fINrUQiyY-mbfaHWlKX_1YrH337KXc5vR1UE9wJFOpecvXRUrboG54xQ0Oc2ym8tnYNtn0/w590-h485/b.jpg" width="590" /></span></a></div><span style="font-size: medium;"><br style="color: black;" /></span><div class="separator" style="clear: both; color: black; text-align: center;"><span style="font-size: medium;"><br /></span></div><span style="font-size: medium;"><br style="color: black;" /></span><div class="separator" style="clear: both; color: black; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIdzr-N4eLWYThd16Y5BV0NRYumPBdgyjGawaIt0Q9cGicjHC11fQGYzdy1B3bpwSoH_uRb4BvatjV_mUi4GuUJDISv0ifEgFE7xusoW6Nrh1qL-7K16UFB_V5rc9sozIFEfrpU5ZBAhE/s500/b.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="411" data-original-width="500" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIdzr-N4eLWYThd16Y5BV0NRYumPBdgyjGawaIt0Q9cGicjHC11fQGYzdy1B3bpwSoH_uRb4BvatjV_mUi4GuUJDISv0ifEgFE7xusoW6Nrh1qL-7K16UFB_V5rc9sozIFEfrpU5ZBAhE/w533-h438/b.jpg" width="533" /></span></a></div><span style="font-size: medium;"><br style="color: black;" /></span><div class="separator" style="clear: both; color: black;"><span style="font-size: medium;"><br /></span></div><div class="separator" style="clear: both; color: black;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;">"It is in India that an undeniably and explicitly fascist force has won control of the state. Narendra Modi joined the Rashtriya Swayamsevak Sangh (RSS) at the age of eight. The RSS, a Hindu nationalist paramilitary organisation, was founded in 1925 and was explicit about taking inspiration from European fascism, including Adolf Hitler and Benito Mussolini. MS Golwalkar, a leading intellectual in the RSS openly admired Hitler’s “final solution”. <br /><br />The RSS first came to global attention in 1948 when one of its militants assassinated Mohandas Gandhi. Today, the RSS continues to mobilise street violence against minorities and to promote an ideology that excludes non-Hindus from what used to be a broad and secular conception of Indian identity. Its intellectuals continue to take explicit inspiration from Hitler and visitors to India are often shocked to see copies of Hitler’s Mein Kampf on display on the streets. The RSS is widely understood to have birthed and to continue to control the Bharatiya Janata Party (BJP), which is now the ruling party in India."</span></td></tr></tbody></table><span style="font-size: medium; text-align: center;">-- Vashna Jagarnath• 20 December 2019, Daily Maverick</span></div><div class="separator" style="clear: both; color: black; font-size: x-large;"><br /></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin4tRgyhcEclQsW-OOikadqg7A8Wd22840rq0uSpE4DtQgFVVZSPwchv-KgvrXMsaVomcYw-StTCJ1N0wbqDdZQyIbPwfCObBgEMOgJVKkZTu2Wa60-ZZPQxGw9RZXjWh19DD5VP9c0GU/s1600/Screenshot+2019-11-28+at+7.14.12+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="436" data-original-width="600" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin4tRgyhcEclQsW-OOikadqg7A8Wd22840rq0uSpE4DtQgFVVZSPwchv-KgvrXMsaVomcYw-StTCJ1N0wbqDdZQyIbPwfCObBgEMOgJVKkZTu2Wa60-ZZPQxGw9RZXjWh19DD5VP9c0GU/s640/Screenshot+2019-11-28+at+7.14.12+PM.png" width="640" /></a></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEo8rhzbSaEUZEa3aMIDt1Xr1UpizQSIIk4JvzBFCU9BJLGgrnB9wYYTfAOcvNOHJ3cFC_uicSTJPYT6sevV7E_7gNmnXMpW3PzQ2D3R7R8_vXrBePebkE4d-G5fcyS_TSV6ShKggritA/s1600/Screenshot+2019-11-28+at+7.14.12+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="436" data-original-width="600" height="464" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEo8rhzbSaEUZEa3aMIDt1Xr1UpizQSIIk4JvzBFCU9BJLGgrnB9wYYTfAOcvNOHJ3cFC_uicSTJPYT6sevV7E_7gNmnXMpW3PzQ2D3R7R8_vXrBePebkE4d-G5fcyS_TSV6ShKggritA/s640/Screenshot+2019-11-28+at+7.14.12+PM.png" width="640" /></a></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkXMTtefVwmzJOk7cmAh6PSi1njZQDfmEaJ_1k1I5q22p3xuUxKbyF0ULvkBXSHqnEtRLZZf2Xkcn04g_uM3QCllmCj7GwKF1taP2k5mlFNdbjxxMEUavCnJxG7UucOKGMzYEj4HbnChI/s1600/Screenshot+2019-11-28+at+7.14.12+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="493" data-original-width="670" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkXMTtefVwmzJOk7cmAh6PSi1njZQDfmEaJ_1k1I5q22p3xuUxKbyF0ULvkBXSHqnEtRLZZf2Xkcn04g_uM3QCllmCj7GwKF1taP2k5mlFNdbjxxMEUavCnJxG7UucOKGMzYEj4HbnChI/s640/Screenshot+2019-11-28+at+7.14.12+PM.png" width="640" /></a></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwUmyBp4Mq-96iMherJ7tWQepbn7QHfOTVBLBYHdvbhLb2K30OESJSUfMYzIv5no6AUasgewajaZTZxQRBMoouwTIX3cbonuHPMYjRznWnbEaDIVPyb33Kn6fd7F-K0vUrycqhC2D__gI/s1600/Screenshot+2019-11-28+at+7.14.12+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="926" data-original-width="1200" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwUmyBp4Mq-96iMherJ7tWQepbn7QHfOTVBLBYHdvbhLb2K30OESJSUfMYzIv5no6AUasgewajaZTZxQRBMoouwTIX3cbonuHPMYjRznWnbEaDIVPyb33Kn6fd7F-K0vUrycqhC2D__gI/s640/Screenshot+2019-11-28+at+7.14.12+PM.png" width="640" /></a></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-size: x-large; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk1c7PMXf0CS-5CzARJD3pVs69XFXcvwUVZ-47jbjW-KxDl2EfurVmrrwrzzDbzz9H2yvvdresjSZNJmRFouRQKH5rg7GJF_MAziU2DuFnUTaq4X_tEm_SEUkYbzBng2tSPP4mQZdGyc4/s1600/Screenshot+2019-11-28+at+7.14.12+PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="562" data-original-width="802" height="448" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk1c7PMXf0CS-5CzARJD3pVs69XFXcvwUVZ-47jbjW-KxDl2EfurVmrrwrzzDbzz9H2yvvdresjSZNJmRFouRQKH5rg7GJF_MAziU2DuFnUTaq4X_tEm_SEUkYbzBng2tSPP4mQZdGyc4/s640/Screenshot+2019-11-28+at+7.14.12+PM.png" width="640" /></a></div><div class="separator" style="clear: both; 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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Eleven" style="text-decoration: none;"><span style="color: #cc0000; font-size: x-large;">The NATO Campaign in Libya</span></a></h3>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: medium;"><span>Dave Brown from The Independent depicts Tony Blair shaking Colonel Gaddafi’s hand during the now-infamous desert tent meeting in 2004 as Britain tried to bring the dictator ‘in from the cold’.</span><br />
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<span style="font-size: medium;">Britain helped to capture one of the leading opponents of the Gaddafi regime before he was sent back to be tortured in Libya, according to a secret document discovered by The Independent in the offices of Moussa Koussa, then Muammar Gaddafi's spymaster. London's involvement in the rendition of Abdel-Hakim Belhaj, currently the military commander of rebel forces in Tripoli, is revealed in the letter from an MI6 officer. In it, he reminds Mr Koussa that it was British intelligence which led to the capture of Mr Belhaj, then leader of the Libyan Islamic Fighting Group, before he was sent to Libya in the rendition process by the Americans.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5T77mOACQ0s8L2lyFiIcYOyf_4EWWrSzO_sJ1MINyPgAeMJL31nPzwxOswnCsZ4VoRmK6FhHUkH3VXXmiyLiuLmq-satHX-ZX8q5-p77922rX2oP9tzQlAj68sJfN-UkrH-1m_jf2jjg/s1600/Screenshot+2019-11-28+at+7.14.12+PM.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="308" data-original-width="500" height="394" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5T77mOACQ0s8L2lyFiIcYOyf_4EWWrSzO_sJ1MINyPgAeMJL31nPzwxOswnCsZ4VoRmK6FhHUkH3VXXmiyLiuLmq-satHX-ZX8q5-p77922rX2oP9tzQlAj68sJfN-UkrH-1m_jf2jjg/s640/Screenshot+2019-11-28+at+7.14.12+PM.png" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;">As one NATO source points out, “It has shown that a military initiative that is confined to air and sea operations can have an impact that is sufficient to influence the balance of power in the field.” This was the gamble inherent in the position adopted by Nicolas Sarkozy, and “the outcome of the war has demonstrated the validity of the military and diplomatic choices made by Paris.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCx9sEuT699Fxw5KDOTMals1pDd2OofOtb_MvgKPLNlefsDw6-NkJSansCF0YHTj4RWGoRmqWUC5IfWMS75PWoTFPrkHLM0l5CYT_Dw7YhPY52IGipz_G7KlczhLgOsoOAHp5Kmbd25YA/s1600/Screenshot+2019-11-28+at+7.14.12+PM.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="772" data-original-width="980" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCx9sEuT699Fxw5KDOTMals1pDd2OofOtb_MvgKPLNlefsDw6-NkJSansCF0YHTj4RWGoRmqWUC5IfWMS75PWoTFPrkHLM0l5CYT_Dw7YhPY52IGipz_G7KlczhLgOsoOAHp5Kmbd25YA/s640/Screenshot+2019-11-28+at+7.14.12+PM.png" width="640" /></span></a></td></tr>
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<span style="font-size: medium;">The outcome of the Libyan campaign is a clear demonstration that Europe, with leadership from two capable countries, is able to conduct a large scale military campaign — and as such, it could show the way forward for future European Union operations. France and the United Kingdom, which established greater links between their defense forces a year ago, strengthened their collaboration in the skies over Libya, and confirmed the effectiveness of their military alliance. As one NATO official points out, “The collaboration with London worked without a hitch from start to finish.”</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzISeyyh0CKFOSNLllyV76SCk51nw-NrvUynmSR4QxvZGV4ZW59RDlkZs04-0055VpxAzJo7A4kWw-TaSW4hkyK61g-fbJDMyA7ZKz8r1QNMlWyEdPOLuR8TvB9U7bqHcWWt36YoiP2nY/s1600/Screenshot+2019-11-28+at+7.14.12+PM.png" style="margin-left: auto; margin-right: auto;"><span style="font-size: medium;"><img border="0" data-original-height="703" data-original-width="950" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzISeyyh0CKFOSNLllyV76SCk51nw-NrvUynmSR4QxvZGV4ZW59RDlkZs04-0055VpxAzJo7A4kWw-TaSW4hkyK61g-fbJDMyA7ZKz8r1QNMlWyEdPOLuR8TvB9U7bqHcWWt36YoiP2nY/s640/Screenshot+2019-11-28+at+7.14.12+PM.png" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Merkel of Germany is Joining the Rebellion in Libya after the Execution of Kadhafi</span></td></tr>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Twelve" style="text-decoration: none;"><span style="color: #cc0000; font-size: x-large; font-weight: normal;">Myanmar and the Education of Aung San Suu Kyi</span></a></h3>
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In saying nothing about genocide of the Rohingya or the imprisonment of journalists exposing massacres, the Nobel prize winner is morally complicit in the crimes committed by Myanmar’s military. -- The Guardian <span style="text-align: center;"> </span></span></div>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;"><span>She was once seen as a beacon for universal human rights - a principled activist willing to give up her freedom to stand up to the ruthless army generals who ruled Myanmar for decades.
In 1991, "The Lady", as Aung San Suu Kyi is known, was awarded the Nobel Peace Prize, and the committee chairman called her "an outstanding example of the power of the powerless". </span><br />
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<span>But since becoming Myanmar's de facto leader in 2016 after a democratic opening up, Ms Suu Kyi has been rounded on by the same international leaders and activists who once supported her.
Outraged by the exodus of hundreds of thousands of Rohingya Muslims from Myanmar into neighbouring Bangladesh as a result of an army crackdown, they have accused her of doing nothing to stop rape, murder and possible genocide by refusing to condemn the powerful military or acknowledge accounts of atrocities. </span></span></td></tr>
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<span style="font-size: medium;"><span style="font-family: "times new roman";">This work is licensed under a <a href="http://creativecommons.org/licenses/by-nd/3.0/" rel="license" style="color: #7f8866; text-decoration: none;">Creative Commons Attribution-No Derivative Works 3.0 Unported License</a>.</span>
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</div></td></tr></tbody></table></td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><br /></span></div><span style="font-size: medium;"><br /></span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><br /></span></div><br /></div>Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com2tag:blogger.com,1999:blog-6727023006027071783.post-19962976386338650272016-09-15T08:26:00.002-07:002019-02-11T20:44:14.609-08:00Chapter 42; The Swiss Grid System -- and the Dutch Total Grid<br />
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Table of Contents: <br />
<ul><li><a href="#One"> Introduction </a></li>
<li><a href="#Two"> Josef Müller Brockmann</a></li>
<li><a href="#Three"> Max Bill </a></li>
<li><a href="#Four"> Richard P Lohse </a></li>
<li><a href="#Five"> Armin Hofmann </a></li>
<li><a href="#Five2"> Emil Ruder </a></li>
<li><a href="#Gerstner">Karl Gerstner </a></li>
<li><a href="#Six"> Hans Neuberg</a></li>
<li><a href="#Seven"> Carlo Vivarelli</a></li>
<li><a href="#Eight"> Wim Crouwel and the Dutch Total Grid</a></li>
<li><a href="#Nine"> Lella Valle Massimo Vignelli</a></li>
<li><a href="#Nine1"> Pierre Mendell </a></li>
<li><a href="#Ten"> Alberto Longhi</a></li>
<li><a href="#Eleven"> The Revival of Swiss Grid System in the Cyberspace</a></li>
<li><a href="#Twelve"> Neville Brody's Anti-Swiss Crusade </a></li>
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<a href="http://guity-novin.blogspot.com/2011/07/chapter-42-swiss-grade-style-and-dutch.html" name="One" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;">Introduction</span></div>
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After the second world war the Swiss Grid Style, also known as the International Typographic Style was developed by Swiss designers, such as Armin Hofmann, Josef Müller Brockmann, Max Bill, Richard P Lohse, Hans Neuberg, and Carlo Vivarelli who began to experiment with typography and photo-montage. Characterized by a cold, emotionally sterile grid style; they used structured layout, and unjustified type, that became very influential in the mid twentieth century and influenced a vast audience. These pioneering graphic artists saw design as part of industrial production and searched for anonymous, objective visual communication. They chose photographic images rather than illustration, and typefaces that were industrial-looking rather than those designed for books.<br />
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In short, the visual characteristics of the International Typographic Style include:<br />
<ul style="line-height: 1.4; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="margin: 0px 0px 0.25em; padding: 0px;">Asymmetrically organizing the design elements on a mathematically-constructed grid to create Visual unity in a composition.</li>
<li style="margin: 0px 0px 0.25em; padding: 0px;">Presenting visual and textual information in a clear and factual manner, using objective photography and illustration, and ensuring that it filters any propaganda and the exaggerated claims of commercial advertising</li>
<li style="margin: 0px 0px 0.25em; padding: 0px;">Using sans-serif typography set flush left, ragged right -- The movement believed sans-serif typography expressed the spirit of a progressive age and that mathematical grids were the most legible and harmonious means for structuring information.</li>
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The initiators of the Swiss Grid Style were of the belief that the visual appearance of the work is not as important as the integrity of its philosophical tenets whereby;<br />
<ul style="line-height: 1.4; margin: 0.5em 0px; padding: 0px 2.5em;">
<li style="margin: 0px 0px 0.25em; padding: 0px;">Design is a socially worthwhile and serious vocation.</li>
<li style="margin: 0px 0px 0.25em; padding: 0px;">In design there is no room for eccentricity and/or idiosyncrasy. Design should be grounded on universal artistic principles, and using a scientific approach should provide a well-defined solution to a problem.</li>
<li style="margin: 0px 0px 0.25em; padding: 0px;">The designer is a visual communicator and not an artist. The designer acts as an objective and reliable transmitter of important information between members of society.</li>
<li style="margin: 0px 0px 0.25em; padding: 0px;">The ideal of design is to achieve clarity and order.</li>
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A leading pioneer of the Swiss Style, Josef Müller Brockmann , was the founder and editor of the Zurich published journal Neue Grafik, who introduced the Swiss Style into America. He was concerned with functional and objective design that by restricting design elements in the confine of typographic grid, would shift the focus of image on the core message displayed by a clean and sharp geometrical aesthetic. The grid was used to define the constant dimensions of the design space and elements were inserted precisely into it so that all parts of a page would be integrated coherently according to the aesthetic order. According to Müller Brockmann<br />
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I have always aspired to a distinct arrangement of typographic and pictorial elements, the clear identification of priorities. The formal organisation of the surface by means of the grid, a knowledge of the rules that govern legibility (lines length, word and letter spacing and so on) and the meaningful use of colour are among the tools a designer must master in order to complete his or her task in a rational and economic matter.The greatest works of art impress through their balance, their harmony, their proportions, all of which can be measured. That is one of the reasons why paintings, sculptures and buildings that are thousands of years old – by the Egyptians, Chinese, Assyrians and so on – are still fascinating to us today.</blockquote>
The objective was an effective and efficient visual communication: information presented this way was assumed not only read more quickly and easily, but is also more easily understood and retained in memory.<br />
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Two" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;">Josef Müller Brockmann</span></div>
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Josef Müller Brockmann was born in Rapperswil, Switzerland in 1914 and studied architecture, design and history of art at the University of Zurich and at the city’s Kunstgewerbeschule. He began his career as an apprentice to the designer and advertising consultant Walter Diggelman before, in 1936, establishing his own Zurich studio specialising in graphics, exhibition design and photography. According to his own account;<br />
<blockquote>
" I became a graphic designer by accident". At school I was loth to write much for compositions so I put in illustrations instead. My teacher enjoyed them and thought I had talent. He suggested that I should pursue an artistic career: gravure etching or retouching, for instance. So I was apprenticed as a retoucher in a printing works. I lasted one day because I said that this wasn’t artistic work. After that I was apprenticed to two elderly architects. With them I lasted four weeks. Then I went to see all the graphic designers I found listed in the telephone directory because I wanted to find out what they did. Afterwards I enrolled to study graphic design at the Zurich Gewerbeschule."</blockquote>
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As a graphic designer, Müller Brockmann's skills included letterpress, silkscreen, and lithography. His geometric style was demonstrated in “Musica viva”, a series of concert posters for the Zurich Tonhalle in 1951. It is arguably claimed that his work was an adaptation of concrete art; which had been described by Theo van Doesburg around 1930, as works of art that are created by means of art's most genuine means of composition and principles, entirely doing without allusions to phenomenon of nature and their abstraction. New realities were supposed to be created by forming colors, space, light and movement.<br />
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The style had to incorporate mathematical methods of spatial organization into graphic work, which <i>drew on the language of Constructivism to create a visual correlative to the structural harmonies of the music</i>. Müller Brockmann's 1955 poster, Beethoven, was supposed to portray Beethoven's music through a series of concentric curves, and has been offered as an example such an adaptation, and this assertion had been accepted at its face value by many pundits, who were impressed by the novelty, elegance and the simplicity of design. As Müller Brockmann has stated:<br />
<blockquote>
In my designs for posters, advertisements, brochures and exhibitions, subjectivity is suppressed in favour of a geometric grid that determines the arrangement of the type and images. The grid is an organisational system that makes it easier to read the message...The grid is an organisational system that enables you to achieve an orderly result at a minimum cost. The task is solved more easily, faster and better. It brings the arbitrary organisation of text into a logical system in keeping with the conflict. It can demonstrate uniformity that reaches beyond national boundaries, a boon to advertising from which IBM, for instance, has profited. Objective-rational design means legible design, objective information that is communicated without superlatives or emotional subjectivity.</blockquote>
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From 1967 he was European design consultant for IBM. He is the author of The Graphic Artist and his Design Problems (1961), History of Visual Communication (1971), History of the Poster (with Shizuko Muller-Yoshikawa, 1971). Nevertheless, Müller Brockmann's work was rigid and soulless, suffering from certain self-imposed restrictions of the Swiss style, and dogmas such as the rejection of symmetry since fascists had liked it! He has said:<br />
<blockquote>
symmetry and the central axis are what characterise fascist architecture. Modernism and democracy reject the axis... I have taken my love of order to the point of manifest boredom, producing design solutions which are valid but deadly boring. Thanks to the passage of time, I am now just about able to examine my posters for the Zurich Tonhalle to discover why some are better than others. I am amazed how many are bad. The Beethoven poster is good, also the “Musica Viva” poster of 1970 with the green lettering on a blue background and the two Tonhalle posters of 1969 and 1972 with the rhythmic type.</blockquote>
Looking at this juncture at these posters, when digital software packages can do any of them in just few minutes and with few of clinks, it is easy to dismiss the whole exercise as boring and insignificant. Of course, the world would have become a boring place should all posters have adopted the Swiss grid style. However, we have to remind ourselves that when these posters appeared on the scene their geometrical aesthetics were quite novel and rare. Perhaps ironically, Müller Brockmann has stated that he did not like experiments such as that of Neville Brody's typefaces that have the potential to rescue the grid style.<br />
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Typefaces designed for Neville Brody. By the early 1990s Neville Brody was able, with a straight face, to recommend abandoning typography’s requirement of legibility — gloating as a chill shot down the spines of his type-pro audiences...</div>
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Müller Brockmann was totally dismissive of Brody's powerful artistic impact. The fact that not all viewers are of commercial types, and not everybody is concerned with profit maximizing attitudes that just require to get the information in an efficient and cost effective manner; the fact that there are also viewers that are interested in looking at a poster's typeface from an artistic view point and reflect on them, which in the process may also convey the message of an advertisement appears to have been totally alien to him. He has said;<br />
<blockquote>
Some set themselves the task of making typography so unreadable that it is almost like a picture puzzle. The illegibility is then sold as an artistic project. I wouldn’t read something like that unless I had to. The same rational criterion applies to wobbly forms and blurred contours: can I read this faster? Text is communication of content, a fact reflected in classical typefaces and legible typography... (typefaces designed for Neville Brody) are not suitable for advertisements and posters. They are exceptions to the rule and individual cases are not a basis for teaching graphic design. These alphabets are confused, aesthetically lacking and bad. Playing around is always an excuse for too little understanding, which makes people fall on imagination and speak of artistic freedom, inspiration and good ideas. Such typefaces are interesting as studies in legibility. But I don’t see any sense in them. They are a personal attempt to deal with a problem and I find them not only bad but senseless because they lack an area of application.</blockquote>
In an interview with Eye Magazine for their Winter 1995 issue, just one year prior to his passing, he was asked what order meant to him:<br />
<blockquote>
Order was always wishful thinking for me. For 60 years I have produced disorder in files, correspondence and books. In my work, however, I have always aspired to a distinct arrangement of typographic and pictorial elements, the clear identification of priorities. The formal organisation of the surface by means of the grid, a knowledge of the rules that govern legibility (line length, word and letter spacing and so on) and the meaningful use of colour are among the tools a designer must master in order to complete his or her task in a rational and economic manner.</blockquote>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Three" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;">Max Bill</span></div>
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Max Bill (1908–1994), was born in Winterthur, Switzerland. An architect, painter, typographer, industrial designer, engineer, sculptor, educator, and graphic designer, Bill was initially a student at the Kunstgewerbeschule and apprenticed as a silversmith before beginning his studies in 1927 at the Bauhaus in Dessau, Germany, with teachers such as Wassily Kandinsky, Paul Klee, and Oskar Schlemmer. Bill permanently settled in Zurich, Switzerland, in 1929, and in 1937 became involved with a group of Swiss artists and designers named the Allianz. The Allianz group advocated the concrete theories of art and design and included Max Huber, Leo Leuppi, and Richard Paul Lohse.<br />
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In 1950, Max Bill and Otl Aicher founded the Ulm School of Design (Hochschule fur Gestaltung-HfG Ulm) in Ulm, Germany, a design school initially created in the tradition of the Bauhaus and that is notable for its inclusion of semiotics, the philosophical theory of signs and symbols, as a field of study. Bill was of the view that "It is possible to develop an art largely on the basis of mathematical thinking." Over, the 1967-71 period, Bill taught at the Staatliche Hochschule fur Bildende Kunste in Hamburg where he was the chair of environmental design. As a graphic designer, he enthusiastically embraced the tenets and philosophical views of this modernist movement. The majority of his graphic work is based solely on cohesive visual principles of organization and composed of purist forms—modular grids, san serif typography, asymmetric compositions, linear spatial divisions, mathematical progressions, and dynamic figure–ground relationships.<br />
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<tr><td class="tr-caption" style="font-size: 12.8px;">Simultaneous Constructions, 1945-51</td></tr>
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<tr><td class="tr-caption" style="font-size: 12.8px;">Three Groups, 1947</td></tr>
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<tr><td class="tr-caption" style="font-size: 12.8px;">Construction in Black, 1939</td></tr>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Four" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;">Richard P Lohse</span></div>
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Richard Paul Lohse (1902-1988) was born in Zürich (Switzerland) in 1902. In 1918 he joined the advertising agency Max Dalang where he trained to be an advertising artist, but in his artistic career he started with figurative works and gradually moved to post-cubism style. Lohse worked for the Max Dalang agency until 1927, where he became interested in the international avant-garde movements in both its artistic and political aspects. In 1937 Lohse, a key figure in the "Swiss School", and Leo Leuppi joined forces to establish <i>Allianz</i>, an association of Swiss modern artists, promoting publications, exhibitions and the dissemination of avant-garde art. He collaborated with Max Bill and Verena Loevesberg in the <i>Zurcher Konkrete </i>group, which was affiliated with <i>Allianz</i>. In 1938, Lohse and Irmgard Burchard, his first wife, organise the "Twentieth Century German Art" exhibition in London. Soon after Lohse joined the resistance movement where he met his second wife Ida Alis Dürner. In 1942 Lohse formulated his conception of constructive painting, a style that was highly structural. In the words of Fr. W. Heckmanns;<br />
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His horizontal and vertical structures follow each other in serial and modular orders within the rectangular limits of the canvas. The essential content of his work is a rational interpretation of the relationship between artistic practice and the problem of the form of social organization, in short a human attitude towards the balance of law and freedom.</blockquote>
In the years 1947-1956, Lohse was an editor and designer for the swiss architectural magazine <i>bauen+wohnen</i> or construction+habitation. A special edition of the magazine was launched for Germany in 1952. Lohse's style was characterized by his devotion to precision and clarity in his theoretical framework. He saw structure not as a preliminary foundation but as a totality of concept in the image. He conceptualized the canvas as a field of interacting modules, in which the color and the form are complementary in creation of a formal color structure.<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja_r3XFnO2JyiGtmgjmmMefjfch1OX3J8h5pXwfnl87BPKp8Nj-BLsmoewlmIKDy-mehg0YWvwqvN1wgncAflFTkYLrNWF8L2oXEgP_alutuSlNSDMFmE-g6xbqU5rfvb6kyLdJ4C_GP9k/s1600/Richard-Paul+Lohse%253A.jpg" imageanchor="1" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja_r3XFnO2JyiGtmgjmmMefjfch1OX3J8h5pXwfnl87BPKp8Nj-BLsmoewlmIKDy-mehg0YWvwqvN1wgncAflFTkYLrNWF8L2oXEgP_alutuSlNSDMFmE-g6xbqU5rfvb6kyLdJ4C_GP9k/s400/Richard-Paul+Lohse%253A.jpg" style="border: none; position: relative;" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">Richard Paul Lohse, "Fifteen systematic vertical color lines with diagonal violet", 1975</td></tr>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Five" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;">Armin Hofmann</span></div>
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Armin Hofmann was born in 1920 in Winterthur, Switzerland. During the 1937-39 period, Hofmann studied at Kunstgewerbeschule in Zürich and apprenticed as a lithographer until 1943. From 1943 until 1948 He worked as lithographer in Basel and Berne and in his own graphic atelier. In 1946, Hofmann joined the <i>Allgemeine Gewerbeschule </i>(AGS) in Basel, where he and Ruder established a world renowned advanced course in graphic design.<br />
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Kenneth Hiebert, a former student of Hofmann; recalls that in the early sixties, Hofmann would occasionally bring in a Cassandre or Stoecklin poster and perfunctorily tack it to the wall. When the students cringed at this apparent maltreatment, Hofmann would say, “A good poster can take it.” What he really meant was that the posters were not intended as museum pieces but as things that should weather the harsh treatment of the streets. In the words of Paul Rand<br />
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His goals, though pragmatic, are never pecuniary. His influence has been as strong beyond the classroom as within it. Even those who are his critics are eager about his ideas as those who sit at his feet</blockquote>
. He had a visiting professorship at the Philadelphia College of Art in 1955. Then came an appointment at Yale University, where he regularly conducted working seminars in graphic art and became director of the advanced graphic course in 1967. He carried on teaching abroad in Ahmedabad, India. Hofmann’s book <i>Graphic Design Manual: Principles and Practiceis</i> is a seminal work in graphic design. He has created many posters, logos, color concepts, signage systems and art-in-building projects, as well as participating in many exhibitions. According to him<i>“ primary in black and white posters is to counteract the trivialization of color as it exists today on billboards and in advertising.</i><br />
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Five2" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;">Emil Ruder</span></div>
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<blockquote>
<i>Typography has one plain duty before it and that is to convey information in writing. No argument or consideration can absolve typography from this duty. -Emil Ruder</i></blockquote>
Emil Ruder (1914-1970), was a key player in the development of the Swiss Style. Born in Zurich, Ruder began his design education at the early age of fifteen when he took a compositor’s apprenticeship. By his late twenties Ruder began attending the Zurich School of Arts and Crafts where the principles of Bauhaus and Tschichold’s New Typography were taught, leaving an indelible impression on Ruder.<br />
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Academia would continue to play a major role in Ruder’s life, though it would naturally evolve into the form of teacher rather than student. In 1947 he took a position as the typography instructor at the Schule für Gestaltung, Basel (Basel School of Design). He, along with the great Armin Hofmann, developed a program structured on principles of objectivity in design. He broke away from the subjective, style-driven typography of the past and encouraged his students to be more concerned with precision, proportions and above all, the role of legibility and communication with type.<br />
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<a href="http://guity-novin.blogspot.com/2011/07/chapter-42-swiss-grade-style-and-dutch.html" name="Gerstner" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;">Karl Gerstner</span></div>
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Born in Basel, Switzerland in 1930, Karl Gerstner was a painter and a graphic designer, who studied design at Allgemeine Gewerbschule in Basel under Emil Ruder. In 1959, he and Markus Kutter confounded Gerstner & Kutter a design agency, which later when the architect Paul Gredinger joined them changed its name to GGK.<br />
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Gerstner's theory of ‘The Colour Form Model' presented in his book, The Forms of Colour is one of his most significant contribution to graphic design. Inspired by the rich and colorful patterns of a Moroccan craftsman art, in this book Gerstner explored the multifaceted and intricate relationships between colour and form, as the basic structural components of Islamic art. Analyzing graphical interrelationships among various dimensions of colour spaces and formal systems of perspective, topologies, fractals and so on he framed his theory in the context of Wilhelm Ostwald's 1922 rational theory of forms, which provides a seemingly unlimited mathematical base for formal variations.<br />
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Gerstner discussed the work of a like-minded mathematician/artist, Hans Hinterreiter, who as an early adherent to Ostwald's theory, adopted deconstructive style of painting, experimenting with forms and colors, based on laws of "color organ and form." Hinterreiter was also inspired by the Moorish interpretation of Islamic ornamentation of the Alhambra after his 1934 trip to Spain. Presenting his own colour-form theory, Gerstner assessed Kandinsky’s idiosyncratic metaphysical assertions on the correspondence between colour and form (square=red, triangle=yellow, circle=blue) and suggested his own system of ‘Colour Signs’. Using computer programming, he developed a system of new primary forms, such as astroids, diagons and sinuons and discussed their possible correspondence with aural and tactile sensory modes. Gerstner's book ‘Designing Programmes’ 1964 was a manifesto for system orientated design, which he described as ‘programmes’. He defined a design ‘program’ as a set of rules for constructing a range of visual solutions, and connected his methodology with the new field of computer programming and presented examples of computer generated patterns that were made by mathematically describing visual elements and combining them according to simple rules.<br />
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Gerstner’s grid for the journal Capital, designed in 1962, is still often cited by some as near-perfect in terms of its mathematical properties. The smallest unit in Gerstner’s grid, or matrix as he called it, is 10pt—the baseline to baseline measurement of the text. The main area for text and images is a square, with an area above for titles and running heads. The cleverness lies in the subdivision of the square into 58 equal units in both directions. If all intercolumn spaces are two units, then a two-, three-, four-, five-, or six-column structure is possible without any leftover units.</div>
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Gerstner wrote: “The typographic grid is a proportional regulator for type– matter, tables, pictures and so on. It is a priority programme for a content as yet unknown. The difficulty lies in finding the balance between maximum formality and maximum freedom, or in other words, the greatest number of constant factors combined with the greatest possible variability.”</div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPHSooif9xZhuJsnrrqUpxqyWOUSq7VdiKo4fi7LTJUlqoVzevyDZFTmNBrVVEzyj34W4WuhfHYf0E2AgcocHKz8M9FkWxEcRuLOLMe_lUtmVWKU7xiYZzfDaVjfiRF4u95CjejtEVjQXE/s1600/a1.jpg" imageanchor="1" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPHSooif9xZhuJsnrrqUpxqyWOUSq7VdiKo4fi7LTJUlqoVzevyDZFTmNBrVVEzyj34W4WuhfHYf0E2AgcocHKz8M9FkWxEcRuLOLMe_lUtmVWKU7xiYZzfDaVjfiRF4u95CjejtEVjQXE/s640/a1.jpg" style="border: none; position: relative;" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">Of course, sometimes grid becomes a trap -- even for an imminent artist like Grestner</td></tr>
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Gerstner’s typographic experiments with unjustified ragged-right text(Hollis 2002), and his proposed Integral Typography which extended Max Bill’s ideas on typography (Müller-Brockman and Müller 2000) have also been influential. Like the Italian futurists, Gerstner believed that typography can greatly contribute to the actual discovery of meaning with its whole impact to be greater than the sum of the words and the meanings.<br />
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<tr><td class="tr-caption" style="font-size: 12.8px;">We have to be careful in our aesthetic judgement -- Is it grid that renders this work so astoundingly powerful? </td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB_E7DNkczYqqbRAE0Dnn-My9x46rPhGsFeHSD6J9BoGm8McgmW9vTYjwli8CGXQ_-JfQJsTg6aIE7I1z0g_O_y08vzCar4ydH-y6M2QQVKBn7BDjnGdFW18rGwCsfXb1Ipjl3bkv3cETa/s1600/a1.jpg" imageanchor="1" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB_E7DNkczYqqbRAE0Dnn-My9x46rPhGsFeHSD6J9BoGm8McgmW9vTYjwli8CGXQ_-JfQJsTg6aIE7I1z0g_O_y08vzCar4ydH-y6M2QQVKBn7BDjnGdFW18rGwCsfXb1Ipjl3bkv3cETa/s640/a1.jpg" style="border: none; position: relative;" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">I am sorry, adhering rigidly to a grid system does not guarantee the success of a work. </td></tr>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Six" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;">Hans Neuberg</span></div>
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Hans Neuburg (1904 – 1983) was born in Grulich, Austria-Hungary, which later became part of Czechoslovakia -- the town is now called Králíky and after the division of Czechoslovakia most of the municipality become part of the the Czech Republic. At the age fifteen, Neuburg enrolled at <i>Orell Füssli</i> AG in Zurich and graduated in 1922. After graduation he worked at various positions in advertising, freelance graphic design, and magazine editor. Over the 1958-65 he and is fellow artists Richard Paul Lohse, joseph Müller-Brockmann and carlo vivarelli established “Neue Grafik” magazine. After a brief two years period assuming the directorship of the Gewerbemuseum in Winterhur in 1962-64 during which he also taught at the <i>Hochschule für Gestaltung </i>in Ulm, and writing a number of books including Graphic Design in Swiss Industry (1965), Publicity and Graphic Design in the Chemical Industry (1967) and Conceptions of International Exhibition (1969), he moved to Ottawa, Canada, to teach at Carlton University, School of Industrial Design in 1971.</div>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Seven" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;">Carlo Vivarelli</span><br />
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Carlo Vivarelli (1919-1986) was a graphic designer, painter and sculptor who was born in Zurich and studied at the renowned Kunstgewerbeschule from 1934-39 and in 1946 became Art Director at the progressive avant garde Studio Boggeri in Milan. During this time and when he returned to his native Switzerland he became one of the leaders of the Swiss Modernists and in 1958 became a co-founder of Neue Grafik magazine. In his later years he concentrated more on his concrete art and sculptures. </div>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Eight" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;">Wim Crouwel and the Dutch Total Grid</span></div>
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The concept of the total grid has been the brainchild of Wim Crouwel, a dutch graphic designer, born in 1928. He is one of the five founders of Total Design, a multi-disciplinary design studio in the Netherlands. Crouwel studied fine art in Groningen before moving to Amsterdam in the early 1950s where he initially worked for an exhibition design company. Because of his interest in architecture, and his spatial sensitivities he applied for commissions for cultural institutions, such as the Van Abbe Museum in Eindhoven in 1956, and the Stedelijk Museum in Amsterdam shortly afterwards for which Crouwel was solely responsible to develop an identity by posters and catalogues. It was at the Stedelijk that Crouwel created his Neu Alphabet, an unconventional typeface based on grid system.<br />
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In 1963 Crouwel founded Total Design, a multi-disciplinary design agency, that its hallmark was modular structuring and grids. With a systematic approach to design projects, it created the identity for a large number of Dutch companies including some multinationals like IBM and Olivetti. Total Design altered the visual landscape of the Netherlands throughout the 1960-70 period. In the 1970s Crouwel designed the Dutch Pavilion for the Osaka World Fair, as well as numerous postal stamps for the Dutch post office and a controversial redesign of the telephone book using only lowercase letters.<br />
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Crouwel's typeface was constructed using only horizontal and vertical lines creating an alphabet of all lowercases. Although only half of the letters were recognizable, with the emergence of personal computers, his modern typeface was particularly aimed at digital systems in 1967. However, for many Crouwel's typeface appeared illegible. It challenged the design establishment, but Crouwel was happily engaged in the ensued controversy and readily confessed that he attaches a higher priority to visual aesthetics relative to functionality. Crouwel has stated;<br />
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"I simply wanted to make a consistent alphabet on the basis of that grid of squares. I did not want any cluttering of vertical stems and did not find a solution within the conventional structure of the characters. So I began researching the past, looking for alternative signs with which I could replace the conventional forms. One could have made them up, but I wanted them to have some kind of footing in the history of type"</blockquote>
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His new typeface was redrawn by Brett Wickens and Peter Saville for the Joy Division album, ‘Substance’ in the late 80s and then digitized and made available for use in 1997 by The Foundry. Crouwel designed a number of other fonts including Gridnick, an appropriate reference to his use of grid systems and Mr. Gridnick became Crouwel’s endearing nickname. ----<br />
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Nine" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;">Lella Valle & Massimo Vignelli</span></div>
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The graphic designs of the Italian graphic designer couple, Lella Valle and her husband Massimo Vignelli, are also based on concept of total design in the confine of a grid. Born in Udine in 1936, Lella Valle studied architecture, and met Massimo Vignelli who also studied architecture in Venice, in the 1950s. The couple moved to to the US during the 1958-1960 period, where Lella Vignelli worked in New York for Skidmore, Owings & Merrill and Massimo Vignelli taught at the Chicago Institue of Design. In 1960 they returned to Italy and opened a graphic design studio in Milan. Five years later Massimo joined Bob Noorda and Jay Doblin in founding Unimark International, a design consultancy, in Milan.<br />
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In that same year, 1965, Vignellies moved to New York, in order to manage a Unimark branch that specialized in developing corporate logos and designing the corporate identity for the business clients. According to Massimo they intended to return to Milan after a short while, but that didn't come to pass and they settled in New York for good. In 1971, they rebranded the practice as Vignelli Associates, which created corporate identities for firms such as American Airlines, Bloomingdale's, Cinzano, Lancia, United Colors of Benetton, Ford, Xerox, and the International Design Center New York.<br />
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While working for Unimark, Vignellies redesigned the look of the NYC Metropolitan Transit Authority with a new subway map and train identification sign system. They Replaced the previously chaotic typography with Helvetica and reduced the train routes down to solid color, while geometric lines organized the map and allowed signs to be clearer and more distinct. In 1977, Vignellies designed the Unigrid System for the National Park Service. The module grid system allowed the the National Park to create brochures in ten basic formats and to keep a consistent, recognizable structure across all it’s materials.<br />
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With their training grounded in architecture, Vignellies established a vision of an organized, systematic structural approach early in their design careers. The underlying structure of many of their endeavors in corporate identity, publication, book design, and interiors continues to be the a strictly grid-based design. Lella & Massimo began exploring the grid structure early in their career in Milan by working on corporate entities and projects for various cultural organizations. These early works allowed them to build a design style focused on dividing space within a modular grid that was subdivided rationally into distinct zones. Breaking down the page into smaller intervals of space permitted a clear translation of complex informational material. Most of their designs utilize a limited color palette and use mostly five typefaces Garamond, Bodoni, Helvetica, Univers, and Century. According to Massimo:<br />
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"Bodoni is one of the most elegant typefaces ever designed. When I talk about elegance, I mean intellectual elegance. Elegance of the mind."</blockquote>
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<center>
Some of the typefaces created by Zuzana Licko</center>
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Vignellies are purists and have a distaste for the bitmap font tool, used by Zuzana Licko to develop the font for the influential Emigré journal. According to Massimo Vignelli, Emigré and Rudy van der Lans, are the worst thing to happen to typography. Rudy van der Lans who moved to America in 1981 to study photography at the University of California, Berkeley, where he met and married Zuzana Licko, founded the influential Emigré journal in 1984. Vignelli believes Jonathan Hoefler is someone who is carrying the typographic torch today.<br />
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<a href="http://guity-novin.blogspot.com/2011/07/chapter-42-swiss-grade-style-and-dutch.html" name="Nine1" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;">Pierre Mendell</span></div>
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<blockquote>
“Quality graphic design stands out for the mindset it exhibits: stringent, reduced in form, always intense, never pretentious. In this way, Pierre Mendell developed a most distinct style. He flexibly dealt with particular tasks and through this, eminently lived up to the challenge of respective themes. Hence, Pierre Mendell’s posters are so simple and convincing and will continue to be of great significance beyond this day.” - Florian Hufnagl, Die Neue Sammlung – The International Design Museum Munich</blockquote>
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Pierre Mendell, (1929 - 2008), one of the world's leading graphic designers, was born in Essen, Germany. Mendell lived in France between 1934 and 1947; emigrated to the USA in 1947; in 1953 returned to France, where he worked in the family textiles company; in 1958 began studying graphic design under Armin Hofmann at the Schule für Gestaltung in Basle; the Mendell & Oberer studio was founded in 1961 in Munich. For almost 30 years he played a role in creating the visual identity of the neue sammlung - the international design museum munich.Pierre Mendell has been designing the posters for the Staatsoper in Munich from 1993 to 2006. With over a hundred motifs to his name, he has not only successfully created an unmistakable identity for the Munich opera, he has also linked this opera house with a form of visual expression that is unparalleled in its originality and immediacy. Mendell’s simple, almost archaic, visual language is admired over the world and his poster designs are represented in leading collections such as the Museum of Modern Art, New York.<br />
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Pierre Mendell's work is characterized by elements which are often missing in much contemporary graphic design: vibrancy, communicative force, poetry, and humor. His cultural posters and corporate design identities -- including his designs for Vitra and Siemens, for which he is probably best known -- are timeless yet contemporary. The success of his designs demonstrate that the strength of all graphic work depends on an overarching concept, not on current fads. Pierre Mendell's awards include the Gold Medal from the Art Directors Club, Germany, the Gold Medal form the Art Directiors Club New York, Best German Poster of the Grand Prix International de l'Affiche Paris and the German Poster Grand Prix. Pierre Mendell's work has been exhibited in the Munich City Museum, the International Design Centre Berlin, the Galleria Aiap Milano, the Muzeum Plakatu Warsaw, the Museo Nacional de Bellas Artes Buenos Aires, the Centro de la Imagen Mexico City and the Visual Arts Musuem New York. His work is represented in the Graphic Design Collection of the Museum of Modern Art New York. Pierre Mendell taught from 1987 to 1996 at the Yale University Summer Design Program in Brissago, Switzerland.<br />
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Ten" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;">Alberto Longhi</span></div>
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<i>Per favore fatemi sapere dove posso trovare una biografia e una fotografia di grande designer grafico; Alberto Longhi. </i><br />
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<i>S'il vous plaît laissez-moi savoir où puis-je trouver une biographie et une photo de ce grand designer graphique, Alberto Longhi.</i><br />
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<tr><td class="tr-caption" style="font-size: 12.8px;">Guity Novin</td></tr>
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<span style="font-size: large;"><b style="display: block; margin: 12px 0pt 4px;"></b><b style="display: block; margin: 12px 0pt 4px;"><a href="http://www.slideshare.net/Leursism/grid-systems" style="color: #7f8866; text-decoration: none;" target="_blank" title="Grid Systems">Grid Systems</a></b></span></div>
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<a href="http://guity-novin.blogspot.com/2011/07/chapter-42-swiss-grade-style-and-dutch.html" name="Eleven" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;">The Revival of Swiss Grid System in the Cyberspace</span></div>
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Swiss style focus on clarity, eye-friendliness, readability and objectivity has made it a powerful tool for web-communications, which enhanced by its strong reliance on elements of typography and universality. Grid systems in web design have spawned a number of the Cascading Style Sheets (CSS) frameworks. For instance, the 960 Grid System, Fluidable, Columnal and Cardinal are efforts to streamline web development workflow by providing commonly used dimensions. These CSS frameworks are designed to simplify the creation of webpages based on a grid system. A number of websites have been created using the framework. Some of the exemplars are good examples on how using a grid system can produce aesthetically beautiful websites.
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Grids are used to present content in a consistent and predictable manner, helping to organise content in a methodical fashion. It affords conformity and uniformity, increasing the usability of any given system, by placing items and information in a predictable manner, reducing the cognitive overload of users. “According to the principles of consistency, systems are more useable and learnable when similar parts are expressed in similar ways, learn new things quickly, and focus attention on the relevant aspects of a task” (Lidwell, Holden and Butler, 2010: 24)<br />
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The style can be easily identified for its simplicity and clarity of purpose. These two principles are often manifested in the use of asymmetric layouts, grids, sans-serif typefaces, left-flushes and simple but impactful photography. These elements are produced in a simple but highly logical, structured, stiff and harmonious manner. It is clear that the Swiss Style is information-oriented. This is why designers should think of the information dissemination using its artistic principles.<br />
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<a href="http://guity-novin.blogspot.com/2011/07/is-graphic-design-dead.html" style="color: #7f8866; text-decoration: none;">Go to the next chapter; Chapter 43: Graphic Design and the Postmodern Epoch </a><br />
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<a href="http://guity-novin.blogspot.com/2011/07/chapter-42-swiss-grade-style-and-dutch.html" name="Twelve" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;"> Neville Brody's Anti-Swiss Crusade</span></div>
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The digital revolution and the introduction of the Macintosh computer in the mid-1980s made the construction and deconstruction of typographical elements easier than it had been in the past. Embracing technology that was growing exponentially more sophisticated, designers realized more and more complex typographic experiment. Neville Brody's FF Blur is one example. Influenced by the late-1970s punk rock aesthetic, Brody began his career at the London College of Printing and later designed record covers for various artists while art director of Fetish Records. The letterforms of FF Blur—fuzzy around the edges like an out-of-focus photograph—seem to celebrate their own imperfection, speaking to his unique background. FF Blur resembles type that has been reproduced cheaply on a Xerox machine—degenerated through copying and recopying.
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Soon after Joan and Erik Spiekermann launched FontShop in 1989, Brody and Spiekermann cofounded FontFont, which would grow into the world’s largest independent collection of original typefaces until its acquisition by Monotype in 2014. Brody’s other major achievement in this field is FUSE, the quarterly magazine for experimental type design he cocreated with Jon Wozencroft.
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Brody Fonts’ decision to join Type Network was no coincidence. It was the culmination of a longstanding professional relationship and friendship between Neville Brody and Type Network cofounder David Berlow, a shared history spanning three decades. The seeds of their collaboration were sown in 1987, when Berlow met Brody and Spiekermann at an ATypI conference in New York. “Two years later, we met again in San Antonio, ” Berlow explained in an interview with Yves Peters. “This time, I had retail fonts to offer them.” In his characteristic irreverent style, Berlow continued: “By then, FontShop was starting to talk about their global conspiracy to have an international distribution network.”
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Brody released his first retail typefaces through Linotype. He based Industria on headlines he had drawn between 1980 and 1986 as the art director for the influential British fashion bible The Face; Arcadia and Insignia originated as a banner and a headline type for Arena magazine, which he art-directed from 1987 to 1990, after his departure from The Face. Following his stint at Linotype, Brody moved on to cofound FontFont, the first independent foundry (aside from Emigre) established by type designers. In short order, FontFont became the cool foundry everyone wanted to work with.
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Peters remembered a conversation he had with Brody during the early days of FontFont: “He explained to me that he wanted the independent foundry to be a bit like a record label. To help designers break away from the tired old mainstays, FontFont planned to release new designs on a regular basis, ‘hit singles,’ so to speak. Changing trends would cause those typefaces to fade into the background, making way for fresh new type in tune with the times, in a perpetual cycle of typographic renewal. The current font market is remarkably close to his original vision.”
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Brody enlisted Berlow’s company, Font Bureau, to work on the typefaces he planned to release through FontFont. “We helped him make sense of his wild geometric designs,” said Berlow. Font Bureau produced FF Typeface Four, FF Typeface Six, and FF Typeface Seven in 1991; and FF Gothic and FF Pop in 1992. Brody’s FF Blur, also developed during this period, proved to be a milestone: Paola Antonelli eventually acquired it as one of twenty-three digital typefaces for the Museum of Modern Art’s Architecture and Design Collection. After this successful start to their collaboration, Berlow sent one of the young designers from his studio to London—a guy named Tobias Frere-Jones. Frere-Jones assisted Brody in preparing FF World, FF Tokyo, FF Dome, and FF Tyson for release in 1993, as well as FF Harlem. 1994’s FF Autotrace and Brody’s contributions to the FF Dirty Fonts series in 1994 and 1995 recalled his efforts for FUSE.
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True to his inquisitive and cutting-edge approach to graphic design, Brody had started questioning both the usual methods of type design and the actual shapes of the alphabet very early on in his forays into making digital typefaces. Barely one year after starting FontFont, the first issue of FUSE hit the proverbial stands. Each edition included four experimental typefaces by renowned and up-and-coming graphic designers, four posters showcasing those typefaces, and one or more additional typefaces by Brody, also with their own posters. For the most part, the contributors were not experienced type designers, so Font Bureau took on some of the production and mastering until the FontFont Type Department got up to speed.
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At this point, FontShop had started hiring people to do production work on typefaces for both FontFont and FUSE, thus ending Font Bureau’s involvement; Brody and FontWorks also parted ways. Font Bureau and FontShop always had distinct, separate relationships with Brody, which continued beyond this period. In the early nineties, Font Bureau commissioned Brody to design their well-known logo. “Brody’s idea was to have a perpetually changing logo using different typefaces, so we created a logo font with twenty-six different quotes,” Sam Berlow said. “We were very happy with his design from start to finish,” David Berlow continued. “We never changed it, and only expanded the logo variations for all the formats and proportions it needed to cover, to give us the necessary flexibility with different tones of voice.” Sam Berlow added: “Brody came back to it in 2012 and developed the current Font Bureau identity and brand guidelines using Benton Sans.”
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In the early aughts, Brody Studios ventured into custom typeface design, creating memorable typographic stylings for major publications and broadcasters, as well as for global brands. And now Brody is ready to unleash a new series of retail families sporting his signature wit and inventiveness.
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Brody Fonts joins Type Network in exclusivity with two remarkable designs. BF Bonn is a geometric sans with a typical Brody twist. The display face blends art deco influences with futuristic tendencies in a series of eight weights ranging from a razor-sharp Thin to a dense, massive Ultra. Stylistic alternates rein in BF Bonn’s strong personality a little for more conventional applications.
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With BF Buffalo, Brody goes full-on hard sci-fi. The face’s industrial features combine chiseled outside cuts with tense inside curves. Alternate capitals emphasize a faux-monospaced rhythm, while stylistic alternates for strategic characters increase the modularity of the letterforms. Set out of the box, the seven weights from Ultra Light to Ultra Black create striking headlines and titles. In the hands of adventurous typographers, the faceted character shapes morph into the pieces of an alphabetic jigsaw puzzle.
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“Neville has had a close working relationship with Sam Berlow, Jill Pichotta, myself, and various other Font Bureau designers from the moment Tobias Frere-Jones walked through his door to the present,” said David Berlow. “Trying to distill your inspiration into a usable typographic language without what Neville calls ‘commercializing’ it is a challenge for all of us. Since those early years, we have been involved in helping him produce—and, in some cases, tame—his wildly imaginative designs into usable typefaces. David Jonathan Ross currently helps Brody produce his fonts. And now we’re moving forward with Neville opening his own store, Brody Fonts, under the Type Network banner, which we are very excited about.”
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“Working at ad agencies and design studios in the 1990s in Dallas, Texas, I spied The Graphic Language of Neville Brody on the desks and in the hands of countless creatives,” said Tamye Riggs, a Type Network team member and FontShop alum who chronicled the early days of digital type for Adobe. “These big hardback books were well-thumbed and heavily sticky-noted, I can tell you that. How did a British designer have such an impact on impressionable young minds in the Lone Star State, before the web and social media was a thing? It’s a bit of a mystery to me, but Neville captured the zeitgeist in such a vibrant, typographically in-your-face way. He’s been so often imitated, but never really successfully. No one could ever hope to replicate what goes on in his head.”
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“The Graphic Language of Neville Brody came out in my first year at the Royal Academy of Fine Arts. I immediately got a copy at the recommendation of my graphic design teacher, and Brody became a source of inspiration in my formative years,” said Peters. “Little did I know that, during my internship at Spiekermann’s MetaDesign in August 1991, my first FontShop assignment would be to design a FontWorks ad commissioned by Brody himself. We interacted many times during my tenure at FontShop BeNeLux in the early nineties. My personal highlight was inviting him as a speaker and jury member for the first FontShop BeNeLux Typography Award. Working with Neville again after all those years is like coming full circle.”
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“I’ve long admired Neville’s work from afar and am so thrilled to have him on Type Network,” said General Manager Paley Dreier. “His one-of-a-kind voice and unique typefaces are a welcome addition to our growing family.”</div>
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-83975968917716389242016-09-12T08:59:00.003-07:002021-06-19T21:19:46.495-07:00Chapter 29: Propaganda Posters<br />
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Table of Contents: <br />
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<li><a href="#One">Introduction</a></li>
<li> <a href="#Two">Modern Art and Propaganda </a>, </li>
<li><a href="#Three">Women in Propaganda Posters</a>,</li>
<li> <a href="#Four"> German War Posters of WWI </a>, </li>
<li> <a href="#Five">British Empire Posters of WWI </a>,</li>
<li><a href="#Six">Austria-Hungary Empire posters of WWI</a>,</li>
<li><a href="#Six1">Italian posters of WWI</a>,</li>
<li><a href="#Six2">Belgium posters of WWI</a>,</li>
<li><a href="#Seven">French Posters of WWI </a>,</li>
<li><a href="#Eight">US Posters of WWI</a>,</li>
<li><a href="#Nine">Russian Posters of WWI</a>,</li>
<li><a href="#Ten">Nazi Germany and Soviet propaganda </a>,</li>
<li><a href="#Eleven">The WWII Propaganda</a>,</li>
<li><a href="#Twelve">US propaganda in WWII </a>,</li>
<li><a href="#Thirteen">German propaganda in WWII </a>, </li>
<li><a href="#Fourteen">Italian Propaganda in WWII </a>, </li>
<li><a href="#Six3">Nordic Propaganda Posters</a>,</li>
<li><a href="#Fourteen1">Anti Semitic Propaganda </a>, </li>
<li><a href="#Fifteen">Soviet Russia Propaganda in WWII </a>, </li>
<li><a href="#France">Général de Gaulle and the French Fourth Republic </a>, </li>
<li><a href="#EU">EU Propaganda </a>, </li>
<li><a href="#Nato">Nato and Warsaw Pact </a>, </li>
<li><a href="#Sixteen">Chinese Propaganda; Cultural Revolution and Economical Counterrevolution </a>, </li>
<li><a href="#SixteenP">Cold War Propaganda </a>, </li>
<li><a href="#Seventeen">North Korean Propaganda Posters - 21st Century!</a>. </li>
<li><a href="#Eighteen">Switzerland Propaganda Posters, 21st Century! </a>. </li>
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<a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="One" style="color: #7f8866; text-decoration: none;"></a><span style="font-size: large;"><span style="font-size: medium;"><span style="color: #b45f06;">Introduction:</span></span></span></div>
<br /><br /><span style="color: #990000; font-size: medium;">P</span>ropaganda is as old as human society. Sometime in 300 BC Aetolia gained control of the revered sanctuary of Apollo at Delphi. When in 279/8 BC the Gauls attacked the sanctuary Aetolia participated in its defence and defeated the Gallic attack. Later, in a propaganda move, Aetolians instituted the competition of the Soteria in<blockquote style="font-size: 16px;">
“a festival for Zeus Soter and Pythian Apollo as a memorial of the battle that occurred against the barbarians who attacked the Greeks and the sanctuary of Apollo common to the Greeks, against whom the People sent out the elite troops and cavalry to share in the struggle for the collective preservation…”</blockquote>
Despite the fact that there is clear evidence that the Phocians also played a significant role in the repulse of the Gauls’ invasion, the Aetolians claimed sole responsibility for this victory. Some 30 years later they restructured the festival on a majestic scale, lionising themselves as the heroic defenders of Hellenism against a barbarian peril. This propaganda ostensibly was persuasive to the extent that the second-century AD traveler Pausanias (Description of Greece, 10. 19 .5) states that the Gauls’ incursion of 279 BC was the severest menace in all of Greek history. Similarly, in mid-second century, Polybius compared the attack with the great Persian invasion of fifth century BC, (Histories, 2, 35. 7).<br /><br /><span style="color: #990000; font-size: medium;">A</span>ll ancient empires tried to validate their triumphs - to themselves, to their own people, and to those they dominated. The Persian propaganda, in Persepolis reliefs, showing the ethnic hierarchy of the empire that ranges from Persians at the top and centers to Greeks at the bottom and periphery, tried to project an egalitarian approach, whereby all nations in the empire were represented equally in their role of supporting and elevating the royal throne, bearing gifts and offering tribute. In Isa 60, the changelessness, the grandeur, and the fortitude of Persian imperial propaganda was being drafted, reinterpreted and incorporated in Jerusalem. The <i style="font-size: 16px;">Pax Persica</i>became <i style="font-size: 16px;">Pax Jerusalem</i>.<br /><br /><span style="color: #cc0000; font-size: medium;">E</span>stablishing an imperial world-view, the Romans propaganda grew during the existence of the empire, most notably with the adoption of Christianity in the early fourth century AD. Propagating the idea that Rome represented peace, good government, and the rule of law. Fast forward to the days of the Spanish Armada (1588), when Sir Walter Raleigh complained that it was “no marvel that the Spaniard should seek by false and slanderous pamphlets, advisoes, and letters, to cover their own loss and to derogate from others their own honours, especially in this fight being performed far off.” And then he recalled that back at the time of the Spanish Armada, when the Spaniards “purposed the invasion” of England, they published “in sundry languages, in print, great victories in words, which they pleaded to have obtained against this realm; and spread the same in a most false sort over all parts of France, Italy, and elsewhere.”<br /><br /><span style="color: #cc0000; font-size: medium;">I</span>n 1936, when totalitarian regimes in Germany and the Soviet Union resorted to propaganda to engineer the opinions of their citizens, strengthen their own dogmas and partialities, and rationalise atrocious wrongdoings, Aldus Huxley wrote: “Propaganda gives force and direction to the successive movements of popular feeling and desire; but it does not do much to create those movements. The propagandist is a man who canalises an already existing stream. In a land where there is no water, he digs in vain.” A year earlier, W. E. B. Du Bois published an influential book titled Black Reconstruction in America in which he argued American history have been falsified because the nation was ashamed. An American youth attending college, would in all probability complete his education without any idea of the part which the black race has played in America; of the tremendous moral problem of abolition; of the cause and meaning of the Civil War and the relation which Reconstruction had to democratic government. According to him “it is propaganda like this that has led men in the past to insist that history is “lies agreed upon”; and to point out the danger in such misinformation.”<br /><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJPvKrC81gb00xBdt7Xl2V9aomzQE9oGuwvQJp9JecmfbO-SPRV_vQm4tEnM7QP5D60539tH3pNjGD2nCvcD7Y8dyoYJK0DkleP8KoTWE_g7PDf4RsHBXf9p5Z0Sk8mQ0mm3vhHYcELBM/s1600/Attic+red+figure+skyphos+depicting+the+abduction+of+Briseis+by+Agamemnon+with+Talthybios+and+Diomedes+c+copy.jpg" style="color: #7f8866; font-size: 16px; text-decoration: none;"><br /></a><br /><br /><br /><span style="color: red; font-size: 28.8px;">P</span>ropaganda is defined as; the systematic propagation of official government policies through manipulative communications to the public. The propaganda may provide true or false information, but the information is selectively presented in a provoking style to have its maximum emotional effect. The term “propaganda” apparently first came into common use in Europe as a result of the missionary activities of the Catholic church. In 1622 Pope Gregory XV created in Rome the Congregation for the Propagation of the Faith. This was a commission of cardinals charged with spreading the faith and regulating church affairs in heathen lands.<br /><br /><div class="separator" style="clear: both; font-size: 16px; text-align: center;">
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<br /><br /><span style="font-size: large;">In modern times it is argued that propaganda and public diplomacy are interrelated, with the former having a negative connotation. According to Joseph Nye Jr.’s definition Public Diplomacy is “building relationships with civil-society actors in other countries and about facilitating networks between nongovernmental parties at home and abroad”. On the other hand, Leonard Doob defines propaganda as the “control of individuals through the use of suggestion…regardless of whether or not the propaganda intends to exercise the control”<span style="color: #141413;">, which suggests an element of mind engineering that is absent in public diplomacy.</span></span><br /><br /><div class="separator" style="clear: both; font-size: 16px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNqgYl2kdmQK-j2vIPXSwNHkRo8Tka16mDpTQ_YK_o0uTPgjmuKaL8wLaqhi2lFHMHYSTmkEN4LWyXN4QrQXU6CbYO6h8WhyMvsQ2MvEmphFry7IlryrGlP5L-L2qVo5GtDa-baxcpIAQ/s1600/debs_poster.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNqgYl2kdmQK-j2vIPXSwNHkRo8Tka16mDpTQ_YK_o0uTPgjmuKaL8wLaqhi2lFHMHYSTmkEN4LWyXN4QrQXU6CbYO6h8WhyMvsQ2MvEmphFry7IlryrGlP5L-L2qVo5GtDa-baxcpIAQ/s320/debs_poster.jpg" style="border: none; position: relative;" width="248" /></a></div>
<br /><br /><span style="font-size: large;"><span style="color: red;">P</span>ropaganda posters appeared in earnest during World War One (1914-18) when each of the belligerent governments used them not only as a means of legitimizing their engagement to their people, but also as a means of enlisting men, and selling war bonds in order to finance the military campaign. With the outbreak of the First World War, advertising was used to attract volunteers. In 1914, the image of Lord Kitchener, the Minister of War in the UK, was depicted on a poster with a steely gaze and a pointing finger urging young men to ‘join your country’s army’. The identical approach, it seems, was adopted in every other country. In Germany a Reich soldier, pointing his patriotic digit, admonishing <i>‘Auch du sollst beitreten zur Reichswehr </i>(You, too, should join the Reichswehr. ).’ It was the same on Italian posters.<br /><br />The ‘four minute men’ of the US propaganda machine at the <i>Committee on Public Information </i>would deliver inciting speeches to potential volunteers under a poster depicting a stern Uncle Sam pointing his finger at the impressionable young man, pleading: ‘I want YOU for US army’ in 1917. According to Stephen Fox, the author of <i>The Mirror Makers</i>, the committee spend 1.5 million dollars on advertising for war. Many graphic designers who had fueled the propaganda war machine, including James Montgomery Flagg, who created the Uncle Sam ‘I want YOU’ poster, were stricken with remorse after the war. According to Flagg:<br /></span><blockquote><span style="font-size: large;">
‘A number of us who were too old or too scared to fight prostituted our talents by making posters inciting a large mob of young men who had neverdone anything to us to hop over and get shot at. . . We sold the war to youth.’</span></blockquote><span style="font-size: large;">
Nevertheless, perhaps out of a sense of patriotism, many of the graphic designers in the bellicose countries were convinced of the truth of the messages they had delivered.<br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-size: 16px; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
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<tr><td class="tr-caption"><span style="font-size: medium;">“Weapons for death - weapons for life! Subscribe to the Victory Loan. ” 1918.</span></td></tr>
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<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="Two" style="color: #7f8866; text-decoration: none;"></a></span><span>Modern Art and Propaganda</span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDL1fFI10xBg2P7q5ATxfF3bNU-A8hLQo75_c81xjfYreUYCycvP1tlSUgYbxVw-6gRN3_jD8tto43mmLZeBanlmKbfy7uYD6RoaLGr-Zh9KpX4OIe9RIem7rHG6APGIgwOEWtJJnAxbRy/s1600/Erw%25C3%25BCrgt+nicht+die+junge+Freiheit.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDL1fFI10xBg2P7q5ATxfF3bNU-A8hLQo75_c81xjfYreUYCycvP1tlSUgYbxVw-6gRN3_jD8tto43mmLZeBanlmKbfy7uYD6RoaLGr-Zh9KpX4OIe9RIem7rHG6APGIgwOEWtJJnAxbRy/s400/Erw%25C3%25BCrgt+nicht+die+junge+Freiheit.jpg" style="border: none; position: relative;" width="264" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;"><br />Max Pechstein (Germany, Zwickau, 1881 - 1955), <i>Erwürgt nicht die junge Freiheit</i>, Don’t Strangle Our Newborn Freedom, 1919<br /><br /></span><div style="text-align: left;"><span style="font-size: medium;">
As the first world war drew to its bitter end, hunger and despair were rife throughout Germany. Military defeat and economic collapse were making themselves felt. Deserting soldiers roamed the streets and added to the chaos- The country was ripe for change. On November 9, 1918, Kaiser Wilhelm II fled to Holland, and a few days later announced his abdication. The stage was set for a revolution that would replace the old regime with a system in which the leaders were to be responsible to parliament.A coalition government of the moderate Social Democratic party and the more radical Independent Social Democrats was set up. Elections were called for January 1919. In the intervening period many artists became politically active, some for the first time, trying to stimulate action, strengthen opinions, or alter the social conscience.<br /><br />Posters were the visual weapons in the struggle of the working class against the rich. In marked contrast to the censorship that had been so strictly enforced during the Kaiser’s reign, German cities now became a not of colors and slogans as strident messages covered every available wall space. Among the most traumatic events of the period were the brutal murders in Berlin of Karl Liebknecht and Rosa Luxemburg, leaders of the abortive Spartakus (communist) Revolution. This Pechstein’s poster is a stark plea for an end to civil war. <i>See: Stephanie Barron, “Introduction” to Barron (ed.), German Expressionism: The Second Generation (Los Angeles: Los Angeles County Museum of Art, 1988):</i> :</span></div>
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<br /><span style="font-size: large;"><span><span style="color: red;">M</span></span>odernist art movements were influencing propaganda posters from the early 20st century. A good example of the avant garde movement influence is a famous piece Beat the Whites with the red wedge - by El Lissitzky, in 1920 which used various geometric color surfaces in an abstract fashion. Lissitzky used this subtle platform to suggest in a blunt propaganda massage.</span><br /><br /><div class="separator" style="clear: both; font-size: 16px; text-align: center;">
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This early Russian revolutionary poster, "Believe, will celebrate the hundredth anniversary," is one of the many posters that used modernism as was practiced by Fernand Léger , Marc Chagall and others.<br /></span><br /><div class="separator" style="clear: both; font-size: 16px; text-align: center;">
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The Bauhaus School of Design<br /> Beat the Whites with the red wedge - 1920</span></div><div class="post-body entry-content" style="line-height: 1.4; position: relative; width: 770px;"><br /></div><span style="font-size: large;">
Figurative Cubism was introduced by Strakhov-Braslavskij A. I. in his poster "<i>Liberated woman – build up socialism!</i>", in 1926 and by V. Kulagina's poster called <i>"To Defend USSR</i>" , in 1930. The quality of the artistic works in these early posters reveals that these creative artists were trying to use propaganda platform as a conduit for the realization of their aesthetic inspiration. Perhaps in those early years of Soviet Union these artists still had a degree of conviction in the legitimacy of their cause, something that was lacking in the propaganda posters of the later years, <br /></span><br /><div class="separator" style="clear: both; font-size: 16px; text-align: center;">
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Strakhov-Braslavskij A. I, Liberated woman – build up socialism! , 1926</span></div>
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V. Kulagina, ; <i>To Defend USSR</i>, in 1930.</span><br /><br /><div class="separator" style="clear: both; font-size: 16px;">
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This ambitious poster celebrates Fascism in strictly modernist flavor. The Mostra della Rivoluzione Fascista was held in Rome in 1933, to commemorate the tenth anniversary of the coup that made Mussolini absolute ruler of Italy. In the words of the catalog, the exhibition aimed to to express</span></div>
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... the atmosphere of the times, all fire and fever, tumultuous, lyrical, glittering. It could only take place in a style matching the artistic adventures of our time, in a strictly contemporary mode. The artists had from Il Duce a clear and precise order; to make something MODERN, full of daring. And they have faithfully obeyed his commands.</span></blockquote>
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Magda Koll, Four Rest at Homes Behind the Front for Soldiers from Bremen, 1915. The poster message that; humanity is alive and well, was a German response to the Allied allegation of German barbarism in the first world war. The minimalist design of the poster was quite innovative at the time.<br /><br /></span><div class="separator" style="clear: both; font-size: 16px;">
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L<span style="font-size: medium;">udwig Hohlwein,. Red Cross Collection 1914. Collection in support of volunteer nursing in the war. 1914,</span></div>
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<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="Three" style="color: #7f8866; text-decoration: none;"></a></span><span>Women in Propaganda Posters</span></span></div><span style="font-size: large;">
Images of women have been prominent in the war poster propaganda as well as in other ideologically driven posters. The images of motherhood have been exploited to symbolize national security, sanctity of homes, duty to country and duty to family. Many of the propaganda posters portrait femininity as passive and in need of protection. Some posters emphasize the patriotic mother who is willing to sacrifice her sons to the war effort. The propaganda has been used to provoke a nationalistic attitude towards the motherland, a place that is pure, noble and different. In the classic war propaganda campaigns of the 20th Century, women as victims of rape often symbolize the brutality of the enemy as well as the despoiling of the motherland's culture and harmony. Ironically, however, women are sometimes portrayed as potential traitors or unwitting accomplices by virtue of their supposed tendency to gossip. Through this cultural stereotyping, an atmosphere of suspicion is created and domestic surveillance becomes embedded into the national consciousness as one of the justified costs of war.<br /><br />Soviet propaganda posters of the 1920s and the 1930s often portrayed women as larger-than-life figures, reflecting their new economic role and socio-political power and importance. Women equality was enshrined in the Soviet constitution. To realize this ideal, there was a need to set up various institutions that would allow women to become engaged fully in the productive sectors of the economy. Thus, the government invested heavily on various child care facilities, and large-scale canteens to allow them to enter into the workforce. In the propaganda posters, the liberated Soviet women were depicted in various productive roles, although in reality, the gender inequality persisted, and during the whole Soviet era no woman of consequence did emerge at the helms of power.<br /><br /></span><div class="separator" style="clear: both; font-size: 16px; text-align: center;">
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“Women workers take up your rifles” - A revolutionary poster of 1917.</span></div>
<span style="font-size: large;"><span><span style="color: red;"><div class="post-body entry-content" style="line-height: 1.4; position: relative; width: 770px;"><span><span style="color: red;"><br /></span></span></div>I</span></span>n contrast, the ideal role for a woman in Nazi Germany was to work at home and be a mother. The Winterhilfswerk, or Winter-Help-Work of the German People, was founded by the Nazis after Hitler was appointed Chancellor. It was their official winter relief charity that was operating under Reich propaganda minister Joseph Goebbels . Hitler introduced the fund in a speech in September 13th, 1933, in which he claimed, "This great campaign against hunger and cold is governed by this principle: We have broken the international solidarity of the proletariat. We want to build the living national solidarity of the German people!" The Winter Fund's main aim was to propagate and popularize the Nazi idea of a national community. The focus of the propaganda was to create an image of the party as a caring institution that was concerned about the welfare of the German people.<br /></span><br /><br /><div class="separator" style="clear: both; font-size: 16px; text-align: center;">
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Support the Relief Organization Mother and Child, Goebbels in his inauguration address of the Mutter und Kind (Mother and Child) organization, in February 24, 1934 stated; "Mother and Child are the pledge for the immortality of the nation". This was to address one of Hitler's major concern over the falling German birth rate. The Organization sought to increase the birth rate by assisting mothers. The effort was primarily geared to help the mother in the home.<br /></span><br /><br /><div class="separator" style="clear: both; font-size: 16px; text-align: center;">
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A People that Help Themselves, the Winter Fund poster, 1933, projects the image of a "genetically healthy" family, as the racial nucleus of the nation. The "natural" duty of women, according to the National Socialists' doctrine was to bring as many racially pure and healthy children into the world as possible, in order to expand the "Aryan race". This was an effort to increase the birth rate significantly. Artists were encouraged in this context, "to show at least four German children when they were depicting a family " .</span></div>
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NSDAP (The National Socialist Party ) will save the people’s community; Fellow-Countrymen, if you need advice and help, apply at the local branches. 1938.<br /></span><br /><div class="separator" style="clear: both; font-size: 16px;">
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Jin Meisheng, The seeds have been well selected, the harvest is more bountiful every year, 1964.<br />Women in the Chinese propaganda posters are also depicted as fully equal to men, but like the Soviet Russia, they appear totally absent in the leadership roles.<br /></span><br /><div class="separator" style="clear: both; font-size: 16px;">
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Li Mubai, Jin Xuechen, Chairman Mao meets with model workers, 1964. It appears that the male model workers are more engaged in their discussion with the Chairman. The woman is placed standing at the back and just admiring the wise and handsome leader!<br /></span><br /><div class="separator" style="clear: both; font-size: 16px;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifxR87gy_XzoUZnTa1uiNeLxGUYsrKuxQFeDmrmY-Dn7Hzasp2-cP6i3eLOwBLSSGLRs_xwwB8tGBe2HhnzIxFBb3UPZGGKhxggYDFtNE_1HxmUGp5DgB3moVSZEE-1GkQ0yamYasuAtA/s1600/Yamato-e.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifxR87gy_XzoUZnTa1uiNeLxGUYsrKuxQFeDmrmY-Dn7Hzasp2-cP6i3eLOwBLSSGLRs_xwwB8tGBe2HhnzIxFBb3UPZGGKhxggYDFtNE_1HxmUGp5DgB3moVSZEE-1GkQ0yamYasuAtA/s320/Yamato-e.jpg" style="border: none; position: relative;" width="223" /></a></div><span style="font-size: medium;">
Most of the times women jobs are depicted as menial agricultural works, like this poster by<br /></span><div class="title"><span style="font-size: medium;">
Wu Shaoyun, <i>"</i>We sell dry, clean, neat and selected cotton to the state, 1958.</span></div>
<span style="font-size: medium;"><i></i><br /></span><br /><div class="separator" style="clear: both; font-size: 16px;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Kz09pRd7u8IbU6mV3FCs6RzoKFeMj7OmeWKTJmuhWcB_bbXQZqAdW5XR5hUBSvf5oyCPXEhtKu3hHBSLDgqr3nzp7UR8wrW-S-Ihb2TNfGs157ktRugVhrPYVIGLMxyHC_NFVYtvjNw/s1600/Yamato-e.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Kz09pRd7u8IbU6mV3FCs6RzoKFeMj7OmeWKTJmuhWcB_bbXQZqAdW5XR5hUBSvf5oyCPXEhtKu3hHBSLDgqr3nzp7UR8wrW-S-Ihb2TNfGs157ktRugVhrPYVIGLMxyHC_NFVYtvjNw/s320/Yamato-e.jpg" style="border: none; position: relative;" width="223" /></a></div>
...While men are doing serious industrial jobs, as this poster by Li Zongjin, called "Study the advanced production experience of the Soviet Union, struggle for the industrialization of our country" in 1953 shows. In the early years of the People's Republic of China, the Soviet Union sent many experts to help. Here a Russian industrial expert is shown giving advice. The text at the top is a handwritten announcement of a Russian exhibition. </div>
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<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="Four" style="color: #7f8866; text-decoration: none;"></a></span><span>German War Posters of WWI</span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh__Euq_2ARGYBG7LFd4tluCT8WRyxej2aIrdwZXlvSOl4mgFzgLSR7S2vg3fwxRV4XAo7oNiWf0o5zU6JhyOSt4Ggfo3MNO1CJOx9-x6qADXG0HQIoWNOSjH2T4jkR9oTQUpNjTqiFhlW4/s1600/a.PNG" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh__Euq_2ARGYBG7LFd4tluCT8WRyxej2aIrdwZXlvSOl4mgFzgLSR7S2vg3fwxRV4XAo7oNiWf0o5zU6JhyOSt4Ggfo3MNO1CJOx9-x6qADXG0HQIoWNOSjH2T4jkR9oTQUpNjTqiFhlW4/s640/a.PNG" style="border: none; position: relative;" width="482" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">We won't tolerate anarchy! We'll protect women and children</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGdZ2ejZiG-ZJ_a7wguV3uB7_5lWGn-UdcYH_3EYWKMo330tevIqK9BV16drKupVK2PRQG53Ol0TM3lDCuVB2ugGGSoP3Kw2o_VBR_GPFqAP8imC1dh83IqOy34OJpRRGEE80JVJ2bTRzp/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGdZ2ejZiG-ZJ_a7wguV3uB7_5lWGn-UdcYH_3EYWKMo330tevIqK9BV16drKupVK2PRQG53Ol0TM3lDCuVB2ugGGSoP3Kw2o_VBR_GPFqAP8imC1dh83IqOy34OJpRRGEE80JVJ2bTRzp/s640/a1.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Christmas collection by the Bavarian Red Cross for the armed forces --Weichnachts Sammlung des bayerischen Roten Kreuzes für die Feldgrauen,<br />By Fritz Maison, 1917</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD6mfY_2nL-InDAkFbodW6YCwSyrFK5asCtvtyxfWzlvlYKzj8uc0Cy5vhVbVeGxoniR9sOdeik0omOGW1C-BOF85BC9CUDiqmoxIpmly2z15OHnrJ0oqsiUT3-0vGCEyMFZdvmRACHGll/s1600/Auch+du+sollst+beitreten+zur+Reichswehr.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD6mfY_2nL-InDAkFbodW6YCwSyrFK5asCtvtyxfWzlvlYKzj8uc0Cy5vhVbVeGxoniR9sOdeik0omOGW1C-BOF85BC9CUDiqmoxIpmly2z15OHnrJ0oqsiUT3-0vGCEyMFZdvmRACHGll/s640/Auch+du+sollst+beitreten+zur+Reichswehr.jpg" style="border: none; position: relative;" width="491" /></span></a></td></tr>
<tr><td class="tr-caption"><div><span style="font-size: medium;">
You, too, should join the Reichswehr. Therefore, sign up at the next enlistment post -- Auch du sollst beitreten zur Reichswehr, München , 1919.</span></div>
<div style="text-align: left;"><span style="font-size: medium;">
Reichswehr-Gruppen-Kommando no. 4 (Bavarian), Möhl, Major General, forming part of: Rehse-Archiv für Zeitgeschichte und Publizistik<br />By Oscar Consée Kunstanstalt</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0t69gswTOGkVSyKImQqDjoD3NCweD9nyFC_kMgfWwkf5mVzklPoSERuDNHn-KJREDdRn-ExeqRH4LoLE5IE63ndK6UsqxfWE2H989DPBhWkjJCoWkV79Y8n8QdFZcAwFuDFw3i_KOJRbI/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0t69gswTOGkVSyKImQqDjoD3NCweD9nyFC_kMgfWwkf5mVzklPoSERuDNHn-KJREDdRn-ExeqRH4LoLE5IE63ndK6UsqxfWE2H989DPBhWkjJCoWkV79Y8n8QdFZcAwFuDFw3i_KOJRbI/s640/a1.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Bolshevism brings war, unemployment and famine -- Bolshewismus bringt Krieg, Arbeitslosigkeit und Hungersnot. Vereinigung zur Bekämpfung des Bolshewismus. 1918</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKWKo8N8KjDsfLzXdsvvTVWBfF3a2uDavQoACRLMbQhm_4PoWHqAV_zZ7_E7DNcaJv9IXDpcSbiphv4L0kv6fri8cIT48b5i-dEQrGbYIouF8yB_KCMhq2tqftMh4JsoxL6vAQDxEyiqu7/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKWKo8N8KjDsfLzXdsvvTVWBfF3a2uDavQoACRLMbQhm_4PoWHqAV_zZ7_E7DNcaJv9IXDpcSbiphv4L0kv6fri8cIT48b5i-dEQrGbYIouF8yB_KCMhq2tqftMh4JsoxL6vAQDxEyiqu7/s640/a1.jpg" style="border: none; position: relative;" width="473" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;"><br />Freedom, Peace and Work. Elect the German People's Party in Bavaria, (German Democratic Party) -- Freiheit, Friede, Arbeit. Wählt die Deutsche Volkspartei in Bayern,<br />By Valentin Zietara (1883-1935),</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpgJDWx7E8HFkhIrs4KSHQULJcFpAuxAjYOcvupJFYdur4xMkmBt96rRcBjAze8P6NbNObJ1_EPxYfxnvOkcY_jVXc6FM5O5ZFefZsoEYAonu_1MoliVq_RzDsdh173CyCmPjT_a3Gmy7W/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpgJDWx7E8HFkhIrs4KSHQULJcFpAuxAjYOcvupJFYdur4xMkmBt96rRcBjAze8P6NbNObJ1_EPxYfxnvOkcY_jVXc6FM5O5ZFefZsoEYAonu_1MoliVq_RzDsdh173CyCmPjT_a3Gmy7W/s640/a1.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">This is what the Polish emmigrants look like, and you'll look like this too if Silesia becomes part of Poland. Upper Silesians! Stay with the new Germany! -- So sehen die polnischen Auswanderer aus, und so werdet Ihr auch aussehen, wenn Schlesien zu Polen kommt. Oberschleisier! Bleibt beim neuen Deutschland!, 1919.<br />By Münzer, Adolf Franz Theodor, 1870-1953</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs-HkkxFjHI3ZDUihyphenhyphenJThcuzX5L6RgriZ_sAge8LQZD3zZm1vjpDQY2-zN7hbSEyC_vQq-ZUKl3JKQQ8szsM6e47ytLP2-xsf_xiG642CHM3sNjaw5x380MolotiRg6LMMa17q_GxkRBsi/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs-HkkxFjHI3ZDUihyphenhyphenJThcuzX5L6RgriZ_sAge8LQZD3zZm1vjpDQY2-zN7hbSEyC_vQq-ZUKl3JKQQ8szsM6e47ytLP2-xsf_xiG642CHM3sNjaw5x380MolotiRg6LMMa17q_GxkRBsi/s640/a1.jpg" style="border: none; position: relative;" /></a></td></tr>
<tr><td class="tr-caption"><br /><span style="font-size: medium;">German Anti-Polish poster, 1920. If you vote for Germany in the Upper Silesian plebiscite, prosperity. If you vote for Poland, poverty.-- Bei Deutschland dauern der Wohlstand; bei Polen, Armut und Auswanderung<br />by Kirchbach, Fritz Gottfried (1888-1942)</span></td></tr>
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<span style="font-size: medium;"><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKbtEdS82Mzz-Yze7fMRrKF7ukEB9pDO-2E9wVZS4LtTqbhvi8HqVTTx8Vg0lUjyeyWdif2ZtQzCfLYc2yIG44874hKeqMYQkHFns95a4f-hbzmqUXoIhubzNH7vwxQjzcTB4EB4oWKaI/s1600/Hilary+copy.jpg" style="color: #7f8866; text-decoration: none;"><img alt="" border="0" height="296" id="BLOGGER_PHOTO_ID_5471355272778959970" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKbtEdS82Mzz-Yze7fMRrKF7ukEB9pDO-2E9wVZS4LtTqbhvi8HqVTTx8Vg0lUjyeyWdif2ZtQzCfLYc2yIG44874hKeqMYQkHFns95a4f-hbzmqUXoIhubzNH7vwxQjzcTB4EB4oWKaI/s640/Hilary+copy.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative; text-align: center;" width="640" /></a><br /><br /></span><div style="color: red;">
<span style="font-size: medium;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="Five" style="color: #7f8866; text-decoration: none;"></a><span>British Empire Posters of WWI</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN21_oecrTnjgI1lt15PZ-nNT6oDPzuco9QmF2oYxiMjo__ce-MXh3fa9N3NkKVjQYbtjigmkbAzbVPxi6-c96S9idhd5IIaozRx8TUcGiIZix4fQcQGTfTO8yFOIB3pHWOMKlzvVR_1fc/s1600/a1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN21_oecrTnjgI1lt15PZ-nNT6oDPzuco9QmF2oYxiMjo__ce-MXh3fa9N3NkKVjQYbtjigmkbAzbVPxi6-c96S9idhd5IIaozRx8TUcGiIZix4fQcQGTfTO8yFOIB3pHWOMKlzvVR_1fc/s640/a1.jpg" style="border: none; position: relative;" width="418" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0plUIv_xZ_9yIQUs3S18z84yq3mm_8kX9jbrrTUh-GJod-oJNQ6FyS_Xie-qnBaoDxVMDiT8nLq4Mq60SiTq2oekpw7w0bq382FoeCmdE9JVeDYw7Tvo1TjIk1cLS6tjyBlACIeatjwnK/s1600/a1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0plUIv_xZ_9yIQUs3S18z84yq3mm_8kX9jbrrTUh-GJod-oJNQ6FyS_Xie-qnBaoDxVMDiT8nLq4Mq60SiTq2oekpw7w0bq382FoeCmdE9JVeDYw7Tvo1TjIk1cLS6tjyBlACIeatjwnK/s640/a1.jpg" style="border: none; position: relative;" width="416" /></span></a></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL3hU_J3pPOtmBxJJeRk8ON1Ib-s3UfOyfoPHKeBSFW27P9ZLPamRPlqX2Zrxa7NUJ4MFI87_SzUxko6zLnNUfxjEyIfHdtu8mELkekumdh576nmM6_leb__mirnrt7NUkEXd2O8ZrrSY4/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhL3hU_J3pPOtmBxJJeRk8ON1Ib-s3UfOyfoPHKeBSFW27P9ZLPamRPlqX2Zrxa7NUJ4MFI87_SzUxko6zLnNUfxjEyIfHdtu8mELkekumdh576nmM6_leb__mirnrt7NUkEXd2O8ZrrSY4/s640/a1.jpg" style="border: none; position: relative;" width="444" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">World War I Irish Recruiting Poster</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWxXxdhKZXmbfTLEGoqKwWOtlvquioaoZhKEYNNK2-UcPn4pJAb_LwNEw-WYC08cPJ874RFCfOSI1wQoVjAfkS4Ox76MzPDiKlj9evrMWUtLmG2_BCbSP6T-BjXhhX1CZpK9yKUKt3KWfl/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWxXxdhKZXmbfTLEGoqKwWOtlvquioaoZhKEYNNK2-UcPn4pJAb_LwNEw-WYC08cPJ874RFCfOSI1wQoVjAfkS4Ox76MzPDiKlj9evrMWUtLmG2_BCbSP6T-BjXhhX1CZpK9yKUKt3KWfl/s640/a1.jpg" style="border: none; position: relative;" width="464" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">World War I Irish Recruiting Poster</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUnAnLx4iugYl47Y2IGvGH7NC2YQE2PBRPo1qWK0cTa7RjkixH8pveE-u7CEQqkIJQUw8_cQN1EUHVMPb1yIAVatzcoox7E3OBm_vxf6-z8WBv4atSeXHM3n5YUE6sKtfcAGX7vQ3gC2Ap/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUnAnLx4iugYl47Y2IGvGH7NC2YQE2PBRPo1qWK0cTa7RjkixH8pveE-u7CEQqkIJQUw8_cQN1EUHVMPb1yIAVatzcoox7E3OBm_vxf6-z8WBv4atSeXHM3n5YUE6sKtfcAGX7vQ3gC2Ap/s640/a1.jpg" style="border: none; position: relative;" width="446" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">World War I Irish Recruiting Poster</span></td></tr>
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<span style="font-size: medium;"><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilE5R8CfGF3OL3WDrDcRRpMdpHFLT6e_xjTmZq6Fpcof70W5xrteA2ybFs936b114_6ozRJ8hrsq5IsqJiMqEnIKtHg4C6Gbf8Q43y79_sSbfpOx7-OolGTOFgkoFUX3hTufpDDFh2O1M/s320/515BR0TBT7L._SS500_.jpg" style="color: #7f8866; text-decoration: none;"><img alt="" border="0" height="296" id="BLOGGER_PHOTO_ID_5471355272778959970" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilE5R8CfGF3OL3WDrDcRRpMdpHFLT6e_xjTmZq6Fpcof70W5xrteA2ybFs936b114_6ozRJ8hrsq5IsqJiMqEnIKtHg4C6Gbf8Q43y79_sSbfpOx7-OolGTOFgkoFUX3hTufpDDFh2O1M/s320/515BR0TBT7L._SS500_.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative; text-align: center;" width="640" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /></span><br /><div style="color: red;">
<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="Six" style="color: #7f8866; text-decoration: none;"></a></span><span>Austria-Hungary Empire posters of WWI</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_nve-ixhLFTJcxxENme7Smc4NU7pDCP1tvZuFsmlWPLadlqjaAOFH5DTu-eLOXmnWWP3tBxSfItaW98mvJdDtH4IGsPvpX7I8gtWRisZ6yyINk3QMphcQJzYD7ncXLL8nbEOkZa2CkvaH/s1600/a1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_nve-ixhLFTJcxxENme7Smc4NU7pDCP1tvZuFsmlWPLadlqjaAOFH5DTu-eLOXmnWWP3tBxSfItaW98mvJdDtH4IGsPvpX7I8gtWRisZ6yyINk3QMphcQJzYD7ncXLL8nbEOkZa2CkvaH/s640/a1.jpg" style="border: none; position: relative;" width="484" /></a></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_84U9_Tpvbr96nIqLpk0HKVS14l4wBihWnSW1auD4MBD0ytHVPJPBiAzoslyX3R9z2VQreZhya6UwhcNzv9Wa30DoG8huzIwcNQgqvmQk2XjgVJGv_jgys3kfw_YiQOrlnMohmxr0_SlG/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_84U9_Tpvbr96nIqLpk0HKVS14l4wBihWnSW1auD4MBD0ytHVPJPBiAzoslyX3R9z2VQreZhya6UwhcNzv9Wa30DoG8huzIwcNQgqvmQk2XjgVJGv_jgys3kfw_YiQOrlnMohmxr0_SlG/s640/a1.jpg" style="border: none; position: relative;" width="364" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Poster encouraging the public to subscribe to the 5th War Loan at the Živnostenská bank in Prague or one of its branches</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0pU1bKygH3M0evdaujq4dermpRYetpwa1b3QZkJ_pkDTuJmgmxOSt1aZgk5O5eQdPK69GGuh7Jkykf0qduGOhRG1gcG8Ly8OK98aNKHtyjFKtYaN2Ee9BXiyuadW0VqDqNcX7T6DrlcKM/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0pU1bKygH3M0evdaujq4dermpRYetpwa1b3QZkJ_pkDTuJmgmxOSt1aZgk5O5eQdPK69GGuh7Jkykf0qduGOhRG1gcG8Ly8OK98aNKHtyjFKtYaN2Ee9BXiyuadW0VqDqNcX7T6DrlcKM/s640/a1.jpg" style="border: none; position: relative;" width="418" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-family: Georgia, "Times New Roman", Times, serif; font-size: medium; line-height: 16px; text-align: start;">Subscribe to the 8th War Loan</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiib8Lgo1Ckm2tHjbjFqLmteeKgF64xHsIyihZ8dlE1TTlOtH045qm2dm9kKsBjuNBayL3jHm2NS5txX_ScLu5GpbkYhvir-rEGKrRnFC14jCyVv4ehsYLGluzQ5x-l5sDCFawWUx3CD_RC/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiib8Lgo1Ckm2tHjbjFqLmteeKgF64xHsIyihZ8dlE1TTlOtH045qm2dm9kKsBjuNBayL3jHm2NS5txX_ScLu5GpbkYhvir-rEGKrRnFC14jCyVv4ehsYLGluzQ5x-l5sDCFawWUx3CD_RC/s640/a1.jpg" style="border: none; position: relative;" width="328" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Poster for the National War Relief Exhibition in Pozsony.</span></td></tr>
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<span style="font-size: medium;"><br /><br /><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5LEQGMlgp8KYUoDljgXUoWX9CntDd6rYe1ACbNeQyf8sfH9t2JtkU3fm2an8lPnAZ6zg3oOtQcL4CZOxyGJN07mazo6MGp80Qb_RpzozvXYBmonfdGzHtUu35G3FUj6WzfUVWY4qCUjE/s320/kriegsanleihe-+Austrian.jpg" style="color: #7f8866; text-decoration: none;"><img alt="" border="0" height="296" id="BLOGGER_PHOTO_ID_5471355272778959970" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5LEQGMlgp8KYUoDljgXUoWX9CntDd6rYe1ACbNeQyf8sfH9t2JtkU3fm2an8lPnAZ6zg3oOtQcL4CZOxyGJN07mazo6MGp80Qb_RpzozvXYBmonfdGzHtUu35G3FUj6WzfUVWY4qCUjE/s320/kriegsanleihe-+Austrian.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative; text-align: center;" width="640" /></a><br /><br /><br /></span><div style="color: red;">
<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Six1" style="color: #7f8866; text-decoration: none;"></a></span><span><span style="color: #b45f06;">Italian posters of WWI</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTJRIEkJKx8PSgyoUYL2VV20T4-SV-5DrCwOeBAtL0EKHd1wU8rsaUmKCnYSVdOkIvLbIfmy481diiD3D7r1uXRjnVCuNB-t_Ov4fNnVWsk6FMepVFRzOXS_-ueOsqAHDCcyYEniLFaGqc/s1600/a1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTJRIEkJKx8PSgyoUYL2VV20T4-SV-5DrCwOeBAtL0EKHd1wU8rsaUmKCnYSVdOkIvLbIfmy481diiD3D7r1uXRjnVCuNB-t_Ov4fNnVWsk6FMepVFRzOXS_-ueOsqAHDCcyYEniLFaGqc/s640/a1.jpg" style="border: none; position: relative;" /></span></a></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipM5HhDuRCjqGGuy8qWcOGE9nuNWqevd06bt-6ddrt0ZudEYFa8L0OViTKg01AL-q6WOprz9JC5CyESQiDX82xpJeXQYLSmRHcYjeEaSWdI2sOEoxAcIrDXshyyjVMSvtzkwQplgrM8BXs/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipM5HhDuRCjqGGuy8qWcOGE9nuNWqevd06bt-6ddrt0ZudEYFa8L0OViTKg01AL-q6WOprz9JC5CyESQiDX82xpJeXQYLSmRHcYjeEaSWdI2sOEoxAcIrDXshyyjVMSvtzkwQplgrM8BXs/s640/a1.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">For the country, my eyes, for peace, your money. National Consolidated Loan.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsW0rW2uGXe4KPMIyN1Hd6sh5VgR9UJW83ptrMQz6HLFmkydZpVKubhL82Lnbt2v4JVIF7q9m2qaFwzTYhoI4TWzrsDwOFD3NhsDBxB03OMtOROKEFiARSaPih5YN12gIdqbG9hMYmXzQ/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsW0rW2uGXe4KPMIyN1Hd6sh5VgR9UJW83ptrMQz6HLFmkydZpVKubhL82Lnbt2v4JVIF7q9m2qaFwzTYhoI4TWzrsDwOFD3NhsDBxB03OMtOROKEFiARSaPih5YN12gIdqbG9hMYmXzQ/s1600/a.jpg" style="border: none; position: relative;" width="265" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">“Weapons for death - weapons for life! Subscribe to the Victory Loan. ” 1918.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDCi7CAy3aym7W7PnXFcdRx2KK6dZxa1NoYQ9iwt0Y0Q8xlZXCuy2_qOsdjO5dXWVpUD-_fdGplhCgbYEftGAwxlxhXnpeHW5lrCNMVvtOCRIPKObkZ0QHnENcW9GntafNZ_StPK0o-0WO/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDCi7CAy3aym7W7PnXFcdRx2KK6dZxa1NoYQ9iwt0Y0Q8xlZXCuy2_qOsdjO5dXWVpUD-_fdGplhCgbYEftGAwxlxhXnpeHW5lrCNMVvtOCRIPKObkZ0QHnENcW9GntafNZ_StPK0o-0WO/s640/a1.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">1917 - Italy needs meat, wheat, lard, and sugar. Eat little so that food can go to our people, and army of Italy</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbyCIZY6255lmEGs54ZZDVB8_Nrj1h_hpym4_ybxQowJhnlilJezZCqUCFRYMUo-hiZRNMVK4O3njgGJPgRGOFp87QmPDtYO7edGN2HAG14E_tKIXWNFyRVS2ZIGFgFM_XTY1kJ7cdfcd0/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbyCIZY6255lmEGs54ZZDVB8_Nrj1h_hpym4_ybxQowJhnlilJezZCqUCFRYMUo-hiZRNMVK4O3njgGJPgRGOFp87QmPDtYO7edGN2HAG14E_tKIXWNFyRVS2ZIGFgFM_XTY1kJ7cdfcd0/s640/a1.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">1917 "Do your Whole Duty!", by Achille Luciano Mauzan</span></td></tr>
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<span style="font-size: medium;"><br /><br /></span><br /><br /><div style="color: red;">
<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="Six2" style="color: #7f8866; text-decoration: none;"></a></span><span>Belgium Posters of WWI</span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEdbo_xLQuTc6MNKDoKM9SF2tPIMxP19sg40pZXcccPvVzobvYlxgNvQZak1gVWIKWiuNM-BwcZX_oLOyyGw36PspsVDY3BbRdoXogyBa5teToW3n0UlwnMzPRior0GD_JJPKLtVhIsjgE/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEdbo_xLQuTc6MNKDoKM9SF2tPIMxP19sg40pZXcccPvVzobvYlxgNvQZak1gVWIKWiuNM-BwcZX_oLOyyGw36PspsVDY3BbRdoXogyBa5teToW3n0UlwnMzPRior0GD_JJPKLtVhIsjgE/s640/a1.jpg" style="border: none; position: relative;" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><br /></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5sR9hfU_xYnS8m-7feHtHVO982UX4jGQKD6z-DnYiR0FgQTe1M-16b2e78nH22qz3GS-E92nxuK4N-91f9Z0_BPmhezwxwZ7kbLTMWBC4iZ4u5eD6tujec350WXMW-nfV9Q8eX2pnSLf2/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5sR9hfU_xYnS8m-7feHtHVO982UX4jGQKD6z-DnYiR0FgQTe1M-16b2e78nH22qz3GS-E92nxuK4N-91f9Z0_BPmhezwxwZ7kbLTMWBC4iZ4u5eD6tujec350WXMW-nfV9Q8eX2pnSLf2/s640/a1.jpg" style="border: none; position: relative;" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><br /></td></tr>
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<br /><br /><div style="color: red;">
<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="Seven" style="color: #7f8866; text-decoration: none;"></a></span><span>French Posters of WWI</span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnk_d9LQeawzQPOkTgQM-UZsjaJ_FAGAJSz-sGySsRFjY1Rx0zYTQabrhJ5uFSBPDhd2SH2mlfkw_EPE33qzS3k-x_Tnou3vO0Giq4gf1-oKQl0C9U6JL3rDSB3hmGx7pLLqiLYd1d_tx4/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnk_d9LQeawzQPOkTgQM-UZsjaJ_FAGAJSz-sGySsRFjY1Rx0zYTQabrhJ5uFSBPDhd2SH2mlfkw_EPE33qzS3k-x_Tnou3vO0Giq4gf1-oKQl0C9U6JL3rDSB3hmGx7pLLqiLYd1d_tx4/s640/a1.jpg" style="border: none; position: relative;" width="408" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">The French Infantry in battle, by H. Delaspre</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGzDamT8UriysNeYfFGcEJji3n66QVkfVl9U515ys5rRKoDx_RBbM6AX0KfCSplXMYHPkTjc0xo9-CbY5m5rtIJhp3riUKAkfutiMVe7ODC5T5NATZi2hsu_hQ1-VNVCak11CsTBcQrwVd/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGzDamT8UriysNeYfFGcEJji3n66QVkfVl9U515ys5rRKoDx_RBbM6AX0KfCSplXMYHPkTjc0xo9-CbY5m5rtIJhp3riUKAkfutiMVe7ODC5T5NATZi2hsu_hQ1-VNVCak11CsTBcQrwVd/s640/a1.jpg" style="border: none; position: relative;" width="450" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">For France that Fights </span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEjVxBxa5pklUE_WzCHxa_OckAMmj22HP07L3deGwwsezjEn1346_5TNM0mEYDq4UEofbKxISn1WQPQucRSbPZKrFKVMqp5_IZ4fx4yD8yWDb2EOx73z5h3jaeDvgVnBIE7GWofg8aSMgS/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEjVxBxa5pklUE_WzCHxa_OckAMmj22HP07L3deGwwsezjEn1346_5TNM0mEYDq4UEofbKxISn1WQPQucRSbPZKrFKVMqp5_IZ4fx4yD8yWDb2EOx73z5h3jaeDvgVnBIE7GWofg8aSMgS/s640/a1.jpg" style="border: none; position: relative;" width="420" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">After victory, To work! Help us</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Mc8phRA_13ooPvQmYomvEl5x0J5N2hflGzHbxQpTf1bTq-VQJsHkjnptAJi8YkriPHHWwfE3myKzvZiNh3BXFHg3BmYWYVYic0MumjWslAfEu7K3s_zxRXVdIM6GDqCqxIhBh8pEWdPO/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Mc8phRA_13ooPvQmYomvEl5x0J5N2hflGzHbxQpTf1bTq-VQJsHkjnptAJi8YkriPHHWwfE3myKzvZiNh3BXFHg3BmYWYVYic0MumjWslAfEu7K3s_zxRXVdIM6GDqCqxIhBh8pEWdPO/s640/a1.jpg" style="border: none; position: relative;" width="446" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">National loan for facilitating the reparation of damages caused by the war. </span></td></tr>
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<span style="font-size: medium;"><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIfoF9DShuysbTD7UtxdcnmMYZTS867yZ537eOFmIRZUpOOArCahtoHHTilDh2LFyxCgowc17bu2WimipDMbQ8NrvAF0gDlr8k0mIaVLfqTLXr7fC5rUtSCF3zrO38qnAEplDH5Z22SBQ/s1600/1556_koloman_moser_1868_1918_je.jpg" style="color: #7f8866; text-decoration: none;"><img alt="" border="0" height="296" id="BLOGGER_PHOTO_ID_5471355272778959970" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIfoF9DShuysbTD7UtxdcnmMYZTS867yZ537eOFmIRZUpOOArCahtoHHTilDh2LFyxCgowc17bu2WimipDMbQ8NrvAF0gDlr8k0mIaVLfqTLXr7fC5rUtSCF3zrO38qnAEplDH5Z22SBQ/s1600/1556_koloman_moser_1868_1918_je.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative; text-align: center;" width="640" /></a></span><br /><br /><br /><div style="color: red;">
<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="Eight" style="color: #7f8866; text-decoration: none;"></a></span><span>US Posters of WWI</span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfmVul5x3UP85-H10oxXJ5hVoWcEIovBRl558LMn6TwfCqNWqxeBYy7zmGFL16ysEHLL4qo4Mnp1MKOc7w3migwrNNuLVmfCkGOnHAkoL_DY9KdRc3P9jhu229NXGwKizeuVbcGT00KaB9/s1600/JamesMontgomeryFlaggWWIPosters.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfmVul5x3UP85-H10oxXJ5hVoWcEIovBRl558LMn6TwfCqNWqxeBYy7zmGFL16ysEHLL4qo4Mnp1MKOc7w3migwrNNuLVmfCkGOnHAkoL_DY9KdRc3P9jhu229NXGwKizeuVbcGT00KaB9/s640/JamesMontgomeryFlaggWWIPosters.jpg" style="border: none; position: relative;" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">James Montgomery Flagg WWI Posters</td></tr>
</tbody></table>
<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFOfLmBVyTM7_SxMdW2buodDi73BVEgoI9l-BdLUJJfP7wBlGcnq7aIlyCxDc4W9DJh-0i1jvTAushTktfCmWk5WgerjzzRrDUIoXWvxhecAdger5wfWp_0_z8YzUhTi30FZvaUUzw-JQ/s1600/Attic+red+figure+skyphos+depicting+the+abduction+of+Briseis+by+Agamemnon+with+Talthybios+and+Diomedes+c.jpg" style="color: #7f8866; font-size: 16px; text-decoration: none;"><img alt="" border="0" height="296" id="BLOGGER_PHOTO_ID_5471355272778959970" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFOfLmBVyTM7_SxMdW2buodDi73BVEgoI9l-BdLUJJfP7wBlGcnq7aIlyCxDc4W9DJh-0i1jvTAushTktfCmWk5WgerjzzRrDUIoXWvxhecAdger5wfWp_0_z8YzUhTi30FZvaUUzw-JQ/s1600/Attic+red+figure+skyphos+depicting+the+abduction+of+Briseis+by+Agamemnon+with+Talthybios+and+Diomedes+c.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative; text-align: center;" width="640" /></a><br /><br /><br /><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-size: 16px; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTYQ2FTMtx-fYzwHjjSI1TZedtpWMs9eTQe6c4OkWzVcWk_QWyP4zQ0ky0BJqlJYuRVLYRpjBCYDAbWoGGKMbND84gRX9ZvG3sNFHH5TZozEacS0dx2wD2MdBHAtT7P03D8572jLsD5_I/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTYQ2FTMtx-fYzwHjjSI1TZedtpWMs9eTQe6c4OkWzVcWk_QWyP4zQ0ky0BJqlJYuRVLYRpjBCYDAbWoGGKMbND84gRX9ZvG3sNFHH5TZozEacS0dx2wD2MdBHAtT7P03D8572jLsD5_I/s1600/a.jpg" style="border: none; position: relative;" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">Berlin or Bust- Pershing in France</td></tr>
</tbody></table>
<br /><br /><br /><br /><br /><br /><br /><br /><div style="color: red;">
<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="Nine" style="color: #7f8866; text-decoration: none;"></a></span><span>Russian Posters of WWI</span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisfOwhqyPAtZVVBBailvncdf-7cWMQswWGxc7BwmJ8fYCA9mOhcd5UnHzf1_l6isfPxsWil-GJJONL1qOYueFqUztbMiVT5OX8V7rpqIWi7Tgh2a3EaQ20k-V_YW2Ab7l6R9N66q5rnniS/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisfOwhqyPAtZVVBBailvncdf-7cWMQswWGxc7BwmJ8fYCA9mOhcd5UnHzf1_l6isfPxsWil-GJJONL1qOYueFqUztbMiVT5OX8V7rpqIWi7Tgh2a3EaQ20k-V_YW2Ab7l6R9N66q5rnniS/s640/a1.jpg" style="border: none; position: relative;" width="436" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">Fight until Victory</td></tr>
</tbody></table>
<br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-size: 16px; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinxhJdBeJQrhsk2Ba4n2bTc4BwSaERbPh4KP6FVrHp6UW3KKwrh7zSCF92u4YgJC9uiG4n0b76RDikyvFTLeN1cEycSYpnlMKyBCwBKC-zauPlshA6Dpux7IhTwGWqDNgfcfQOLAFI162r/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinxhJdBeJQrhsk2Ba4n2bTc4BwSaERbPh4KP6FVrHp6UW3KKwrh7zSCF92u4YgJC9uiG4n0b76RDikyvFTLeN1cEycSYpnlMKyBCwBKC-zauPlshA6Dpux7IhTwGWqDNgfcfQOLAFI162r/s640/a1.jpg" style="border: none; position: relative;" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">"Everything for the war! Suscribe to the 5 1/2% War Loan."</td></tr>
</tbody></table>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB3npMGU8hVBgWcW14WcN1zvP-CQDWs0dG-QsK9fg-n0IdVkJxdqL2-xRDoIqPRswPQd7FBxFMVv02duvFcPQhv65-F-M4AI_cCIrsY8-kUCwHnIOM4LBSXbRxoMwKmPYoNGw52MWSrj5G/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="508" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB3npMGU8hVBgWcW14WcN1zvP-CQDWs0dG-QsK9fg-n0IdVkJxdqL2-xRDoIqPRswPQd7FBxFMVv02duvFcPQhv65-F-M4AI_cCIrsY8-kUCwHnIOM4LBSXbRxoMwKmPYoNGw52MWSrj5G/s640/a1.jpg" style="border: none; position: relative;" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">Why did you sell your bonds Do not you want to participate in the industrialization of the USSR? - circa 1922-30</td></tr>
</tbody></table>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSBLIXLtNt-R5-ACcreNL1arPmtxw_HQSpEv0fGsMslpHHD-CrfKcDYsK888JxOOF4a1RcEk_2rsU4YNdkuVGAb92gBgwKzDI4CRwmsYvw5_9uyirSWg8UczsRiGCwNIZcn-lRoZa0XFK5/s1600/a1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSBLIXLtNt-R5-ACcreNL1arPmtxw_HQSpEv0fGsMslpHHD-CrfKcDYsK888JxOOF4a1RcEk_2rsU4YNdkuVGAb92gBgwKzDI4CRwmsYvw5_9uyirSWg8UczsRiGCwNIZcn-lRoZa0XFK5/s640/a1.jpg" style="border: none; position: relative;" width="450" /></a></div>
<br /><br /><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7HTglGLMBN-MTtRy52gbeU0omP80bjq3R33sHiWUv6AZWFtDG7cnuuyhffbiNHAR4e2b5yS9CgAgHPNqO7Rlfws0xZ3H1QwMU6JeI-SL-l5i7RSt_LayereGMSIIfNArJnWyjVe2FUJw/s1600/RussiaWWI.jpg" style="color: #7f8866; font-size: 16px; text-decoration: none;"><img alt="" border="0" height="296" id="BLOGGER_PHOTO_ID_5471355272778959970" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7HTglGLMBN-MTtRy52gbeU0omP80bjq3R33sHiWUv6AZWFtDG7cnuuyhffbiNHAR4e2b5yS9CgAgHPNqO7Rlfws0xZ3H1QwMU6JeI-SL-l5i7RSt_LayereGMSIIfNArJnWyjVe2FUJw/s1600/RussiaWWI.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative; text-align: center;" width="640" /></a><br /><br /><br /><div style="color: red;">
<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="Ten" style="color: #7f8866; text-decoration: none;"></a></span><span>Nazi Germany and Soviet propaganda</span></span></div>
<br /><span style="font-size: large;"><span style="color: red;">A</span>fter the first world war practically every government resorted to intense propaganda campaigns for capturing the hearts and the minds of the masses. In particular, the extreme right in the form of fascism and the extreme left in the form of communism found posters a potent tool in their propaganda campaigns. Here are two examples from Nazi Germany, and Soviet Russia.<br /></span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAnP7go0ZOpc7h_ZQp_9pUGc8psJa9LiHh6CZO5OfFyMPfYrg4-dt-3wr9SuxPzEtuk5aKiFOGMe78VWUlEKUMQnY1lJYx5ThbleJja5zLhA1-L94pJpcgT7gHGorTETQ2ePMDiI1l-do/s1600/Charles-Mingus2+copy.jpg" style="color: #7f8866; font-size: 16px; text-decoration: none;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5471748374323344482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAnP7go0ZOpc7h_ZQp_9pUGc8psJa9LiHh6CZO5OfFyMPfYrg4-dt-3wr9SuxPzEtuk5aKiFOGMe78VWUlEKUMQnY1lJYx5ThbleJja5zLhA1-L94pJpcgT7gHGorTETQ2ePMDiI1l-do/s1600/Charles-Mingus2+copy.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative; text-align: center;" /></a><br /><br /><br /><br /><div style="color: red;">
<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="Eleven" style="color: #7f8866; text-decoration: none;"></a></span><span>The WWII Propaganda</span></span></div><div style="color: red;"><span style="font-size: large;"><br /></span></div><span style="font-size: large;">
During the World War II posters were used for a variety of purposes by all sides. They were used to encourage men to sign up and to encourage women to support their men by working in the factory or by buying war bonds.<br /></span><br /><br /><div style="color: red;">
<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="Twelve" style="color: #7f8866; text-decoration: none;"></a></span><span>US propaganda in WWII</span></span></div>
<br />I<span style="font-size: large;">t is estimated that the U.S. produced more than 200,000 different posters during the second war, more than any other country. Many of the US war posters were designed by the artists who participated in various competitions to produce a design in support of the war. Many corporations produced posters that while supporting the war was also promoting their products. Many corporations were allowed to treat their war propaganda posters as business expenses.<br /><br /><br /></span><br /><div class="separator" style="clear: both; font-size: 16px; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiABa1RbxigL_NWHY7GwSZw0ycNm2JphfpOSZG4ue_glFgi5ZdvDqevsisivOLgraTB0nUBrP_D32VECXfkAX91DBY9ksT0x77Jbesuf2XmD4kWqrXNoh-yystUusksV93fUDiF8vE3s4tS/s1600/us-wwii-posters-cadet-nurse.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiABa1RbxigL_NWHY7GwSZw0ycNm2JphfpOSZG4ue_glFgi5ZdvDqevsisivOLgraTB0nUBrP_D32VECXfkAX91DBY9ksT0x77Jbesuf2XmD4kWqrXNoh-yystUusksV93fUDiF8vE3s4tS/s400/us-wwii-posters-cadet-nurse.jpg" style="border: none; position: relative;" width="288" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-sBNBhNTV15R-Lz3YNEY4b6sbDgAk883LTTjxKTp_BCkL7NEwWYKGsxa1v2zgBYv8jdEEtR-im21GNMYMnxXryVb7uy0GN7aXXT7LGLl8M7Gmv7FrqWOtc73IE_5O0PwXAGUPx0Mbzsip/s1600/us-wwii-poster-grow-your-own-can-your-own.png" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-sBNBhNTV15R-Lz3YNEY4b6sbDgAk883LTTjxKTp_BCkL7NEwWYKGsxa1v2zgBYv8jdEEtR-im21GNMYMnxXryVb7uy0GN7aXXT7LGLl8M7Gmv7FrqWOtc73IE_5O0PwXAGUPx0Mbzsip/s400/us-wwii-poster-grow-your-own-can-your-own.png" style="border: none; position: relative;" width="286" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_f3f6VosKBQ7z1-KPS1xk8bnL5MFXGQqU3XwyE6FVlXQbsYOWrbh8hpNOQ741DBpASGjCgbNcDLIj9vL-IVAqEvcLMsLSs3Bb4IP05XeXYsGscTC6_DtBa4cishWG3XBCRsdsEQIXSUrE/s1600/us-wwii-buy-war-bonds-1-590x781.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_f3f6VosKBQ7z1-KPS1xk8bnL5MFXGQqU3XwyE6FVlXQbsYOWrbh8hpNOQ741DBpASGjCgbNcDLIj9vL-IVAqEvcLMsLSs3Bb4IP05XeXYsGscTC6_DtBa4cishWG3XBCRsdsEQIXSUrE/s400/us-wwii-buy-war-bonds-1-590x781.jpg" style="border: none; position: relative;" width="302" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2oIANVujg8VHaDfeS5XVpCQ2YBiVReK_sb8nsXsaPqH_3SYBEZWBprQmBOD4BKvv1jH7FrfrJO2HZzK7tqAhRrrGKQphHa_5pP66UviiW8OhbKyEoHbOOWVMwvQxfTgwcZEcOdaQ02XcP/s1600/1945-coca-cola-poster-just-like-old-times.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2oIANVujg8VHaDfeS5XVpCQ2YBiVReK_sb8nsXsaPqH_3SYBEZWBprQmBOD4BKvv1jH7FrfrJO2HZzK7tqAhRrrGKQphHa_5pP66UviiW8OhbKyEoHbOOWVMwvQxfTgwcZEcOdaQ02XcP/s400/1945-coca-cola-poster-just-like-old-times.jpg" style="border: none; position: relative;" width="273" /></a></div>
<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJPvKrC81gb00xBdt7Xl2V9aomzQE9oGuwvQJp9JecmfbO-SPRV_vQm4tEnM7QP5D60539tH3pNjGD2nCvcD7Y8dyoYJK0DkleP8KoTWE_g7PDf4RsHBXf9p5Z0Sk8mQ0mm3vhHYcELBM/s1600/Attic+red+figure+skyphos+depicting+the+abduction+of+Briseis+by+Agamemnon+with+Talthybios+and+Diomedes+c+copy.jpg" style="color: #7f8866; font-size: 16px; text-decoration: none;"><img alt="" border="0" height="281" id="BLOGGER_PHOTO_ID_5471752337165237314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJPvKrC81gb00xBdt7Xl2V9aomzQE9oGuwvQJp9JecmfbO-SPRV_vQm4tEnM7QP5D60539tH3pNjGD2nCvcD7Y8dyoYJK0DkleP8KoTWE_g7PDf4RsHBXf9p5Z0Sk8mQ0mm3vhHYcELBM/s640/Attic+red+figure+skyphos+depicting+the+abduction+of+Briseis+by+Agamemnon+with+Talthybios+and+Diomedes+c+copy.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative; text-align: center;" width="640" /></a><br /><br /><br /><p style="color: black; font-family: Sans;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj445rnbJg7FTM9Q5SAGGN1ix7TOwkPmqsP7u-EXkX67Y3KN-FwlEnCchusIMH4XOClT1G7_8Y-zJ85oJqdOVCnsTf_YnsP49bpgt1al5TBN49YZ3ClyDVlzP7zQl6IQiD-494la_x6mxs/s1627/aa1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1627" data-original-width="1192" height="906" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj445rnbJg7FTM9Q5SAGGN1ix7TOwkPmqsP7u-EXkX67Y3KN-FwlEnCchusIMH4XOClT1G7_8Y-zJ85oJqdOVCnsTf_YnsP49bpgt1al5TBN49YZ3ClyDVlzP7zQl6IQiD-494la_x6mxs/w662-h906/aa1.jpg" width="662" /></a></div><p><br /></p><span style="font-size: large;"> By Marshall Plan, for a better way of life ; </span><p></p><p style="color: black; font-family: Sans;"><span style="font-size: large;">A 1950 propaganda poster for the Marshall Plan for reconstruction of Europe after WWII.</span></p><p style="color: black; font-family: Sans;"><span style="font-size: large;"><br /></span></p><p style="color: black; font-family: Sans;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMoNGHtMbe8PocLhBWBWGKc0896rBkC0oOpFQ963Nlbh919xGz2A1v9CVS998NIK7VlI36GY29DKXiL8c6XHXbW4QlXRnYFqQRlV9Id9DzKUacih6ihcelU_zArTg7p2MDFIfroOAvcx0/s598/aa1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="350" height="824" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMoNGHtMbe8PocLhBWBWGKc0896rBkC0oOpFQ963Nlbh919xGz2A1v9CVS998NIK7VlI36GY29DKXiL8c6XHXbW4QlXRnYFqQRlV9Id9DzKUacih6ihcelU_zArTg7p2MDFIfroOAvcx0/w481-h824/aa1.jpg" width="481" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBuJWtEGdY9Hj4nKW3DKJNEScB29qca0PBum2jQUcjoIi4l4vw5EeqeiZJ-jGSFNb8-i7EG8QYqFgnpOGab0Bfkv8ReLONMdrF2ENkRvEAg4-3jroxGGobhWromaBDcDgACqSOzREcnAQ/s600/aa1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="439" height="828" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBuJWtEGdY9Hj4nKW3DKJNEScB29qca0PBum2jQUcjoIi4l4vw5EeqeiZJ-jGSFNb8-i7EG8QYqFgnpOGab0Bfkv8ReLONMdrF2ENkRvEAg4-3jroxGGobhWromaBDcDgACqSOzREcnAQ/w606-h828/aa1.jpg" width="606" /></a></div><br /><span style="font-size: large;"><br /></span> <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsAHx8jBbDtz-VGRDon-v6kosZdH44X69P87e6BpHvndVAcQ_9kCjNMDO5ydZg_2KfnCSTo4YdwabkbTaOnDWi6eHU44RwrDd6zTthxgZ5asFSHOk7k2PKnLevV7YMsezUSe82cuWoybA/s991/aa1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="991" data-original-width="714" height="621" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsAHx8jBbDtz-VGRDon-v6kosZdH44X69P87e6BpHvndVAcQ_9kCjNMDO5ydZg_2KfnCSTo4YdwabkbTaOnDWi6eHU44RwrDd6zTthxgZ5asFSHOk7k2PKnLevV7YMsezUSe82cuWoybA/w449-h621/aa1.jpg" width="449" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRPIXGz_N23HDbNFRqkprklh7R-22LtjuFS-1UjNa-i_hgz4pRwh8pbPaQhL-ouAQpPa5Aady8_HiTRSi7xahAhUtirAwGh0rU-q2EwqLHyER86WRtM1immIfUGxAI6nPOo_Jei4mrzDs/s1628/aa1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1628" data-original-width="1052" height="677" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRPIXGz_N23HDbNFRqkprklh7R-22LtjuFS-1UjNa-i_hgz4pRwh8pbPaQhL-ouAQpPa5Aady8_HiTRSi7xahAhUtirAwGh0rU-q2EwqLHyER86WRtM1immIfUGxAI6nPOo_Jei4mrzDs/w438-h677/aa1.jpg" width="438" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><span style="color: #1a1a1b; font-family: IBMPlexSans, Arial, sans-serif; font-size: 20px; text-align: start;">No! France will not be a colonized country!", </span></div><div class="separator" style="clear: both; text-align: center;"><span style="color: #1a1a1b; font-family: IBMPlexSans, Arial, sans-serif; font-size: 20px; text-align: start;">Communist Party of France poster</span></div><p></p><br /><br /><div style="color: red;">
<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="Thirteen" style="color: #7f8866; text-decoration: none;"></a></span><span>German propaganda in WWII</span></span></div>
<br /><br /><span style="font-size: large;">According to a fascinating article by <a href="http://observatory.designobserver.com/entry.html?entry=24898" style="color: #7f8866; text-decoration: none;">Steven Heller</a> :<br /><br /><br /></span><blockquote><span style="font-size: large;">
Hitler’s fervent desire to attain propaganda supremacy among nations was a direct result of the German defeat in World War I and his belief that superior allied propaganda trumped Kaiser Wilhelm II’s meager output. Through intensive barrages of posters and other visual media, Britian and America effectively defamed the “Hun” in the eyes of the world, portraying the Kaiser’s military as callous blood-thirsty beasts. The German counterattack was tepid at best. “The Germans were sent into this mighty battle with not so much as a single slogan,” wrote Eugen Hadamovsky, the Nazi propaganda expert and Josef Goebbels’ deputy, in Propaganda and National Power (1933, reprinted by Arno Press in 1972). So when the Nazis came to power, Hitler commissioned a book titled Das Politische Plakat: Eine Psychologische Betrachtung by Erwin Schockel (Franz Eher Verlag, published in 1939), a psychological assesment of English, American, French, Russian and German political posters. It was a handbook for German propagandists and others. ...<br /></span></blockquote>
<blockquote><span style="font-size: large;">
Das Politische Plakat was one in a series of textbooks and manuals issued through the Reichspropagandaleitung, based in Munich (Reich Propaganda Office of the Nazi Party, a separate department from the more powerful Berlin-based Ministry of Propaganda and Enlightenment) for use by party members only. Schockel’s message was clear: powerful propagandistic graphics must be simple and memorable.</span></blockquote>
<br /><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik8hnqQ1G8MSnCBGJC1IlhdZ5sBvvogj3igFFL13XBBzpuAQKnIGK9w_AIzkTSOwhYaQ2-GOyyVXd_UUU8pY97eNU0KiZrZhbf79VcqHyirdAsoHI3sX3BI9_6dBJCL9apngpY1Flk1Y8/s1600/1555_koloman_moser_1868_1918_je.jpg" style="color: #7f8866; font-size: 16px; text-decoration: none;"><img alt="" border="0" height="281" id="BLOGGER_PHOTO_ID_5471752337165237314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik8hnqQ1G8MSnCBGJC1IlhdZ5sBvvogj3igFFL13XBBzpuAQKnIGK9w_AIzkTSOwhYaQ2-GOyyVXd_UUU8pY97eNU0KiZrZhbf79VcqHyirdAsoHI3sX3BI9_6dBJCL9apngpY1Flk1Y8/s1600/1555_koloman_moser_1868_1918_je.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative; text-align: center;" width="640" /></a><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-size: 16px; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ4POKz3pUbDFsYdP9rGhD7y5zERciBHrzvWzdSR_Veozj2HLl-okEYVXvMOEY2hp0AgpTV24V1-WyOqJqmTXIL2kMoc8Rh3VizGetV0HuslX-IM1Iftx0JQf9bYD8IALNfzGxeI6dQw8y/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ4POKz3pUbDFsYdP9rGhD7y5zERciBHrzvWzdSR_Veozj2HLl-okEYVXvMOEY2hp0AgpTV24V1-WyOqJqmTXIL2kMoc8Rh3VizGetV0HuslX-IM1Iftx0JQf9bYD8IALNfzGxeI6dQw8y/s320/a1.jpg" style="border: none; position: relative;" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"> Especially you! </td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixE0ZNbd57MHGHmhkHflyzRxBLNG24bfJG7rvPw1ULggEPifR8rB_Tp0ZiXEeZLtrwaoe5PAbJRIhbKcQaBtW9khO8usLGi7AJafDOxpi5Te3Ofqtc1X_ReeHv6nkS7iN8h1nf54MNthOZ/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixE0ZNbd57MHGHmhkHflyzRxBLNG24bfJG7rvPw1ULggEPifR8rB_Tp0ZiXEeZLtrwaoe5PAbJRIhbKcQaBtW9khO8usLGi7AJafDOxpi5Te3Ofqtc1X_ReeHv6nkS7iN8h1nf54MNthOZ/s1600/a1.jpg" style="border: none; position: relative;" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Hitler and Hindenburg for List 1</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1nUbR3BX0luS3P5YAmHuoz31FpWcWeZvsT5VQrkIbf1XkyCYabR_cFQqt_Vcg-NJ812z3mbSEmwGsIiCAecrOvYP4B3xPAYdtrHCFCkv-vIAdIr19blnZfd_Vxesk1tiWrL1z3AHs1WKg/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1nUbR3BX0luS3P5YAmHuoz31FpWcWeZvsT5VQrkIbf1XkyCYabR_cFQqt_Vcg-NJ812z3mbSEmwGsIiCAecrOvYP4B3xPAYdtrHCFCkv-vIAdIr19blnZfd_Vxesk1tiWrL1z3AHs1WKg/s640/a1.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;"> Work for Victory. Just Like We Fight for it! </span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMYTM4tzG7J8myScFS6i3xTzgCh6bZ0rM8aA1rxBMeonYa56409LiI6k44WGn7TVNVjlP-ibl2dVCVMc9o8ISNU_1ogyhpPELTKj2zxzvrzQ8AHDUzQ_czpgqhh_WleewXMF-L3Ku11OJ5/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMYTM4tzG7J8myScFS6i3xTzgCh6bZ0rM8aA1rxBMeonYa56409LiI6k44WGn7TVNVjlP-ibl2dVCVMc9o8ISNU_1ogyhpPELTKj2zxzvrzQ8AHDUzQ_czpgqhh_WleewXMF-L3Ku11OJ5/s320/a1.jpg" style="border: none; position: relative;" width="224" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Woman in Luftschuk!</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlYMDw0FW0d6inurue6sI7InWu5nhurr1KIZWhPah3O_jKAo07mCbBnoNE12Eg85deywyKrcXfzDjq3oWJBN5LnOJZ3K-iGBu5DuQrOhT1cDi7x8suekIJvQ0vUGyf-1slmm-xG_BnP52N/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlYMDw0FW0d6inurue6sI7InWu5nhurr1KIZWhPah3O_jKAo07mCbBnoNE12Eg85deywyKrcXfzDjq3oWJBN5LnOJZ3K-iGBu5DuQrOhT1cDi7x8suekIJvQ0vUGyf-1slmm-xG_BnP52N/s320/a1.jpg" style="border: none; position: relative;" width="220" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;"> Adolf Hitler is victory! </span></td></tr>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYt87kTjP0XXYcsZ6rBVEVwGC_d0jmJLgn-PS0m4uL5EPsA-bdWNiz0GgnAi2IswdCLqax_nZ6NYUtj0K_gdgtwFMFRmbo7L3FSR7TmabypkP_ncZ4XokJDdXKMNtroBiJ70Y1UFDFaJqF/s1600/a1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYt87kTjP0XXYcsZ6rBVEVwGC_d0jmJLgn-PS0m4uL5EPsA-bdWNiz0GgnAi2IswdCLqax_nZ6NYUtj0K_gdgtwFMFRmbo7L3FSR7TmabypkP_ncZ4XokJDdXKMNtroBiJ70Y1UFDFaJqF/s1600/a1.jpg" style="border: none; position: relative;" /></span></a></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAFiEEsROWZLOo4a-3gnimXRWiTBLT_Or7lvbn6mpSDP_fZAxyKJ30Mc-45GRMK3gNA3g3VCZD5SXMPm375ZlXiTpEwpRxrG_tw3lkrGmo4Zj3tDSd3vcoNCPSVSETriub5EcJiz19gkA1/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAFiEEsROWZLOo4a-3gnimXRWiTBLT_Or7lvbn6mpSDP_fZAxyKJ30Mc-45GRMK3gNA3g3VCZD5SXMPm375ZlXiTpEwpRxrG_tw3lkrGmo4Zj3tDSd3vcoNCPSVSETriub5EcJiz19gkA1/s640/a1.jpg" style="border: none; position: relative;" width="368" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Give me four years’ time, 1937</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI1rW5FEsdvBXaKpu_H_oQzf0B4C7QL9iFXZnaYnsS9MKiikwqP2mKmH0XOpLLIYqPKFHWMvrRStjVQiPAIv2ET6RYeFOQQJs-39cKnOBKCiAy9PdOMPIHukq7YtrM72QudnycnBvHg5Mj/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI1rW5FEsdvBXaKpu_H_oQzf0B4C7QL9iFXZnaYnsS9MKiikwqP2mKmH0XOpLLIYqPKFHWMvrRStjVQiPAIv2ET6RYeFOQQJs-39cKnOBKCiAy9PdOMPIHukq7YtrM72QudnycnBvHg5Mj/s400/a1.jpg" style="border: none; position: relative;" width="280" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">January 30 1933-1943 A fight for a win</span></td></tr>
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<br /><br /><br /><div style="color: red;">
<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="Fourteen" style="color: #7f8866; text-decoration: none;"></a></span><span>Italian Propaganda in WWII</span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE8EXptZOU9-Bo_jq_5A_NZqGQj8yLPvZbegHvWQ9_lANLc3fx1eoOkx4D1LEGAlngf6j-LJllQeh-nnjXkjN85IQMETCTPQPwteWbmJIzv_Hn6fkDL4Wh7k2HvpnlR2ulyCkohKn8VdBU/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE8EXptZOU9-Bo_jq_5A_NZqGQj8yLPvZbegHvWQ9_lANLc3fx1eoOkx4D1LEGAlngf6j-LJllQeh-nnjXkjN85IQMETCTPQPwteWbmJIzv_Hn6fkDL4Wh7k2HvpnlR2ulyCkohKn8VdBU/s640/a1.jpg" style="border: none; position: relative;" width="444" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Victory! for the new social order of civilization</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXgt7lxDIJIWStpkyhX3j4ZmpKHGHnPMmi_UXmdsSO4hP8BNPEBt2vUhuPeZntcBTsNbiYOPFPUwj-_ia7J3O7WG3o-3Vjzfq2pObz_JzcUsR5yqmGV3g-g2XCGuzHwGbF-p_AOBowktEh/s1600/a2.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXgt7lxDIJIWStpkyhX3j4ZmpKHGHnPMmi_UXmdsSO4hP8BNPEBt2vUhuPeZntcBTsNbiYOPFPUwj-_ia7J3O7WG3o-3Vjzfq2pObz_JzcUsR5yqmGV3g-g2XCGuzHwGbF-p_AOBowktEh/s640/a2.jpg" style="border: none; position: relative;" width="438" /></span></a></td></tr>
<tr><td class="tr-caption"><span face="arial, sans-serif" style="color: #444444; font-size: medium; line-height: 17.7778px; text-align: left;">"Each day of fighting brings us closer to the goal"</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj116zPojNUq58GmiV4aa8w3xjL9jYi82cx0cADsKoYTFqGHaggmt6h29E4xTj-RXJP7UvYyjqQpe4OHDR_5ygTwol8Uc6zYW460HgBCtv8ZDRZpdcaUBcnE3VK1XZd0aQVvq5dG3zoOCN_/s1600/a3.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj116zPojNUq58GmiV4aa8w3xjL9jYi82cx0cADsKoYTFqGHaggmt6h29E4xTj-RXJP7UvYyjqQpe4OHDR_5ygTwol8Uc6zYW460HgBCtv8ZDRZpdcaUBcnE3VK1XZd0aQVvq5dG3zoOCN_/s640/a3.jpg" style="border: none; position: relative;" width="448" /></span></a></td></tr>
<tr><td class="tr-caption"><span face="arial, sans-serif" style="color: #444444; font-size: medium; line-height: 17.7778px; text-align: left;">'Good blood doesn't lie'.</span></td></tr>
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<span style="font-size: medium;"><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4IdvtyX_vVjiYTlaKullu3w5AqHi4_Ud8yXaxjf5_lKpWcGyklcUcpAV2shmySw8pr7cwyjWcKGDYkFUUXG8YWKlDoYWRJUV63XWj0XMCxkQHeqjzdAJj-TuZ5CJrhi6itIM51oIG-8g/s320/agha+nima+copy.jpg" style="color: #7f8866; text-decoration: none;"><img alt="" border="0" height="281" id="BLOGGER_PHOTO_ID_5471752337165237314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4IdvtyX_vVjiYTlaKullu3w5AqHi4_Ud8yXaxjf5_lKpWcGyklcUcpAV2shmySw8pr7cwyjWcKGDYkFUUXG8YWKlDoYWRJUV63XWj0XMCxkQHeqjzdAJj-TuZ5CJrhi6itIM51oIG-8g/s320/agha+nima+copy.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative; text-align: center;" width="640" /></a><br /></span><br /><br /><br /><div style="color: red;">
<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Six3" style="color: #7f8866; text-decoration: none;"></a></span><span><span><span style="color: #b45f06;">Nordic Propaganda Posters</span></span></span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqPd1dw2sKfVKOMlD0YmBgA474qwlIMKvwB7UvM7_h-_yCN3pjgEFosemAUzrWo_0oGmRsuvyujrVISGFEaEqsAHjLl4oQlYrg7zFLWhPi92orFHqn7rlpmolceQgyztqWtPWlrjMJxek/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqPd1dw2sKfVKOMlD0YmBgA474qwlIMKvwB7UvM7_h-_yCN3pjgEFosemAUzrWo_0oGmRsuvyujrVISGFEaEqsAHjLl4oQlYrg7zFLWhPi92orFHqn7rlpmolceQgyztqWtPWlrjMJxek/s1600/a.jpg" style="border: none; position: relative;" width="462" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Försvaret främst, National Defense first,WWI 1914, By Gunnar Widholm<br /></span><div style="text-align: left;"><span style="font-size: medium;">
Sweden never participated in World War one but the threat around Europe were very much present in 1914. Therefore the Swedish military authorities did its best to inform the people regarding the eventuality of war. This poster stressed that the army should be placed as the priority focus.</span></div>
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<br /><br /><span style="font-size: large;">The propaganda posters were appeared during the Second World War in Nordic countries. Germany was using intensive propaganda campaigns in the occupied Norway and Denmark particularly to attract volunteers for the German armed forces in the Waffen-SS. In the unoccupied Nordic countries state censorship did not allow propaganda to offend Germany or the Soviet Union. The Finnish Winter War, a military conflict between the Soviet Union and Finland in 1939–1940, that began with Soviet invasion of Finland on 30 November 1939 (three months after the outbreak of World War II), and ended with the Moscow Peace Treaty on 13 March 1940 became an important motive for propaganda posters. </span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">It is known that at least 8,000 Swedes voluntarily went to Finland to fight alongside the Finns. The Swedish government and public also sent food, clothing, medicine, weapons and ammunition to aid the Finns during this conflict. Despite the fact that angry voices were heard from both Germany and the Soviet Union, a recruitment process for Finnish friviligkåren (The Finnish Volunteer Corps) ran openly, perhaps best shown in a number of posters calling for joining the fight for Finland<br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-size: 16px; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_Le0OIX-_8FzV-nuUVvpTe_re7BUeH58u22hTpGcl0PWx7kBJgU9_W2XrRqqKcAM5UY7pJRMZo6DqHrsvM9wnMRCLHpPfR6slUI4Zn-WzJrRDMgurSQDgir26mHlv7Gl9p3YGtQpr-mQ/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_Le0OIX-_8FzV-nuUVvpTe_re7BUeH58u22hTpGcl0PWx7kBJgU9_W2XrRqqKcAM5UY7pJRMZo6DqHrsvM9wnMRCLHpPfR6slUI4Zn-WzJrRDMgurSQDgir26mHlv7Gl9p3YGtQpr-mQ/s1600/a.jpg" style="border: none; position: relative;" width="400" /></a></td></tr>
<tr><td class="tr-caption"><div><span style="font-size: medium;">
För Norges folk, For the people of Norway - be a volunteer!</span></div>
<div style="text-align: left;"><span style="font-size: medium;">
Swedish propaganda poster from 1928. A political poster that claims everyone that votes for the "Workers party" also votes for Moscow. This is a political poster from the 1928 Swedish election.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZWfOGGEX7EkAv6X2Dv_tAiWsatd7DRYLH9IcvZO4YIgxjFNgi5d2aZgWH9YTMyQk_1jLNOxfl1YaWWo4t0QYaN8g-rE8emLRg2mkqAy2nU3u9hBwa7KGEoAvCtQuNydqexgkq0jAmxp8/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZWfOGGEX7EkAv6X2Dv_tAiWsatd7DRYLH9IcvZO4YIgxjFNgi5d2aZgWH9YTMyQk_1jLNOxfl1YaWWo4t0QYaN8g-rE8emLRg2mkqAy2nU3u9hBwa7KGEoAvCtQuNydqexgkq0jAmxp8/s1600/a.jpg" style="border: none; position: relative;" width="286" /></span></a></td></tr>
<tr><td class="tr-caption"><div style="text-align: left;"><span style="font-size: medium;">
Edra förfäder hava en gång räddat Sverige från Kristian Tyrann. Gör om edert storverk: en var som röstar på, Arbetarepartiet , röstar på samhällets omstörtande och Bolsjevismens införande, RÄDDA FOSTERLANDET!;-- Men of Dalekarlia! Your forefathers once saved Sweden from Christian the Tyrant. Please repeat your magnificent work. Anybody who votes for the "Labour party" vote for the wrecking of our society and Bolshevism. Save the father Land!")<br /></span></div>
<div style="text-align: left;"><span style="font-size: medium;">
Swedish propaganda and election poster from 1928. A political propaganda poster, it was one of many in an anti-Communist campaign that was published during the election 1928 in Sweden.<br /><br /></span></div>
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<tr><td><span style="font-size: medium;"><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTOuw2tlG9Xfyuvl0NbJIMGePeA11asC1NPBNTKd1AItC8hw4vXVEnFhzgZ03NflnmbISzyd2wzwKxmLZlFEpGM9eI9bfJrsoskLSg5wn_wE_VEvqvam1Jcgv7LQ_oCgxhX66YWwM0vmA/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTOuw2tlG9Xfyuvl0NbJIMGePeA11asC1NPBNTKd1AItC8hw4vXVEnFhzgZ03NflnmbISzyd2wzwKxmLZlFEpGM9eI9bfJrsoskLSg5wn_wE_VEvqvam1Jcgv7LQ_oCgxhX66YWwM0vmA/s1600/a.jpg" style="border: none; position: relative;" width="280" /></a></span></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Anders Beckman</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdNfJzeIyu8zcbfyT1OdT8ChhoOppIljOtbGIEOTIOE7FbceIsR4NJpt2Xl1AUshYrZQBJrE_zWZUMMb7AfkzFYmR4Y7lEx9jgB7ZXrL0DImsFqzlzoSDCW0_UelJ2GG1r8332uiDhn-o/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdNfJzeIyu8zcbfyT1OdT8ChhoOppIljOtbGIEOTIOE7FbceIsR4NJpt2Xl1AUshYrZQBJrE_zWZUMMb7AfkzFYmR4Y7lEx9jgB7ZXrL0DImsFqzlzoSDCW0_UelJ2GG1r8332uiDhn-o/s1600/a.jpg" style="border: none; position: relative;" width="280" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Andra försvarslånet , The second war loan, By I. Axelsson</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmTC0Bdqo7RWhTnTU73lUUqhltrCUkEbNVjCQJLotxLPox0MxsULbcaIJwDPUEEIahBGRg-Nw8RtbKOiNdz2HxlLBfGdE0RUeRvGSEhHiLOmMvBZD0HHA19h0Q3LHxloDc2sJLqgfL6D0/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmTC0Bdqo7RWhTnTU73lUUqhltrCUkEbNVjCQJLotxLPox0MxsULbcaIJwDPUEEIahBGRg-Nw8RtbKOiNdz2HxlLBfGdE0RUeRvGSEhHiLOmMvBZD0HHA19h0Q3LHxloDc2sJLqgfL6D0/s1600/a.jpg" style="border: none; position: relative;" width="290" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">SKJUTSKICKLIGHET ökar värnkraften, Shooting skill increases defense, By Anders Beckman</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSd18q77vYIEGA4FU9vh6JZK9-YY23_6NrrYZklxALa9i0YioWbRI3QCDPqOfvVXv9K8WLQn_c2JLAZCEi_XbFq2a5WnsRfW6y1wXwcFI7OuAasR7JZd3feYPGOdNZMvB8-lUYLC-1Q0c/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSd18q77vYIEGA4FU9vh6JZK9-YY23_6NrrYZklxALa9i0YioWbRI3QCDPqOfvVXv9K8WLQn_c2JLAZCEi_XbFq2a5WnsRfW6y1wXwcFI7OuAasR7JZd3feYPGOdNZMvB8-lUYLC-1Q0c/s1600/a.jpg" style="border: none; position: relative;" width="281" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Anders Beckman</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizAZQno7Z3u69JR6I-jOxL0cf0PXDbQNptKREURArn0PfGhQFp_mBL4by0YFTAolMXBn29O0p6QDF6pHhwhGbnpy65RRr1A29YrVsW-MyoQaqRiyfQH5BhJQCRLBRs6ptnilNpDmI8t04/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizAZQno7Z3u69JR6I-jOxL0cf0PXDbQNptKREURArn0PfGhQFp_mBL4by0YFTAolMXBn29O0p6QDF6pHhwhGbnpy65RRr1A29YrVsW-MyoQaqRiyfQH5BhJQCRLBRs6ptnilNpDmI8t04/s1600/a.jpg" style="border: none; position: relative;" width="231" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Anders Beckman</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikLc-DujNu9LK5SoPZu2y4I0ERqYTk7Uvsga4ZqpY6rOZQsgYBIo5aqoz8YzsZf5to2hX1SPdKZG8thvBcYiwOSpYoKyWqn1ozZWw9Z8zdKvdB66nYffcT5J1UgZYUhsFH4_Hpin6oLDA/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikLc-DujNu9LK5SoPZu2y4I0ERqYTk7Uvsga4ZqpY6rOZQsgYBIo5aqoz8YzsZf5to2hX1SPdKZG8thvBcYiwOSpYoKyWqn1ozZWw9Z8zdKvdB66nYffcT5J1UgZYUhsFH4_Hpin6oLDA/s1600/a.jpg" style="border: none; position: relative;" width="276" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Kjemp med Hirden -- "Fight with Hirden!") Norwegian propaganda poster for the ruling nazi-party Nasjonal Samling. "Hirden" was the partys storm troopers, just as the German SA. The word hird is norse and means warrior, often in service for the king.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisDn6r6Q5Yt72iipsKSHqXqdI-k5GvxECefodVF52A3NkupVMFUda8-SDtBNQHDvdhamHc0KCdLLODYeAo8_lVIgBercX4p76iRrmobU_qGXsKvUyJ6bIbaxXSjF6yAqH9RTvKIOhqxCs/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisDn6r6Q5Yt72iipsKSHqXqdI-k5GvxECefodVF52A3NkupVMFUda8-SDtBNQHDvdhamHc0KCdLLODYeAo8_lVIgBercX4p76iRrmobU_qGXsKvUyJ6bIbaxXSjF6yAqH9RTvKIOhqxCs/s1600/a.jpg" style="border: none; position: relative;" width="290" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Norwegian SS Recruiting Poster -- "Fight for Norway".</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoW9B79xQ3DhrmEwM9g9MTtb-hVVEBPhROeSgzzE1_8399nsr7r0FPWX71Q2qVZ1hZLU8O1bfBq1XJ8KAMGtLFCydoLw31WsUjz9aHbdUOzeZxwQrRIdD4kirWyH7vzTVqAQ4WciKS-_g/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoW9B79xQ3DhrmEwM9g9MTtb-hVVEBPhROeSgzzE1_8399nsr7r0FPWX71Q2qVZ1hZLU8O1bfBq1XJ8KAMGtLFCydoLw31WsUjz9aHbdUOzeZxwQrRIdD4kirWyH7vzTVqAQ4WciKS-_g/s1600/a.jpg" style="border: none; position: relative;" width="454" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Ett folk är i fara - Du kan hjälpa - Nationalinsamlingen för Finland , A people is in danger - you can help - National collection for Finland" By Carl Herman Runnström, 1939<br /></span><div style="text-align: left;"><span style="font-size: medium;">
The character in this poster represents Georg Carl von Döbeln, an old Swedish war hero from the Finnish War 1808 - 1809. Von Döbeln had an old head injury from the battle of Porrossalmi 1789 (Gustav III's war) which he concealed with a black silk headband. The damage was caused by a Russian bullet in the forehead and several years after the incident, it was said that one could pick bone pieces from the wound. During the Second Napoleonic war von Döbeln was sentenced to death by martial law after violating the master's orders during a battle against the French. The Swedish King Karl XIV Johan, however, found the punishment highly inappropriate for such a war hero and softened it down to a year in prison on Vaxholm Citadel. His exploits became famous, in Johan Ludvig Runeberg's epic poem "Tales of Ensign Stål" where the hero poem "Döbeln of Jutas" depicts him in the Battle of Jutas.</span></div>
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<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Fourteen1" style="color: #7f8866; text-decoration: none;"></a></span><span><span><span style="color: #b45f06;">Anti Semitic Propaganda</span></span></span></span></div>
<br /><br /><span style="font-size: large;">With the coming to power of Hitler in Germany in 1933, the situation of Jews in that country began to deteriorate. As the Nazis applied their racial doctrines, the political and civil rights of German Jews were curtailed. Nazi policies met with some resistance, but more often the response of the German population was one of passivity or acquiescence. Many German Jews reacted with disbelief, but others saw the threat to their continued existence in Germany posed by Hitler and his party.<br /></span><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-size: 16px; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq1zSZRF6g_OXV5sS5Qj4NGDKluC4KSy3T9EgEklK_YPIkArKyRpGOgz3_VgXLiucrTfLwGJVyxeYeks8oQ1rzWOyIUgjNy6gszNeoaayDz8y2VoOLqz9qW_rolUhDr4WTPogGSHlphQI/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq1zSZRF6g_OXV5sS5Qj4NGDKluC4KSy3T9EgEklK_YPIkArKyRpGOgz3_VgXLiucrTfLwGJVyxeYeks8oQ1rzWOyIUgjNy6gszNeoaayDz8y2VoOLqz9qW_rolUhDr4WTPogGSHlphQI/s1600/a.jpg" style="border: none; position: relative;" width="230" /></a></td></tr>
<tr align="left"><td class="tr-caption"><br /><span style="font-size: large;">The Nazi propaganda film “The Eternal Jew”, purporting to be a documentary, was given its public premiere on 28th November 1940. It was all part of the continuing process of desensitizing the general population to the growing persecution of the Jews. The message was presented very crudely, as can be imagined from the poster. Notoriously the film juxtaposed footage of rats with scenes of Jewish life.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8N5TBZ1mUh90guvtGUwhK_wR9jbXCC0N8HiJJWG0o08u-9uH8Nz5HKs44erkx0EBgyoz-luZjQ6lX1xIpIP0wupV0Uc3aPcs9LcLR-BcSfGZuJm042D5E_SuUt4K56QZPt_Krx9-Npow/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8N5TBZ1mUh90guvtGUwhK_wR9jbXCC0N8HiJJWG0o08u-9uH8Nz5HKs44erkx0EBgyoz-luZjQ6lX1xIpIP0wupV0Uc3aPcs9LcLR-BcSfGZuJm042D5E_SuUt4K56QZPt_Krx9-Npow/s1600/a.jpg" style="border: none; position: relative;" width="227" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">"Der ewige Jude" (the eternal Jew).</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipHo05m3w7W_iV_GPwudcCNlmp5h_eMuV3wiizeOxiPdyRj59koqtb_8KvT1DfCFc1GhJf86h73I8Ye3u1vXzdR38kq5LkLXrrfL5hyphenhyphenCqc29GwfTequhI82ZZAMsqwx2eV8351eT2tSgQ/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipHo05m3w7W_iV_GPwudcCNlmp5h_eMuV3wiizeOxiPdyRj59koqtb_8KvT1DfCFc1GhJf86h73I8Ye3u1vXzdR38kq5LkLXrrfL5hyphenhyphenCqc29GwfTequhI82ZZAMsqwx2eV8351eT2tSgQ/s1600/a.jpg" style="border: none; position: relative;" width="229" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: medium;">"Hinter den Feindmächten: Der Jude" created by the artist Hamil. This antisemitic poster depicts a large Jewish man behind the flags of the United States, Russia and Great Britain. It depicts him working behind the scenes in world affairs, manipulating the superpowers. In English, it reads: "Here is behind the hostile powers: the Jew."</span></td></tr>
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<br /><span style="font-size: large;">In addition to fostering a German “master race” myth with images of beautiful and handsome Aryan-types, National Socialist propagandists also worked to create a counter-image aimed at uniting the country against a common enemy: the Jew. Ironically, before the Nazi seizure of power in 1933, one might have thought Germany the least likely European country to initiate an all-out war against the Jews. In the pre-Third Reich era, Jews had been emancipated, and the Jewish population had largely assimilated into German society, with high rates of Jewish-German intermarriage. Following Hitler’s rise to power, however, the National Socialist dictatorship began to foster and create stereotypes and unflattering images of Jews and other “degenerate” races to promote fear, distrust, and hatred of the supposed “enemies” of the Third Reich.</span> <br /><br /><div class="separator" style="clear: both; font-size: 16px; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3QAtXfy8KXL7NlNeEOu0Ka04Z7tiwz95kE_eCqhB65kRS1TBKEqXjBReBBbeJmUkAhlq7fBLYjHn_FTXiS5qD-fLuNJU98kbh5TYYE64O-2wXUvJ3vC4xTNISw4Bgro6VXzWWdw7643E/s1600/a.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3QAtXfy8KXL7NlNeEOu0Ka04Z7tiwz95kE_eCqhB65kRS1TBKEqXjBReBBbeJmUkAhlq7fBLYjHn_FTXiS5qD-fLuNJU98kbh5TYYE64O-2wXUvJ3vC4xTNISw4Bgro6VXzWWdw7643E/s320/a.jpg" style="border: none; position: relative;" /></a></div>
<br /><span style="font-size: large;">The Nazi campaign for “cleansing” the fatherland of foreign and “degenerate” cultural influences that began with the banning and burning of books and the publication of anti-Semitic propaganda, soon escalated into government-sanctioned harassment of Jews, the passage of racist legislation prohibiting intermarriage, the forced segregation of Jews into ghettos, and ultimately, deportation to so-called “work camps” during the Second World War.<br /><br /></span><div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhILVMCwziWu7_5Du-_cWEQcVN4Vm1RWYV7TbZYZncFMReSrWKU2dEt65t029Lmzrz4asWfIRC9wM_4u6BJqR4adyw0z4ETmO86rNC7r_dcXw8czQKsYLF5ZuH6-f2y07d0WrCi9Oo-yKg/s1600/a.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhILVMCwziWu7_5Du-_cWEQcVN4Vm1RWYV7TbZYZncFMReSrWKU2dEt65t029Lmzrz4asWfIRC9wM_4u6BJqR4adyw0z4ETmO86rNC7r_dcXw8czQKsYLF5ZuH6-f2y07d0WrCi9Oo-yKg/s320/a.jpg" style="border: none; position: relative;" /></a></div>
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<tr align="left"><td class="tr-caption"><span style="font-size: medium;">Nazi WWII German-produced Russian Anti-Semetic propaganda poster. Poster reads: "Jews - A People of Contagion" with a Jewish stereotype-caricature counting money on a mound of skulls. The poster is marked "Russ.ofs.d/1943-230917" .</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8L_Qkvu1OR-VQyy0qTu4KOH-H_ceKvIeZSS256LAMEdr4iD70Fchvem4odByfyQwsWDQrfnBurNjCXGkaXYGMHg9fWJM25bHZZDQXmwAc0-HJ5fzZExUFcl-23gUGzDrFYRmt71r4Z_s/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8L_Qkvu1OR-VQyy0qTu4KOH-H_ceKvIeZSS256LAMEdr4iD70Fchvem4odByfyQwsWDQrfnBurNjCXGkaXYGMHg9fWJM25bHZZDQXmwAc0-HJ5fzZExUFcl-23gUGzDrFYRmt71r4Z_s/s1600/a.jpg" style="border: none; position: relative;" width="215" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">" Which side will be heavier? Neither because the Jew is holding the scale. See the anti-masonic exhibition and then you will know for certain."<br /></span><div style="text-align: left;">
<br /><span style="font-size: large;">Nazi Germany occupied most of Yugoslavia by April 1941. Milan Nedic was the "nomial" local ruler, comparable to the collaborationist regime of Quisling in Norway. Under the Nedic regime a heavily anti-semitic Exhibition opened in occupied Belgrade on 22nd October 1941 and ended January 19, 1942. It was funded apparently by the German occupiers and supported by Nedic to intensify hatred against the Jews, although the title of the exhibit suggested the Masons (Masonic Orders had been closed in Germany).</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9cbW7MWLusZHPHksHyx3AHOXoWVGE6WLc8H4kBLUFd-3Ax09FLmE85O3Ss0t_RV_M-Qb1ck_vQQiwxLgI7p0-irYGNsUEBkKKS9LRDBLPgnFEKSBOpYyofjAllQrlTi6JX3VE9kzVWs4/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9cbW7MWLusZHPHksHyx3AHOXoWVGE6WLc8H4kBLUFd-3Ax09FLmE85O3Ss0t_RV_M-Qb1ck_vQQiwxLgI7p0-irYGNsUEBkKKS9LRDBLPgnFEKSBOpYyofjAllQrlTi6JX3VE9kzVWs4/s320/a.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">"The Scourge of Mankind", Poland, c.1943</span></td></tr>
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The genocide was not only perpetrated by evil doers, but also by those who believed in the propaganda. The complacency of the public was a key component of Hitler’s ideology. The success of Nazi propaganda depended on constant repetition of the demonization of Jews. Printed propaganda reiterated the ideology that Jews were the cause of Germany’s problems and compared them to vermin in need of extermination.<br /></span><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-size: 16px; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAJdcDL7GjwMPYTWyLbj0P-69kt1znDKw_NEVxLfPcWAiEIXeQzoi-J4C1mdcao77ngAzIKFCtVk4dHTNBnPEP2PW0ic_Cv0wa2AoBRgJNMd4GhUXtF6YeXWfZEzJrjJpajtf6FEU-ORU/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAJdcDL7GjwMPYTWyLbj0P-69kt1znDKw_NEVxLfPcWAiEIXeQzoi-J4C1mdcao77ngAzIKFCtVk4dHTNBnPEP2PW0ic_Cv0wa2AoBRgJNMd4GhUXtF6YeXWfZEzJrjJpajtf6FEU-ORU/s1600/a.jpg" style="border: none; position: relative;" width="536" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Cossacks, Now is the Time to Save Your Family and Country! Time to Toss off the Yoke which we have upon us! - 1943 .<br /></span><br /><div style="text-align: left;">
<span style="font-size: large; text-align: center;">Jewish settlements in Ukraine can be traced back to the 8th century. During the period of the Khazar kingdom, Jews lived on the banks of the River Dnieper and in the east and south of Ukraine and the Crimea. The Kingdom was considered the most influential of the medieval period because of its economic and diplomatic standing. The Khazars, an ancient nomadic Turkic people who reached the lower Volga region in the 6th century, were held in high esteem by the pope and other national leaders and played a major role in solving the region’s conflicts. At first, Khazars from royal families converted to Judaism. But other citizen from throughout the Kingdom soon followed suit, adopting Jewish religious practices including reading the Torah, observing the Sabbath, keeping kosher and switching to Hebrew as the official written system. At a time of religious intolerance, tWhen Jews settled in Ukraine, they became more prominent in the trade business, selling dye, cloth, horses, cattle and estates. Jews were also making connections with other Jewish communities in the Ottoman Empire, serving as liaisons between the two worlds. But what Jews were mostly known for — and detested for — was their role in the Polish government as collectors of customs, duties and taxes on behalf of Polish landlords, bankers and physicians.<br /><br />As Jews prospered, anti-Semitism flourished. The country’s lower classes, including the Ukrainian Cossacks, saw Jews as working for the nation’s wealthy landowners and accused Jews of robbing the wealth of poor people to better enrich them. The Cossacks wanted to free Ukraine from Polish domination — and sought to rule Ukraine. In 1648, the Cossacks, led by Bohdan Chmielicki, began a series of campaigns by instigating the uprising of the Cossacks against the Jews. Chmielicki told people that the Poles had sold them as slaves “into the hands of the accursed Jews.” Angered by this notion, the Cossacks massacred tens of thousands of Jews during 1648-1649, in a war that would later be considered among the worst of that time period.<br /><br />After the October 1917 Revolution and the civil war, more than 300,000 Jews left Ukraine for other parts of the Soviet Union. But some Jews stayed. The period from March 1917 to August 1920 constitutes a special chapter in the history of the Jews of the Ukraine. The Ukrainians established a National Council (Rada), which in January 1918 proclaimed the separation of Ukraine from Russia; this episode came to an end in August 1920, when the Red Army completed the conquest of the Ukraine. In December 1918, the Jewish ministry passed a law providing for democratic elections to the administrative bodies of the communities , a Jewish National Council was formed, and the Provisional National Council of the Jews of the Ukraine was convened in November 1918. These institutions, however, were short-lived. In July 1918, the autonomy was abolished, the Jewish ministry was dissolved and the pogroms which then took place</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDSRU9d-8vyTIbMKccHuldWdOG165Z5OM8Jio3kX9NH1hi2rGEvu6B0G80gCuHw-ygT9VsqelCi38HbP_x9J1ML_mCfgDmgVBVglfMfbK0Yk2wWO7WXQEm5Q3C0mfDaa3aZMNblRt17_I/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="431" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDSRU9d-8vyTIbMKccHuldWdOG165Z5OM8Jio3kX9NH1hi2rGEvu6B0G80gCuHw-ygT9VsqelCi38HbP_x9J1ML_mCfgDmgVBVglfMfbK0Yk2wWO7WXQEm5Q3C0mfDaa3aZMNblRt17_I/w307-h431/a.jpg" style="border: none; position: relative;" width="307" /></a></td></tr>
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An initiative to prohibit circumcision in San Francisco had collected enough signatures to put the measure to voters in November 2011. “This comic is modern anti-Semitism at its best. It is one story to fight against circumcision, and another to portray Jews in a false anti-Semitic stereotype. The Jewish depictions look like they came right out of Nazi Germany propaganda in the 1930s and 1940s,” wrote Hailey Dilman in a commentary at Digital Journal. Debra J. Saunders the columnist for the San Francisco Chornicle spoke with Matthew Hess of Foreskinman.com this morning:</span></div>
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I asked him if the comic is anti-Semitic. He answered, “A lot of people have said that, but we’re not trying to be anti-Semitic. We’re trying to be pro-human rights.”</span></blockquote>
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Here is an interview Hess did with Eli Ungar-Sargon, a documentary filmmaker based in Los Angeles, published im JE School:<br /><br /></span><blockquote><span style="font-size: large;">
EUS: Were you familiar with the history of anti-Semitic imagery associated with mohels when you created Monster Mohel? Did this inform your artistic decision-making?<br /><br />MH: I first saw some of those cartoons in middle school during lessons about World War II and I have seen other examples since then. But they didn’t influence me one way or the other when creating the art for Foreskin Man #2. While I did not wish to borrow anything from those cartoons, I also felt I would not be doing justice if I held back on portraying Monster Mohel and his goons as evil characters simply because they were Jewish.<br /><br />EUS: Is it simply coincidence that the hero has blonde hair and blue eyes while the villains have darker complexions?<br /><br />MH: Foreskin Man’s blond hair, blue eyes, and fair skin reflects my own German heritage. I see absolutely no reason to be ashamed of that. Suggestions in the media that Foreskin Man is a Nazi because of the color of his hair is pure racial stereotyping. And Monster Mohel, Yerik, and Jorah were drawn based on photographs of actual mohels.</span></blockquote>
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After the tweeting of this poster by Trump campaign, Peter Wade described it as "perhaps the most confusing and offensive graphic of the 2016 campaign." Adding "It is offensive on so many levels. It evokes negative Jewish stereotypes and misappropriates a religious symbol." Dana Schwartz, an arts and culture staffer, posted a damning open letter on The Observer website daring her boss Jared Kushner to denounce his father-in-law’s tweet. Headlined “An Open Letter to Jared Kushner, From One of Your Jewish Employees,” she wrote: “I’m asking you, not as a 'gotcha' journalist or as a liberal but as a human being: how do you allow this? (...) Because, Mr. Kushner, you are allowing this. Your father-in-law’s repeated accidental winks to the white supremacist community is perhaps a savvy political strategy if the neo-Nazis are considered a sizable voting block — I confess, I haven’t done my research on that front,”</span></div>
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<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="Fifteen" style="color: #7f8866; text-decoration: none;"></a></span><span>Soviet Russia Propaganda in WWII</span></span></div>
<br /><span style="font-size: large;">Dmitry Stakhievich Orlov, who was known by his artistic name Dmitry Moor revolutionized the art of propaganda poster in the Soviet Russia. His dramatic treatment of class warfare, with haunting contrasts of then and now, enemies versus heroic allies, imperialism against workers' struggles, to which he added a simplistic slogan: Death to World Imperialism.<br /><br /><br />Many of Moor's and Deni's posters were restricted to black and red. Red could be used to identify revolutionary elements, particularly flags, worker's shirts and peasant blouses. Black was used for the main drawing and as a solid colour for the clothes of capitalist and priest. His work dominated both the Bolshevik Era (1917–1921) and the New Economic Policy (1921–1927).<br /><br /></span><div class="separator" style="clear: both; font-size: 16px; text-align: center;">
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<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="SixteenP" style="color: #7f8866; text-decoration: none;"></a></span><span>Cold War Propaganda</span></span></div>
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<tr><td class="tr-caption"><span style="font-size: medium;">For home! For Stalin! For world! For communism!</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbHrWdt1qnkmixP8KsxG_3PmVQktQWiWtygB1il04UAk5_WjxB9mSsZF6e49zL0u5rbsC4jmt3_k7qi_4Ju94njasjU8l4bmbDscH4WlA2wneTmUWEo4GYS5vjYWqcvxR9CxJbdPmtsKP2/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbHrWdt1qnkmixP8KsxG_3PmVQktQWiWtygB1il04UAk5_WjxB9mSsZF6e49zL0u5rbsC4jmt3_k7qi_4Ju94njasjU8l4bmbDscH4WlA2wneTmUWEo4GYS5vjYWqcvxR9CxJbdPmtsKP2/s640/a1.jpg" style="border: none; position: relative;" width="422" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Young builders of communism!Forward, to new successes at work and study!</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkSxZLMoLmrI3k6UVcbEiFt8YT9VrhGYxZs37iUAOo7-xX0Nynwn5kvKwnhxBWrFfLZbIkqKFS9xJ64qDiJ6llnR2p0L6rXRiGx5oA6iJQ8w24lteW3SnPW03BfNtul5NotQHGwDHAgJjo/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkSxZLMoLmrI3k6UVcbEiFt8YT9VrhGYxZs37iUAOo7-xX0Nynwn5kvKwnhxBWrFfLZbIkqKFS9xJ64qDiJ6llnR2p0L6rXRiGx5oA6iJQ8w24lteW3SnPW03BfNtul5NotQHGwDHAgJjo/s400/a1.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Serve the People!</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbJxaWs3u9xJ97OEXZiyP5lsVajxq-MfgqsjRs6Ee8UyTCoMaZpxUbwKYFc4x-SV5uUcqaysxCJ55ZW3m7EhcxC2OQ2Im-BiUVYBHnNu8yXPJu57nO2MiND2N8BEbGb63R3frMNkIw2WGF/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbJxaWs3u9xJ97OEXZiyP5lsVajxq-MfgqsjRs6Ee8UyTCoMaZpxUbwKYFc4x-SV5uUcqaysxCJ55ZW3m7EhcxC2OQ2Im-BiUVYBHnNu8yXPJu57nO2MiND2N8BEbGb63R3frMNkIw2WGF/s640/a1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Every day more and more joyful life!</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIm4uRY97dF31RjaKu7-TG4Pek8sd4DGClJ3uS2kt4jN0TxeWvrVLXhLBBmiwkwvbii83mSoEfLSgRRyWdzihJj1xPf2yEqWDHpHP8pH60e7OBa4zokzAWL423u2f98nywdD3_zM4cVaeA/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIm4uRY97dF31RjaKu7-TG4Pek8sd4DGClJ3uS2kt4jN0TxeWvrVLXhLBBmiwkwvbii83mSoEfLSgRRyWdzihJj1xPf2yEqWDHpHP8pH60e7OBa4zokzAWL423u2f98nywdD3_zM4cVaeA/s400/a1.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">May the indestructible friendship and collaboration of the Soviet and Chinese peoples survive and strengthen!<br /></span><div style="text-align: left;">
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPCQUF8bp-zxAtOazxw82gicujYKB8gsb40aBU7FG46U71AUcnwo9OYuJW2L6GLndMccizzMZEP1XuHzGaS87aNUcC2-5JnpkVunmIJBUlEFS4IYEVcg-LwdmSBILLmbLEQt0QN9Woq67E/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="459" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPCQUF8bp-zxAtOazxw82gicujYKB8gsb40aBU7FG46U71AUcnwo9OYuJW2L6GLndMccizzMZEP1XuHzGaS87aNUcC2-5JnpkVunmIJBUlEFS4IYEVcg-LwdmSBILLmbLEQt0QN9Woq67E/s640/a1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Bring up a generation of selfless devotion to the cause of communism!</span></td></tr>
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<br /><br /><br /><blockquote><span style="font-size: large;">
“This is a struggle, above all else, for the minds of men.Propaganda is one of the most powerful weapons the Communists have in this struggle. … This propaganda can be overcome by truth—plain, simple, unvarnished—presented by newspapers,radio, newsreels, and other sources that people trust..”<span><i>President Truman, 1950 in Tuch, 1990, p. 15</i></span></span></blockquote>
<span style="font-size: large;"><br /><br />When the Cold War came into full form in the late 40s, it was only natural that both the US and the USSR would turn to propaganda war. This was a struggle for people's hearts and minds. In 1948, worried that the American public might become the victim of misinformation produced by its own government, Congress passed the Smith-Mundt Act. This Act outlaws the domestic distribution of U.S. government materials intended for foreign audiences. In 1953, the United States Information Agency (USIA), was founded. It was established as a propaganda agency but it was very careful not to use the word "propaganda" to describe any of its activities.<br /><br />In order to convince Americans that the US was justified in its new battle, the USIA produced anti-communist propaganda in mass quantities. It became very prevalent very quickly. Anti-communist propaganda could soon be found in every major medium including posters, books, pamphlets, comics, radio, films, and eventually TV.<br /></span><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="font-size: 16px; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyEzdQppNKA7smPZZr8mQAy5Eb_pLJBUR7fD6IZnkDTiyI_nI2VHs7rCjxkZkW6JkmgliMH7nJ4-_AHGhtsVFYJ08G6EAuTMTisyLNLclX8MjaTxWOXckFnaSFf4glhyphenhyphenwYobHSIHAVzSJ2/s1600/to-fly-higher.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyEzdQppNKA7smPZZr8mQAy5Eb_pLJBUR7fD6IZnkDTiyI_nI2VHs7rCjxkZkW6JkmgliMH7nJ4-_AHGhtsVFYJ08G6EAuTMTisyLNLclX8MjaTxWOXckFnaSFf4glhyphenhyphenwYobHSIHAVzSJ2/s640/to-fly-higher.jpg" style="border: none; position: relative;" width="424" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">D. Pjatkin, To Fly Higher Than All, Farther Than All, Faster Than All, 1954,<br /><br />Published one year after Stalin’s death, this poster reinforces the message that Soviet research and development of weapons and machinery is ongoing. Substantially funded by war reparations from Germany, the Soviets were able to build the MiG-9 Fargo turbo fighter in 1946 and the Yak-15 Feather attack aircraft in 1947. The red stars in the image above symbolise the pilot’s kill score.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiUS8fePjhE8cFpXcmxPzN0CWohePZgyfIa_2kfA_Ic2AJDwefyhFv-8DDE-NYdVgq45pP-fxLc4BFYpeCxqAdiRw3ZZDVgJBGfPyb63yXWlc2Q8QtoDxIjOnzBFZcVbQpi2iGMCFS7wwp/s1600/fat.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiUS8fePjhE8cFpXcmxPzN0CWohePZgyfIa_2kfA_Ic2AJDwefyhFv-8DDE-NYdVgq45pP-fxLc4BFYpeCxqAdiRw3ZZDVgJBGfPyb63yXWlc2Q8QtoDxIjOnzBFZcVbQpi2iGMCFS7wwp/s640/fat.jpg" style="border: none; position: relative;" width="457" /></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">"Glory to the Soviet warrior!", by Viktor Ivanov, 1947,</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipMadeKHdRhhcZKH3eYU1JWbfBOsQvLDcutlbOIp28vKuebcYEh_3-Mr1e2Nv52mAaWP3j8o5zrQcOYAEA3eKvlnWfZ-cDjjZn8cEfwkyxOUCcZuFB-lzfF8XrJm6rEnZ_wPQpgEcYIIUN/s1600/fat.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipMadeKHdRhhcZKH3eYU1JWbfBOsQvLDcutlbOIp28vKuebcYEh_3-Mr1e2Nv52mAaWP3j8o5zrQcOYAEA3eKvlnWfZ-cDjjZn8cEfwkyxOUCcZuFB-lzfF8XrJm6rEnZ_wPQpgEcYIIUN/s640/fat.jpg" style="border: none; position: relative;" width="438" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">"We are safeguarding the peace and happiness of our beloved Motherland!", by V. Koretsky, 1947,</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_2hOsUCALU2fYyiB3CirwQYq1f7vRiROaN3PhZFV6JlciCxjLggoU9R2b3ITIfKD3VMAXO4M7BDrjWUEKrDvzF5nP5eq-Q_c8s7WK7zykpLipj8IofEwaqP2hs0_1SwQ793JNX6E2R7Jn/s1600/fat.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_2hOsUCALU2fYyiB3CirwQYq1f7vRiROaN3PhZFV6JlciCxjLggoU9R2b3ITIfKD3VMAXO4M7BDrjWUEKrDvzF5nP5eq-Q_c8s7WK7zykpLipj8IofEwaqP2hs0_1SwQ793JNX6E2R7Jn/s400/fat.jpg" style="border: none; position: relative;" width="286" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">"Become a member of DOSFLOT! (the Society for Voluntary Support of the Soviet Navy)", by B.D. Velensky, 1948,</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJerG5dIu2cCkll5x3_qZ5nMAD7MldiV5qqzYPgaRY0rW3uSiXCsPb0vj8hDH_FvDL4jGD5W8NQ-lForC7T2blBfFVxZA_BYSj7Rwp6Xw_A9fPXKXcZApBHfBo-4sh4Nr0mVMp3MID3ico/s1600/fat.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJerG5dIu2cCkll5x3_qZ5nMAD7MldiV5qqzYPgaRY0rW3uSiXCsPb0vj8hDH_FvDL4jGD5W8NQ-lForC7T2blBfFVxZA_BYSj7Rwp6Xw_A9fPXKXcZApBHfBo-4sh4Nr0mVMp3MID3ico/s400/fat.jpg" style="border: none; position: relative;" width="278" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">"Stalin raised us to be faithful to the Soviet people!", by P. Golub, 1948</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha31ONYjdZfd6e-eXHWQltpqUxkscFZTGWI4CTW0dJ90ezlaxz3g_hYNyqc2ApvGManA0cd3NIzaY0X5EgYnXBR-R3JeU9U7_7t4bcwXV67p91uNs6vFSPXi6mXxsqsaY1eFHI_tJzqGo7/s1600/fat.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha31ONYjdZfd6e-eXHWQltpqUxkscFZTGWI4CTW0dJ90ezlaxz3g_hYNyqc2ApvGManA0cd3NIzaY0X5EgYnXBR-R3JeU9U7_7t4bcwXV67p91uNs6vFSPXi6mXxsqsaY1eFHI_tJzqGo7/s640/fat.jpg" style="border: none; position: relative;" width="430" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">"The masterminds of a new war ought to remember the shameful fiasco of their predecessors!", by N. Bulganin, B. Efimov, and N. Dolgorukov, 1948</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3cI3XXHDpz4JEp79Rc2RJzNCrAaUKIKaT7FlNJRbgESC3h4Zk4RyyGvPEcBb7p17ItDtB4hiWtt8cLc3-7jh6E6gGmL9Nzb-D4wD8ETycqq3DO7lVn0u13D0ThkdPsokDvM0pQzXLgHfS/s1600/fat.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3cI3XXHDpz4JEp79Rc2RJzNCrAaUKIKaT7FlNJRbgESC3h4Zk4RyyGvPEcBb7p17ItDtB4hiWtt8cLc3-7jh6E6gGmL9Nzb-D4wD8ETycqq3DO7lVn0u13D0ThkdPsokDvM0pQzXLgHfS/s640/fat.jpg" style="border: none; position: relative;" width="467" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">"Glory to Stalin's eagles!", by E.S. Malotetkov, 1948</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieI5WQ8G7Bo4Gf4YmapcuXiewoBvB0D1qYJbp13VhFjJMK4jMVPim4cLb90zvff-1L48SfQIx_NJwCOX4Dp0MUCp9gj5Cm5WnjH5bVjZnwxKyAGVLnk1JadMb0GBQXJIl3puGU8s7O5Pbk/s1600/fat.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieI5WQ8G7Bo4Gf4YmapcuXiewoBvB0D1qYJbp13VhFjJMK4jMVPim4cLb90zvff-1L48SfQIx_NJwCOX4Dp0MUCp9gj5Cm5WnjH5bVjZnwxKyAGVLnk1JadMb0GBQXJIl3puGU8s7O5Pbk/s640/fat.jpg" style="border: none; position: relative;" width="454" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">"Glory to the Soviet People!", by Viktor Ivanov, 1947</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU5dNXE4vBd7wbjogQTO8MJls7_I5PZYwKmUzSt_djhSLPmYjtuFUaH7BVYzGqBAlg_oy62EdBV6f4NQioDC-QynLbYROJTBjZsJZjuz3Za9d46cM8JE1eDCYdbpKogd5d66YzGdRcyewK/s1600/people-and-party.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU5dNXE4vBd7wbjogQTO8MJls7_I5PZYwKmUzSt_djhSLPmYjtuFUaH7BVYzGqBAlg_oy62EdBV6f4NQioDC-QynLbYROJTBjZsJZjuz3Za9d46cM8JE1eDCYdbpKogd5d66YzGdRcyewK/s640/people-and-party.jpg" style="border: none; position: relative;" width="374" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">M. V. Luk'janov and V.S. Karakashev,People and the Party Are Undivided, 1978,<br /><br />In this poster, banners carried by marching Soviet citizens create a somewhat subtle image of Lenin’s face. The caption reads “People and the party are undivided.” This famous Soviet slogan first appeared in Pravda, the leading newspaper of the Soviet</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjS0S0UMw96AVgdnIJ_Ar1fyFgpQS8WkF89b1ZzWwKgEZFC6L3khfNU11_KvThzuwJ0dn5C5WISN6w416-4HJJCVWeIJPvcZJsS0cgaZadvPemmw_dX4aLbVBJy-XSquLXp6s2ctsrNaUf/s1600/mighty-sports-power.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjS0S0UMw96AVgdnIJ_Ar1fyFgpQS8WkF89b1ZzWwKgEZFC6L3khfNU11_KvThzuwJ0dn5C5WISN6w416-4HJJCVWeIJPvcZJsS0cgaZadvPemmw_dX4aLbVBJy-XSquLXp6s2ctsrNaUf/s640/mighty-sports-power.jpg" style="border: none; position: relative;" width="449" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">B. Reshetnikov, A Mighty Sports Power, 1962<br /><br />By 1962, sporting events such as the Olympic Games had become hotly contested between the Soviet Union and the USA. Each was desperate to win in order to demonstrate their power and dominance over the other. In the 1956 and 1960 Olympic Games, the Soviet Union was victorious. The character in this poster has been painted to resemble an Olympic torch, with gold medals in the background.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrHPARnZaQdlwJsfL-9axeo8UQBf03KDgHX1_xFUKKVmjmpJLElXXV74Bykx7b4PdXm-NmPUFCr3gprbFRVdsn5btNRW8LO03AbpxAQQYfCHrZABZXmy985awZWDNzPSxxhMkONrFcv6KT/s1600/lenin.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrHPARnZaQdlwJsfL-9axeo8UQBf03KDgHX1_xFUKKVmjmpJLElXXV74Bykx7b4PdXm-NmPUFCr3gprbFRVdsn5btNRW8LO03AbpxAQQYfCHrZABZXmy985awZWDNzPSxxhMkONrFcv6KT/s1600/lenin.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">V. Briskin, Lenin, 1970,<br /><br />The Soviet Union was keen to promote a positive image of itself throughout the early 1970s against a backdrop of the Vietnam War and a highly volatile relationship with the USA. Posters such as this helped to keep Lenin’s political ideologies alive. With no slogans or foreign words whatsoever, this poster was clearly designed for a European and American audience.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGob1KIswHOntyTxRrSYQIre-0GFYUZtz-yjkVGxodfJh8d3-mpahlORGWm-wj588Tv7PVO6wA9La1lAPJlLEzkaSPfecU_FYryddRR3gg-OluN24j_koViy8IQYOObb8u6CxGE6g46Pb5/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGob1KIswHOntyTxRrSYQIre-0GFYUZtz-yjkVGxodfJh8d3-mpahlORGWm-wj588Tv7PVO6wA9La1lAPJlLEzkaSPfecU_FYryddRR3gg-OluN24j_koViy8IQYOObb8u6CxGE6g46Pb5/s640/a.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">“We are with you, Vietnam!”</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiEy2W7vO_D8TVhIpNJbH6Al8KPoa3-Gq5WqmLrNynkl2lA1Vnm4plSwt0uLjc5cg4oOFO6o6hxBsCsJXH9Fd1ZQcv9temPfcA8bfiOCCot9bS_DmO_4Z73al_wYVC5qjgkXHuTCGg9k4H/s1600/jo-jo-the-dove.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiEy2W7vO_D8TVhIpNJbH6Al8KPoa3-Gq5WqmLrNynkl2lA1Vnm4plSwt0uLjc5cg4oOFO6o6hxBsCsJXH9Fd1ZQcv9temPfcA8bfiOCCot9bS_DmO_4Z73al_wYVC5qjgkXHuTCGg9k4H/s640/jo-jo-the-dove.jpg" style="border: none; position: relative;" width="460" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Unknown, Jo-Jo The Dove, 1951.<br /><br />French anti-communist group, Paix et Liberté, created this poster, which openly mocks Stalin’s advocacy of peaceful values. Stalin is depicted as a peace protestor with sinister motives, holding a “Peace” sign in one hand and a bommy-knocker in the other.</span></td></tr>
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<span style="font-size: medium;"><br /><br /></span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA5IcFu5zbGU-eislda-gQ7zhI1YYQoxq3dCbH58xTv45w8oPvMHSiYUgxLe7P9i1-R17noWZ18cgBp4KGTAuZSL3J_keGnzoIJkKSX4Y6c53ntSLXm6Lzma2kpM50QODRlDrO7I8AlRI/s1600/b.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="571" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA5IcFu5zbGU-eislda-gQ7zhI1YYQoxq3dCbH58xTv45w8oPvMHSiYUgxLe7P9i1-R17noWZ18cgBp4KGTAuZSL3J_keGnzoIJkKSX4Y6c53ntSLXm6Lzma2kpM50QODRlDrO7I8AlRI/w432-h571/b.jpg" style="border: none; position: relative;" width="432" /></span></a></div><span style="font-size: large;"><div class="post-body entry-content" style="color: #1f1c1c; font-family: Calibri; line-height: 1.4; position: relative; width: 770px;"><span style="font-size: large;"><br /></span></div>
Caucasian Dance: Stalin, having stuck the knife in Hungary, Romania and China, turns to France, surrounded by the French communists Duclos and Thorez, anti-communist poster by the 'Paix et Liberte' movement, 1951</span><br /><br /><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDYh9gJ5lngVxVqKYn4FhuGE2KQlVxluB1judmlW9dtLMr8RoQp8LOIc6KKnM9itJO5UQ_BngLqmSJUFzD1-ZASPXxJa3mFmbC0JPgKTTA0xId6bQGBR3Qbj7Llm80NF6rM5V2X1JCQzQ/s1600/b.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDYh9gJ5lngVxVqKYn4FhuGE2KQlVxluB1judmlW9dtLMr8RoQp8LOIc6KKnM9itJO5UQ_BngLqmSJUFzD1-ZASPXxJa3mFmbC0JPgKTTA0xId6bQGBR3Qbj7Llm80NF6rM5V2X1JCQzQ/s640/b.jpg" style="border: none; position: relative;" /></span></a></div><span style="font-size: medium;"><div style="text-align: center;">A French book titled This is What the Bolshevist will Bring to Europe, published in 1934 or 1935</div><br /></span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlbMmwDIv-fKh2dBJGCv1vLzhQf-EOqPyek9R6kMr7UN39JxVP-ktY56Mli6tAqMRrbx91W6Bq10cKwAiqd63UB4GDSvtk0Cd2M6dB1SJeuYunH-Q3NhyphenhyphenSMbFQMfh1_qgDLxtAb01IMxY/s1600/b.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlbMmwDIv-fKh2dBJGCv1vLzhQf-EOqPyek9R6kMr7UN39JxVP-ktY56Mli6tAqMRrbx91W6Bq10cKwAiqd63UB4GDSvtk0Cd2M6dB1SJeuYunH-Q3NhyphenhyphenSMbFQMfh1_qgDLxtAb01IMxY/s640/b.jpg" style="border: none; position: relative;" /></span></a></div>
<span style="font-size: medium;"><br /><br /></span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Srkci4YzIYGvkMqAH6q53mADGB0Uh3QbHC1dqjTm6EUROJgLAD8ELllCD9G72E8zc6EP2aW4BkzJZ3VxD_XzuhnvfyKnNOoIhOMd-fvD-wGGRmXiG5JhRWVnxDWqvgWbkVN-gf9qcuA/s1600/b.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Srkci4YzIYGvkMqAH6q53mADGB0Uh3QbHC1dqjTm6EUROJgLAD8ELllCD9G72E8zc6EP2aW4BkzJZ3VxD_XzuhnvfyKnNOoIhOMd-fvD-wGGRmXiG5JhRWVnxDWqvgWbkVN-gf9qcuA/s640/b.jpg" style="border: none; position: relative;" /></span></a></div><span style="font-size: medium;"><div style="text-align: center;">Bolshevism brings war, unemployment and famine, a German poster from 1918</div><br /><br /></span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWx5jBR799O7ODnJqkGZ7m0I3qfdc__EPDhu5ChiM80nCyewC0z9wI53N7qW4zT-1_VylTbR0zQa8l-aPGlE5ukc0Qj71cWMxIvAK0WQKOmjLXICFv_eMxwvXVUP6nraa2q0XrYofOP-o/s1600/b.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWx5jBR799O7ODnJqkGZ7m0I3qfdc__EPDhu5ChiM80nCyewC0z9wI53N7qW4zT-1_VylTbR0zQa8l-aPGlE5ukc0Qj71cWMxIvAK0WQKOmjLXICFv_eMxwvXVUP6nraa2q0XrYofOP-o/s640/b.jpg" style="border: none; position: relative;" /></span></a></div><span style="font-size: medium;"><div style="text-align: center;">Germany's ideal future under the leadership of the Bolsheviks, 1919</div><br /><br /></span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJHX2q6oP6IajkKEUI_SxBFy0bw11nQGHBxqu9sV7BzxJgatsOAfRtxxhfCQ-x8-re7zA_-Hp7JQmsoOwyCnf9684Sm_XFpremYToKxmPH5aRaC1AahaJJKdraze3BbNjYqtQCdJPOyXs/s1600/b.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJHX2q6oP6IajkKEUI_SxBFy0bw11nQGHBxqu9sV7BzxJgatsOAfRtxxhfCQ-x8-re7zA_-Hp7JQmsoOwyCnf9684Sm_XFpremYToKxmPH5aRaC1AahaJJKdraze3BbNjYqtQCdJPOyXs/s640/b.jpg" style="border: none; position: relative;" /></span></a></div><span style="font-size: medium;"><div style="text-align: center;">Civilization or barbarism – Don't you still understand?, a Dutch poster from the 1940s</div><br /><br /></span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA4291GVR34g6fx3qlc1ZhLKU0Zo5hyphenhyphenMeHtxjgQjpEzhiMvCqgjnP1JkUTvE0_XDPOnAzO1MiNhnEm1WNYoN_O7HXMwDoaWwr8uQbDds8ILOpjPyJ1K_9HCdnZ3hoqQpKVlzrFO-ufJbo/s1600/b.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA4291GVR34g6fx3qlc1ZhLKU0Zo5hyphenhyphenMeHtxjgQjpEzhiMvCqgjnP1JkUTvE0_XDPOnAzO1MiNhnEm1WNYoN_O7HXMwDoaWwr8uQbDds8ILOpjPyJ1K_9HCdnZ3hoqQpKVlzrFO-ufJbo/s640/b.jpg" style="border: none; position: relative;" /></span></a></div><span style="font-size: medium;"><div style="text-align: center;">Do you want to live in the shadow of him?, A Norwegian anti-communist poster</div><br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifNAwb6SD_O5UXVnzSFJoeZKy09E2CGTNe1bkx42lDWf5zETjGZhyphenhyphenTgGX5oYtnmwKNfrNA03amV4DhWd5tBpCK8veGxhtVB_JXBYjSs7kTZQXrj_qP4RyxRhhubtPOCvx4Uhwm4TbmtbHX/s1600/viewer.jpeg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifNAwb6SD_O5UXVnzSFJoeZKy09E2CGTNe1bkx42lDWf5zETjGZhyphenhyphenTgGX5oYtnmwKNfrNA03amV4DhWd5tBpCK8veGxhtVB_JXBYjSs7kTZQXrj_qP4RyxRhhubtPOCvx4Uhwm4TbmtbHX/s640/viewer.jpeg" style="border: none; position: relative;" width="476" /></span></a></div>
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<span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9BenGzX3RAH6UO4jrD56hAO_braMj-lgbIOzstY9uVxPtgBRe0EiIYSSICIAaAPww5h_wFHHL8R63y0sIrPrZRWuY7NZ9DmyZJ9DYqK6m3UeneJFG7oMXjcBXvJbs3YyXfj44U5ExxvKr/s1600/blosheviks.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9BenGzX3RAH6UO4jrD56hAO_braMj-lgbIOzstY9uVxPtgBRe0EiIYSSICIAaAPww5h_wFHHL8R63y0sIrPrZRWuY7NZ9DmyZJ9DYqK6m3UeneJFG7oMXjcBXvJbs3YyXfj44U5ExxvKr/s640/blosheviks.jpg" style="border: none; position: relative;" width="436" /></a><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGMx2l0_xD3j0BZfAgVoCrU_l6bOgFGXuQ2l1nc2sZaA83X-j1BDdwKf9SM4wTToS4mqJviHoH72z3Idi-pQXKGJiJdAh7wcjrZY-QEapgqEXtMLW5Dr8c05C4GmcRNZLTD7eKvxQpFZqR/s286/aa2.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGMx2l0_xD3j0BZfAgVoCrU_l6bOgFGXuQ2l1nc2sZaA83X-j1BDdwKf9SM4wTToS4mqJviHoH72z3Idi-pQXKGJiJdAh7wcjrZY-QEapgqEXtMLW5Dr8c05C4GmcRNZLTD7eKvxQpFZqR/s640/aa2.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Gennady Andreyevich Zyuganov (Генна́дий Андре́евич Зюга́нов) , First Secretary of the Communist Party of the Russian Federation (since 1993), and Chairman of the Union of Communist Parties - Communist Party of the Soviet Union (UCP-CPSU) (since 2001) reading Pravda -- like Lenin.<br /></span><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;">
Zyuganov quickly emerged as post-communist Russia's leading opposition leader. He argued that the collapse of the Soviet Union led to a decline in living standards, that economic power was left concentrated in the hands of a tiny share of the population, that violent crime increased, and that the Soviet collapse allowed ethnic groups throughout Russia to embark on campaigns, sometimes violent, to win autonomy.</span></div>
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<br /><span style="color: red; font-size: large;"><br /></span><span style="color: red; font-size: x-large;">Soviet Space Program</span><br /></div><div class="post-body entry-content" style="color: #1f1c1c; font-family: Calibri; line-height: 1.4; position: relative; width: 770px;"><span style="font-size: medium;"><span style="color: red;"><br /></span></span></div><div class="post-body entry-content" style="color: #1f1c1c; font-family: Calibri; line-height: 1.4; position: relative; width: 770px;"><span style="font-size: medium;"><span style="color: red;"><br /></span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPpbJo6-DxzWqPo7C91hyphenhyphenlwjBOYh3pOjqsumYohyphenhyphen471Fb2rK4rgfj4qIk6SEkqS4726KC89ptulmHZhUQu-jCSL2NnHG3Jm7UDmRXcm3A2rsV8AJ4qtyBSG2fGUChZy3l4hoExwY2NkmoL/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPpbJo6-DxzWqPo7C91hyphenhyphenlwjBOYh3pOjqsumYohyphenhyphen471Fb2rK4rgfj4qIk6SEkqS4726KC89ptulmHZhUQu-jCSL2NnHG3Jm7UDmRXcm3A2rsV8AJ4qtyBSG2fGUChZy3l4hoExwY2NkmoL/s640/a1.jpg" style="border: none; position: relative;" width="317" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Through the worlds and ages</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg8v35VenIhVOmzG4qzyrXsrhrLNSunOKBwuD8Ti44G4vAvPXoqcFXehWUaCzTc3m2Uu4T0vpwLg94HtJ0VO_bN3zufVBIpikJADgNMIX9D-i4tf15dlg5OPwwNAKsTGNx-U2RytyfA-yY/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg8v35VenIhVOmzG4qzyrXsrhrLNSunOKBwuD8Ti44G4vAvPXoqcFXehWUaCzTc3m2Uu4T0vpwLg94HtJ0VO_bN3zufVBIpikJADgNMIX9D-i4tf15dlg5OPwwNAKsTGNx-U2RytyfA-yY/s640/a1.jpg" style="border: none; position: relative;" width="428" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="color: #333333; font-family: Helvetica; font-size: medium; line-height: 21px; text-align: start;">With Lenin’s name!</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWxLVBEvrnGjhyphenhyphenvjN2sciZvXnxDpt0L14CW8q8c5Eq7fKTL49gAfPOhHUjv1GZOr63bMueYlltLu7XKR7wsrmzYlEIqK2AdRHnw5RLqeiHbeS7sQxJ5EozU4oYxCP_6RXaQbD0JT4VQzAF/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWxLVBEvrnGjhyphenhyphenvjN2sciZvXnxDpt0L14CW8q8c5Eq7fKTL49gAfPOhHUjv1GZOr63bMueYlltLu7XKR7wsrmzYlEIqK2AdRHnw5RLqeiHbeS7sQxJ5EozU4oYxCP_6RXaQbD0JT4VQzAF/s640/a1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="color: #333333; font-family: Helvetica; font-size: medium; line-height: 21px; text-align: start;">Our triumph in space is the hymn to Soviet country!</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil6_3PFBownbgP6ginfP4Yyd0SGxRKr02NiLZ7IJ8T5NIUJBySQbTH_dtje61VXHMB81Ef1NxHv6zoIPwHSSFqEsuYopvHonmooq0m9NLgzglKALhRaauEGDQmEzCCux98_CMrLLO0YCq4/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil6_3PFBownbgP6ginfP4Yyd0SGxRKr02NiLZ7IJ8T5NIUJBySQbTH_dtje61VXHMB81Ef1NxHv6zoIPwHSSFqEsuYopvHonmooq0m9NLgzglKALhRaauEGDQmEzCCux98_CMrLLO0YCq4/s1600/a1.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="color: #333333; font-family: Helvetica; font-size: medium; line-height: 21px; text-align: start;">Glory to the conquerors of the universe!</span></td></tr>
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<span style="color: red; font-size: medium;"><br /></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq95zTBeQulu3BpzUTiivMzRHX9rgyrZEGFShgyPRqgEAC4mq2ZrjnnEWKHvxR4qag8Pm6BAjuzKg1JdzzQeu7vwkEEckKgfP3hVbFh7wLBa3_MpaOeS2aVcH2EwhYdH9ho20Pfmoisz1f/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq95zTBeQulu3BpzUTiivMzRHX9rgyrZEGFShgyPRqgEAC4mq2ZrjnnEWKHvxR4qag8Pm6BAjuzKg1JdzzQeu7vwkEEckKgfP3hVbFh7wLBa3_MpaOeS2aVcH2EwhYdH9ho20Pfmoisz1f/s1600/a1.jpg" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Glory to the workers of Soviet science and technology!</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmUiMr3XyhcBH3hSPNRuYA-yC5gB5sBu8agb-Zi0KiWOI0p7p0ughQjk3zbB1MQVERqQA5I3Ik5QhKyUymkExXEXWmMPh1UwzzK4Vn7jErHcZ7zf_A9SPKtnXB9iW1E21IdBZNaW9n_8aF/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmUiMr3XyhcBH3hSPNRuYA-yC5gB5sBu8agb-Zi0KiWOI0p7p0ughQjk3zbB1MQVERqQA5I3Ik5QhKyUymkExXEXWmMPh1UwzzK4Vn7jErHcZ7zf_A9SPKtnXB9iW1E21IdBZNaW9n_8aF/s640/a1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Glory to the Fatherland of Heroes!</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigcTC7UgcZq4R4ncbXjbhq2AFD6Beua1ZKyiEjF7Iyen_17BcGQWKN3Dog5ewhe0H8e35lOq95okXiLpLO2d1I8szdA8e0MUffA_xRgrvJQuRHMdT6E8dxukCqiZBmGTJCePwor7-WpcqU/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigcTC7UgcZq4R4ncbXjbhq2AFD6Beua1ZKyiEjF7Iyen_17BcGQWKN3Dog5ewhe0H8e35lOq95okXiLpLO2d1I8szdA8e0MUffA_xRgrvJQuRHMdT6E8dxukCqiZBmGTJCePwor7-WpcqU/s640/a1.jpg" style="border: none; position: relative;" width="402" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="color: #333333; font-family: Helvetica; font-size: medium; line-height: 21px; text-align: start;">Soviet means excellent!</span></td></tr>
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<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="France" style="color: #7f8866; text-decoration: none;"></a></span><span>Général de Gaulle and the French Fourth Republic:</span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHcBziSVSvEWZGMek4osHnJqaRQJ2fi4kNE7jCyLZvB-levTOOOa7JjCRxuzBxNv7gLfXti5X4LCJ4Ke3FYly9do5AjnzdmmQ3FXwejDw9H_fd590pm7xga5-Bx6Kr2uSe7vn_hW2dmt_g/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHcBziSVSvEWZGMek4osHnJqaRQJ2fi4kNE7jCyLZvB-levTOOOa7JjCRxuzBxNv7gLfXti5X4LCJ4Ke3FYly9do5AjnzdmmQ3FXwejDw9H_fd590pm7xga5-Bx6Kr2uSe7vn_hW2dmt_g/s640/a1.jpg" style="border: none; position: relative;" width="411" /></span></a></td></tr>
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<br /><span style="font-size: large;">Général de Gaulle, was a French general and politician. He was the leader of the Free French Forces in World War II and head of the provisional government in 1944-46. By the end of 1950s, the French Fourth Republic was tainted by political instability, its failures in Indochina and its inability to resolve the Algerian question. On May 13, 1958, the French settlers seized the government buildings in Algiers, attacking what they saw as French government weakness in the face of demands among the Arab majority for Algerian independence. A "Committee of Civil and Army Public Security" was created under the presidency of General Jacques Massu, a Gaullist sympathiser. General Raoul Salan, Commander-in-Chief in Algeria, announced on radio that the Army had "provisionally taken over responsibility for the destiny of French Algeria". On May 17, De Gaulle announced that he was ready to "assume the powers of the Republic" (assumer les pouvoirs de la République).<br /><br />The crisis deepened as French paratroops from Algeria seized Corsica and a landing near Paris was discussed. Political leaders on all sides agreed to support the General's return to power, except François Mitterrand, and the Communist Party (which denounced de Gaulle as the agent of a fascist coup). De Gaulle remained intent on replacing the constitution of the Fourth Republic, which he blamed for France's political weakness. He set as a condition for his return that he be given wide emergency powers for 6 months and that a new constitution be proposed to the French people. On June 1, 1958 he became premier and was given emergency powers for six months by the National Assembly.On September 28, 1958, a referendum took place and 79.2% of those who voted supported the new constitution and the creation of the Fifth Republic.</span></div>
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<span style="color: #1f1c1c; font-family: Calibri; font-size: medium;"><br />French Referendum Poster of the 28th September 1958, on the new constitution proposed by General Charles de Gaulle, September 1958<br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6alnEgVHqjDzHDczxauuyUP3OfUyIbZwzyaKjmAAgcAKv0xf1RI5eFTFKbzphOD9lUl7JhJM4uNc5Pue2vpSlJ5G9cPLtcKvZagyGcunN5UnpFnzYH47ra4Lg7p1qi3iPJnpGz4LJGGkR/s1600/a1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6alnEgVHqjDzHDczxauuyUP3OfUyIbZwzyaKjmAAgcAKv0xf1RI5eFTFKbzphOD9lUl7JhJM4uNc5Pue2vpSlJ5G9cPLtcKvZagyGcunN5UnpFnzYH47ra4Lg7p1qi3iPJnpGz4LJGGkR/s400/a1.jpg" style="border: none; position: relative;" width="455" /></span></a></div>
<br /><div style="color: #1f1c1c; font-family: Calibri; text-align: left;"><span style="font-size: large;">Poster for the YES vote in the referendum of 1958, created by Lefor and Openo. General de Gaulle often commissioned Lefor and Openo for his campaign posters. Lefor and Openo was a composite name, derived from the names of Marie-Claire Lefort and Marie-Francine Oppeneau, two celebrated designers of commercial and political advertising during the 1955-67 era. The poster depicts Marianne as a round-faced young woman, with big hopeful eyes and captivating smile, looking confidently into the future, which seems to have been inspired by Brigitte Bardot's image. Marie-Claire Lefort and Marie-Francine Oppeneau appears to used the same idea in their poster created for Bardot's film "Babette goes to war".</span></div><div style="font-size: large; text-align: left;"><span style="color: #1f1c1c; font-family: Calibri;"><br /></span></div><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri;">
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<br /><span style="color: #1f1c1c; font-family: Calibri; font-size: medium;">Poster for the No vote in the referendum of 1958, commissioned by the French Communist Party.</span><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style="color: #1f1c1c; font-family: Calibri; font-size: x-large;"><br /></span><div style="color: red; font-family: Calibri; text-align: left;">
<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://guity-novin.blogspot.com/2010/05/chapter-29-propaganda-posters.html" name="EU" style="color: #7f8866; text-decoration: none;"></a></span><span>EU Propaganda</span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu2FT1DFlZ1uPB_OnYxCxOwpHm778MddGpuB8mtnE-waRiUKgS7hcykEHcal_f-o9foI9wcusrRrOxchn7tdblwHwtvIjLLH4GRHjkMWzyen-9q9zu3555O6HumxnQym0iqnDh4SejA7R7/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu2FT1DFlZ1uPB_OnYxCxOwpHm778MddGpuB8mtnE-waRiUKgS7hcykEHcal_f-o9foI9wcusrRrOxchn7tdblwHwtvIjLLH4GRHjkMWzyen-9q9zu3555O6HumxnQym0iqnDh4SejA7R7/s400/a1.jpg" style="border: none; position: relative;" width="287" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Poster of the campaign for European Defense Community(EDC).<br /><br /></span><div style="text-align: left;"><span style="font-size: large;">
The EDC, was a French project devised by Paris to prevent the entry of Germany into NATO. According to Victor Gavin in his paper "What Kind of Europe within the Atlantic Community? Britain and the European Defense Community 1950-54," Germany posed the main problem for British, French and Americans. The British did not want Germany to enjoy full freedom of action, and felt that one of the few merits of the EDC was that it would exercise control over Bonn’s security policy. The prospect of a rearmed Germany was not very popular,though the British Joint Chiefs of Staff had come to the same conclusion as the US about the impossibility of defending Europe without German participation. The British Government was ready to accept the proposal of Chancellor Adenauer to create a federal police force, but no more than that.</span><div>
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The position of French is best articulated by a French embassy staff in London, Monsieur Lebel, who stated bluntly that “the French were still scared to death at the thought of a revived German army.” The US did recognize that, politically and economically, Europe was very poorly organized, and all of her problems could be attributed to its division into a mosaic of nation-states, each one seeking constantly to safeguard its own particular interests to the detriment of the most elementary criteria of rationality and efficiency. For Washington it was necessary to find a formula that combined efficiency with containment on two fronts, on both Soviet expansionism and of the new West Germany. Germany was to be progressively released from the punitive policies of the immediate post-war period, and its integration into the new Europe would allow both mechanisms to control its progress and the benefits from its economic recovery to be shared by all. Indeed, the US made their support for the political and economic recovery of Europe contingent on a relaxation of state borders and the overcoming of the narrowness of the nation-state mind-set, a change that the US regarded as vital not only for overcoming ancient hatreds but also for the efficient management of European resources in the Cold War.</span></div>
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In the words of the British scholar Timothy Garton Ash, there was a need to find a formula to replace the control derived from a policy of punishment with a set of ‘golden handcuffs’. Nevertheless, London saw itself as a power with world responsibilities derived, essentially, from its colonial empire, and thus it could not focus exclusively on questions concerning Europe. At the NATO Council meeting in Paris on 14 December 1953 John Foster Dulles, US Secretary of State,threatened an “agonizing reappraisal” of US policy if the EDC was not ratified,a declaration that led the Foreign Office to understand the scale of the US commitment to the EDC as part of its overall strategy for European defense. It was a particularly difficult moment for London. Everything seemed to indicate that if the EDC was not ratified, the United States would reassess its commitment to the defense of Europe. The pressure on France was ineffective because Paris, unlike London,correctly saw the US threats as a bluff; the French thought it inconceivable that at the height of the Cold War Washington was ready to yield, even temporarily, all the resources of Western Europe to the Soviet Union should Moscow attack. If France stayed firm, how long could Britain hold out?</span></div>
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At the end, the EDC treaty was not ratified by the National Assembly in Paris on 30 August 1954. Instead, during September-October of the same year the British led the way to transform the Treaty of Brussels organization into the Western European Union in 1955. West Germany accepted the limitations of putting all her troops under the authority of the NATO supreme commander and of not developing, possessing or storing atomic, chemical or bacteriological armaments.</span></div>
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<span style="color: #1f1c1c; font-family: Calibri; font-size: medium;"><br />The winner of the poster competition, Maria Mileńko from Poznań, Poland<br /><br /><br /><br /><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2OcF9BuqMZy_4d3vkiEuvZGAQ1akVCDxFl6gDCgtAwo_dV6qgD6giUthKSK82KMIc0YDhydZbvxmFbh_ehUcVCykBd-aTyFLmU1QcR1QGdY-9JOMPAitqr8XCZ4Ec5y6BG-yjyyBkQ65H/s1600/a1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2OcF9BuqMZy_4d3vkiEuvZGAQ1akVCDxFl6gDCgtAwo_dV6qgD6giUthKSK82KMIc0YDhydZbvxmFbh_ehUcVCykBd-aTyFLmU1QcR1QGdY-9JOMPAitqr8XCZ4Ec5y6BG-yjyyBkQ65H/s400/a1.jpg" style="border: none; position: relative;" width="460" /></span></a></div>
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<br /><div style="color: #1f1c1c; font-family: Calibri; text-align: left;"><span style="font-size: large;">Young Fine Gael, the autonomous wing of the Irish party, launched the above poster for the YES vote to the Lisbon Treaty. The above two posters, targeted male and female voters, with the slogans: 'Enlarge your opportunities, vote yes to Lisbon' and Increase your prospects, vote yes to Lisbon'. Ireland voted “no” to the Lisbon Treaty on 12 June 2008, by 53.4% to 46.6%. The poll was a major blow to the EU leaders, which required all its members to ratify the treaty. European Commission President Jose Manuel Barroso said he had spoken to Mr Cowen and agreed with him that this was not a vote against the EU! "Ireland remains committed to a strong Europe," he said.</span></div><br /><br /><br /><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuJzLUgksNWz613TTlVCsGfg-9AjAD1cu_WGbGskqDsDJysWLqlEMHoOOTx8QOQIMNtfJaDzRsU7Z_gcTitjBq0r4Q8Rl05y4hHiX7OIbkvFoFYi5jP3WD1-jLJ5JylN6l_9HAeNQIzSqe/s1600/a1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuJzLUgksNWz613TTlVCsGfg-9AjAD1cu_WGbGskqDsDJysWLqlEMHoOOTx8QOQIMNtfJaDzRsU7Z_gcTitjBq0r4Q8Rl05y4hHiX7OIbkvFoFYi5jP3WD1-jLJ5JylN6l_9HAeNQIzSqe/s400/a1.jpg" style="border: none; position: relative;" width="284" /></span></a></div>
<span style="color: #1f1c1c; font-family: Calibri; font-size: medium;"><br />Nevertheless, Ireland passed Lisbon Treaty in second referendum on October 2nd 2009, paving way for EU integration.<br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKc5CuLgExC55e4v8pvbeE2tA9ItGGToWl0yJvvVWjfiWuH_bRgcDDe8HyUP5-1jWNS0LA4VsYg5ci0vUzmNl6M1hNuQ-hi5tXCkMa9pIovZgwRl0hG5vbCHE4c1aOuL6YdzuRQWb5LBW0/s1600/a1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKc5CuLgExC55e4v8pvbeE2tA9ItGGToWl0yJvvVWjfiWuH_bRgcDDe8HyUP5-1jWNS0LA4VsYg5ci0vUzmNl6M1hNuQ-hi5tXCkMa9pIovZgwRl0hG5vbCHE4c1aOuL6YdzuRQWb5LBW0/s400/a1.jpg" style="border: none; position: relative;" width="300" /></span></a></div>
<span style="color: #1f1c1c; font-family: Calibri; font-size: medium;"><br />The Front National campaigned against the EU. On July 2012, they issued a communique criticizing François Hollande's proposal to go further on the path of European federalism as a direct affront to national independence and sovereignty of France.</span><blockquote style="color: #1f1c1c; font-family: Calibri;"><span style="font-size: medium;">
After the recent announcement by the socialist of one more step towards a federal Europe, it is now becoming difficult to give a meaning to the wording of Article 3 of the DDLC of 1789: "The principle of all sovereignty resides essentially in the Nation "or to that of Article 3 of the 1958 Constitution, which clearly declares the democratic principle: " National sovereignty belongs to the people who exercise it through their representatives and by means of referendum.</span></blockquote><span style="color: #1f1c1c; font-family: Calibri; font-size: medium;">
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<span style="color: #1f1c1c; font-family: Calibri; font-size: medium;"><br />Ukraine's “Europe without Barriers” public initiative conducted an information campaign: "Choose a better life! " Live without barriers " and "No visa regime! Europe is our home” aimed to explain the benefits and features of visa-free regime in relations with the EU to Ukrainian citizens.<br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #1f1c1c; font-family: Calibri; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1VJ0gZZQPecy9wETHHjGVY33SyZjdAFg_3Js8coqjzeRLGEmEr32OH8nnA-EYaaDAPE1XfgX2190Y11QxuFStwgCqWs-lNEDblrVVQc8LYaUNq8AdCqrZLZMXCXgEETFzY8Y2hbNiSe-T/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1VJ0gZZQPecy9wETHHjGVY33SyZjdAFg_3Js8coqjzeRLGEmEr32OH8nnA-EYaaDAPE1XfgX2190Y11QxuFStwgCqWs-lNEDblrVVQc8LYaUNq8AdCqrZLZMXCXgEETFzY8Y2hbNiSe-T/s640/a1.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: medium;"><br />On October 2012, in a move interpreted by some as a job application, the former British prime minister Tony Blair declared the EU could do with a strong leader approved by the people. He also warned that too deep a political divide between Britain and the core Eurozone countries could lead towards a break-up. "Out of this European crisis can come the opportunity finally to achieve a model of European integration that is sustainable," said Mr Blair. "A Europe-wide election for the presidency... is the most direct way to involve the public." Europe's millions of residents might feel "alienated" unless they have a direct say in who is governing them, Mr Blair told the Nicolas Berggruen Institute on Governance. "An election for a big post held by one person - this people can understand," he said. "The problem with the European Parliament is that though clearly democratically elected, my experience is people don't feel close to their MEPs."<br /><br />In June of that year in an interview with the Financial Times Weekend magazine he had said: "I sometime wish now that when the presidency came up, I would have taken that position - and actually gone out on a more public campaign about what I thought about Europe".</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSLFRO_4LsjrIjQHWN2rsS7reECaAyOBf1ngnKkCefpjPLWnvJWFKUf8eVbt276opMlLyqp6yXRWnqyL7LxmCx469ilkEr7IZXcHdk92yuzaSa36oPSMwdiltDwLJIYkPnvnGonwT0WNHU/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="569" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSLFRO_4LsjrIjQHWN2rsS7reECaAyOBf1ngnKkCefpjPLWnvJWFKUf8eVbt276opMlLyqp6yXRWnqyL7LxmCx469ilkEr7IZXcHdk92yuzaSa36oPSMwdiltDwLJIYkPnvnGonwT0WNHU/w401-h569/a1.jpg" style="border: none; position: relative;" width="401" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: large;"><br />On September 2009, a reader, in response to an inquiry by Mailonline, asking "Should Tony Blair become EU President?" wrote:<br /></span><blockquote><span style="font-size: large;">
In my opinion It would be a disastrous decision if Tony Blair was made EU President. When in government he rough shod over Parliament, he took us into Iraq costing many lives, he took us into Afganistan,His party promised that the UK would have the referendum on the EU Constitution, Did we get it. No! Public opinion means nothing to this man and his past policies are still costing the lives of our young men. For Tony Blair to be given this position would be disastrous for all of Europe and beyond.</span></blockquote>
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<span style="font-size: x-large;">Scotland Referendum for independence of 2014</span></div>
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<span style="font-size: medium;">Brexit Referendum of 2016</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizGHqjnSL__mJUCFz_TmJiAxXRagktY1wbtUyincmOkma1LMKCfBOnmCUV507IgYQ_kus9GN0hOy6POjMRxWzMDlFKiZitQu-zme3gqNfvfUn9vgTgz3UpU17YnhEEuYJO0aiyW8bACDk/s1600/greek.JPG" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizGHqjnSL__mJUCFz_TmJiAxXRagktY1wbtUyincmOkma1LMKCfBOnmCUV507IgYQ_kus9GN0hOy6POjMRxWzMDlFKiZitQu-zme3gqNfvfUn9vgTgz3UpU17YnhEEuYJO0aiyW8bACDk/s640/greek.JPG" style="border: none; position: relative;" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: medium;">Prime Minister Alexis Tsipras rejected European warnings that Greeks will be deciding on their future in the euro zone in a referendum on July 2015, saying negotiations would continue for a better deal with international creditors after the vote. In a televised address, Tsipras said a report by the International Monetary Fund which arguing that Greece's massive public debt could not be sustained without significant writedowns vindicated his advice to reject the lenders' terms. Repeating his assault on European partners he accused of blackmailing and issuing ultimatums to Greece, the leftist leader called for calm ahead of the July 5th 2015 ballot, as two opinion polls showed the 'Yes' and 'No' camps neck-and-neck. "On Sunday what is at stake is not Greece's membership of Europe, what is at stake is whether blackmail will lead us to accept the continuation of a policy which the lenders themselves recognize is a dead end," he said</span></td></tr>
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<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Nato" style="color: #7f8866; text-decoration: none;"></a></span><span>Nato and Warsaw Pact</span></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9hH1iDvyb6pe81wivPzz52MHq169GWHawoEasqM-qrs_Gfx67evtBmg1OEM4J0KSJWIgNcDUWcICinS9iS527Ktyl7TUp21GowQWzZYzEnQTZUfBgnqglAPU130mrVJ3hyoCgpZT7qaS-/s1600/a1.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9hH1iDvyb6pe81wivPzz52MHq169GWHawoEasqM-qrs_Gfx67evtBmg1OEM4J0KSJWIgNcDUWcICinS9iS527Ktyl7TUp21GowQWzZYzEnQTZUfBgnqglAPU130mrVJ3hyoCgpZT7qaS-/s640/a1.jpg" style="border: none; position: relative;" width="406" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: medium;">The North Atlantic Treaty Organization’s creation was part an effort to serve three purposes: deterring Soviet expansionism, forbidding the revival of nationalist militarism in Europe through a strong North American presence on the continent, and encouraging European political integration. In the words its first secretary-general, Lord Ismay, NATO had three functions: keep the Americans in, the Russians out and the Germans down.</span></td></tr>
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Throughout the Cold War NATO, also served as a bulwark against a Soviet invasion of Europe. "The Parties of NATO agreed that an armed attack against one or more of them in Europe or North America shall be considered an attack against them all." The treaty was of the particular importance to Europe which faced with fifty Soviet and Warsaw Pact armored divisions with nearly two million troops. The Soviets and their allies believed that their numerical superiority would allow them to advance to the Rhine River in seven days, and thus Europe was highly dependent on America's promise to retaliate critically as a safeguard against invasion.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW8f4Mdfgdn4fWoxUyL7qx6eA7c8bWFiMATgR4gBzaaVLivecxcRfuEAaRekNEy0IgxT1Hm8Cwhb0iu6LWFcxdcsYN-jE1NDQ470Iaj0ax0oH4-v9uKcNS9NbgrvnCefyY9_QhxwWhK6bf/s1600/fat.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW8f4Mdfgdn4fWoxUyL7qx6eA7c8bWFiMATgR4gBzaaVLivecxcRfuEAaRekNEy0IgxT1Hm8Cwhb0iu6LWFcxdcsYN-jE1NDQ470Iaj0ax0oH4-v9uKcNS9NbgrvnCefyY9_QhxwWhK6bf/s640/fat.jpg" style="border: none; position: relative;" width="468" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiZmit4YNIrO-JH_vxCNedWiYszWG0MCPAqFQZxkntncvFMqvjYBhyphenhyphen1WTOxF3FVv7eXRccWFL1XBPOj_mBEHcdQNJ14Doa5vv-_KPr08jr6Taql2jXBJGgGCHv0AnRovDyzEkZ5Lu5DZ32/s1600/fat.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiZmit4YNIrO-JH_vxCNedWiYszWG0MCPAqFQZxkntncvFMqvjYBhyphenhyphen1WTOxF3FVv7eXRccWFL1XBPOj_mBEHcdQNJ14Doa5vv-_KPr08jr6Taql2jXBJGgGCHv0AnRovDyzEkZ5Lu5DZ32/s640/fat.jpg" style="border: none; position: relative;" width="470" /></span></a></div>
<span style="font-size: medium;"><br /><br />In 2014 the State Institute for Culture of the Bulgarian Ministry of Foreign Affairs, in cooperation with the National Academy of Arts, organized a competition for the design and production of original posters, to be exhibited at “Bulgaria: 10 years in NATO”.<br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6jK7n4zYeo6r0gshLeavtB2XviJ6GrebaSbNdTBs3jtlAY5aV1peNaYj9ZXBGvylqdsRQo3tMAYqu-tJX53kujEsISEO73lF0cuBjsjTQL8DAZcVFEwWaIlgMOJ7YvdZNF_zKLzm7Zas/s1600/b.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6jK7n4zYeo6r0gshLeavtB2XviJ6GrebaSbNdTBs3jtlAY5aV1peNaYj9ZXBGvylqdsRQo3tMAYqu-tJX53kujEsISEO73lF0cuBjsjTQL8DAZcVFEwWaIlgMOJ7YvdZNF_zKLzm7Zas/s400/b.jpg" style="border: none; position: relative;" width="261" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">Georgi Pavlov</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi41oqsA_Cc5OJCbqpnjm0TBe__VOGIyfQVfXBylyOYvE7vWVux1K21kh6NMDhekeGHwgMEHMrR2HhlccPk9tpM562_Ex_6rHp32HMjcKIcgcKXlMQlxdL24TXVPaLn1sZl9rNRDEiVQgE/s1600/b.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi41oqsA_Cc5OJCbqpnjm0TBe__VOGIyfQVfXBylyOYvE7vWVux1K21kh6NMDhekeGHwgMEHMrR2HhlccPk9tpM562_Ex_6rHp32HMjcKIcgcKXlMQlxdL24TXVPaLn1sZl9rNRDEiVQgE/s400/b.jpg" style="border: none; position: relative;" width="261" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">Georgi Pavlov</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV_yuhiFQHgXxsqEF5LUZ6e8GGUCZKP6KRLn0N2Qd24xAzwsL-aN7TAMeg6qU2G7Zgh__Z2rBUH0PJLg9MIo_hXeeoDJijeUu_DqWMDsp7YiNYdWgQEGbUdpcbg1fsxVZhjP1zgC60sVg/s1600/b.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV_yuhiFQHgXxsqEF5LUZ6e8GGUCZKP6KRLn0N2Qd24xAzwsL-aN7TAMeg6qU2G7Zgh__Z2rBUH0PJLg9MIo_hXeeoDJijeUu_DqWMDsp7YiNYdWgQEGbUdpcbg1fsxVZhjP1zgC60sVg/s400/b.jpg" style="border: none; position: relative;" width="261" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">Georgi Pavlov</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaq_tVnhW2cAYlsIXko_kr9_Nh8cyu5gAfULwprNh5Hi2hdhLxLudQrH19u2E0NpDrPP6ghVprfPKjPdSyG0Di037A2hhyQzOFSgKdWNkr8Gse9h-Kn_P_dw5EvKWwpnR7Y2ahZbKuiqw/s1600/b.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaq_tVnhW2cAYlsIXko_kr9_Nh8cyu5gAfULwprNh5Hi2hdhLxLudQrH19u2E0NpDrPP6ghVprfPKjPdSyG0Di037A2hhyQzOFSgKdWNkr8Gse9h-Kn_P_dw5EvKWwpnR7Y2ahZbKuiqw/s400/b.jpg" style="border: none; position: relative;" width="261" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">Nikolay Mladenov</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2xSbxhHfeEphd0EEH6iTUm2p_DNm1btzy8MTBfIDupUskXIqTytggZdlHHLED0UaAAW4rHBW3_9N5BO2iKxSGE37trH2hFivtDIjyUvVQdTFPmhOQ-jWSBF0Oi1B4LLAVrcFisoOSx-Y/s1600/b.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2xSbxhHfeEphd0EEH6iTUm2p_DNm1btzy8MTBfIDupUskXIqTytggZdlHHLED0UaAAW4rHBW3_9N5BO2iKxSGE37trH2hFivtDIjyUvVQdTFPmhOQ-jWSBF0Oi1B4LLAVrcFisoOSx-Y/s400/b.jpg" style="border: none; position: relative;" width="261" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">Nikolay Mladenov</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRozVgWMdn0aLIoIDPHy4JgNHBkOpagfdGLUy79foKJqJjRBRE8NGkInChYsiXYPIOdAz_HuIbR39QxzpeTwLk07uXEmtUb0fYLV1RfMYrqZYb2d4qDRtZG1vWAuHlQdAE_ztBnYw2gMQ/s1600/b.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRozVgWMdn0aLIoIDPHy4JgNHBkOpagfdGLUy79foKJqJjRBRE8NGkInChYsiXYPIOdAz_HuIbR39QxzpeTwLk07uXEmtUb0fYLV1RfMYrqZYb2d4qDRtZG1vWAuHlQdAE_ztBnYw2gMQ/s400/b.jpg" style="border: none; position: relative;" width="261" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">Stoian De4ev</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBk9JZxIkJ07E7_O1AzGwu9iDK3978m3oe8uRzBcnquLH25msTigfQtoKbEGqLYNzwHnFarT0xjuOEexHjW21C66adY9OlGSxlFGnY1D9AoqEvPeRWsy6IK-fmIEe-AWjupzCVJsZrpLM/s1600/b.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBk9JZxIkJ07E7_O1AzGwu9iDK3978m3oe8uRzBcnquLH25msTigfQtoKbEGqLYNzwHnFarT0xjuOEexHjW21C66adY9OlGSxlFGnY1D9AoqEvPeRWsy6IK-fmIEe-AWjupzCVJsZrpLM/s400/b.jpg" style="border: none; position: relative;" width="261" /></span></a></td></tr>
<tr><td><span style="font-size: medium;">Stoian De4ev</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJrZvk5IUfGeW0EarXof-dHfoDeG8jMvIGSHA-0BZ_JwbX4BbNqcs2ox81LKUai2fOHPC02f-VkM1lsMCIa_CQddy0_gzKLHPIrmHFHnOW3Aixns0pnqVFaPikhssjWjQSUsI3LxwfdjWp/s1600/fat.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJrZvk5IUfGeW0EarXof-dHfoDeG8jMvIGSHA-0BZ_JwbX4BbNqcs2ox81LKUai2fOHPC02f-VkM1lsMCIa_CQddy0_gzKLHPIrmHFHnOW3Aixns0pnqVFaPikhssjWjQSUsI3LxwfdjWp/s640/fat.jpg" style="border: none; position: relative;" width="452" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: medium;">The Warsaw Pact, was formed in 1955 as a counterweight to the North Atlantic Treaty Organization (NATO). During much of its early existence, the Warsaw Pact essentially functioned as part of the Soviet Ministry of Defense. In fact, in the early years of its existence the Warsaw Pact served as one of the Soviet Union's primary mechanisms for keeping its East European allies under its political and military control. .</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-3k2utnl8D1QldfWQZCtUptczE64RlroHLWyxKF6lewikf_tDaUnTkfr39Q3dFsDEAcy-Sfet1N1vs6aFgLmEzS87qwry82xPcU7xOrqZCXWK1MTv5IYWCRTdyfMJVNBOGjXccrkXqlDR/s1600/fat.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-3k2utnl8D1QldfWQZCtUptczE64RlroHLWyxKF6lewikf_tDaUnTkfr39Q3dFsDEAcy-Sfet1N1vs6aFgLmEzS87qwry82xPcU7xOrqZCXWK1MTv5IYWCRTdyfMJVNBOGjXccrkXqlDR/s400/fat.jpg" style="border: none; position: relative;" width="400" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">No American agent will pass through our village!</span></td></tr>
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<span style="font-size: medium;"><a class="thumbnailsNavigationNext" href="http://aktualne.centrum.cz/czechnews/fotogalerie/2009/04/07/nato-celebrations-in-the-soviet-union-times/foto/243669/" style="color: #7f8866; height: 527px; text-decoration: none; width: 452px;"></a><br /></span><div class="img-container" id="img-container" style="width: 700px;">
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2t_91t2x0UQz4DaanZ5Nd_We1aB7-bOJFoxUZWF2hgPY6FED-xKRiMUiLcg7V_W_uUBq2L3IUv8izTzmPjFmkl3sslRpJ1TSdPLbbJDI9pZ1B4wpFSrAO9nEJqH_RBpI8C3zx2-0uxgxS/s1600/fat.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2t_91t2x0UQz4DaanZ5Nd_We1aB7-bOJFoxUZWF2hgPY6FED-xKRiMUiLcg7V_W_uUBq2L3IUv8izTzmPjFmkl3sslRpJ1TSdPLbbJDI9pZ1B4wpFSrAO9nEJqH_RBpI8C3zx2-0uxgxS/s400/fat.jpg" style="border: none; position: relative;" width="270" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Peace can be preserved! Peace can be preserved! Peoples'</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiztKuIt3UusZHNMv9rY7lHAJyH8IRXf2WVM5H45FgDBQIgzUKpxSsBSsp8DqcFGPvrC9ObCAoukhzk6-K3Vi8xs5zZvFgQVj4RPdI6vtP4dLOWJ2EPcJfgHaPa-wNRDHKD8m2SCJJmwxwD/s1600/fat.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiztKuIt3UusZHNMv9rY7lHAJyH8IRXf2WVM5H45FgDBQIgzUKpxSsBSsp8DqcFGPvrC9ObCAoukhzk6-K3Vi8xs5zZvFgQVj4RPdI6vtP4dLOWJ2EPcJfgHaPa-wNRDHKD8m2SCJJmwxwD/s400/fat.jpg" style="border: none; position: relative;" width="400" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Peace is in our hands!</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgIH_p4J2DVoZnfzXOAOaRRuu2l_M9_nG4d8k8XJcQl2c9GrJJGYNvd60VjeeK27NZPPIQQBag0PdhposRfz9Vr8KyOQ87ewLahRF6tBDAogatL6yyWnZXAvI35c3-hh61X6FG-WRyh_YQ/s1600/fat.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="466" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgIH_p4J2DVoZnfzXOAOaRRuu2l_M9_nG4d8k8XJcQl2c9GrJJGYNvd60VjeeK27NZPPIQQBag0PdhposRfz9Vr8KyOQ87ewLahRF6tBDAogatL6yyWnZXAvI35c3-hh61X6FG-WRyh_YQ/s640/fat.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">J.V.Stalin: The peoples of the world do not want the horror of the war ever again.</span></td></tr>
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<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Sixteen" style="color: #7f8866; text-decoration: none;"></a></span><span>Chinese Propaganda; Cultural Revolution and Economical Counterrevolution</span></span></div>
<span style="color: #1f1c1c; font-family: Calibri;"><br /><br /><br /><br /><span style="font-size: large;"><span style="color: red;">A</span>fter the relative failure of Mao Zedong's "Great Leap Forward" campaign to a modernize China, based on the Stalinist model of industrialization, he and his wife's Jiang Qing initiated, the Cultural Revolution. Millions of mainly urban youths, organized as "Red Guards" were mobilized and sent out into the countryside to propagate Mao's ideology of a new society and to fight the "Four Olds" (old ideas, old culture, old customs and old habits). Posters were the most practical means of propaganda, since most people, particularly in the rural areas, were illiterate, and there were very few radio or television. Posters were easy and cheap to produce. The total output was several billion over a period of 30 to 40 years.</span><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgToXhJ9_rE065gucGnzTx6AU1I0BkPtLLrMCIMXhWjN-BtRIC6d6xjykHx8YR1ODBO_kutG16ca-a695m_Vx16nkd3Ramv5VP5lofGTMDtfi4a6xB-XRAGvifZQSAy6AmjwuLPrw_clmE/s1600/aicher.JPG" style="color: #7f8866; font-size: large; text-decoration: none;"><img alt="" border="0" height="281" id="BLOGGER_PHOTO_ID_5471752337165237314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgToXhJ9_rE065gucGnzTx6AU1I0BkPtLLrMCIMXhWjN-BtRIC6d6xjykHx8YR1ODBO_kutG16ca-a695m_Vx16nkd3Ramv5VP5lofGTMDtfi4a6xB-XRAGvifZQSAy6AmjwuLPrw_clmE/s1600/aicher.JPG" style="border: none; display: block; margin: 0px auto 10px; position: relative; text-align: center;" width="640" /></a><br /><br /><br /><br /><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXEqbnf5Zeqr-d7u9pCzChj90G_V9J8ZAedUo62i6ON_INhHpM8DpvEosX5tv5LxArW5EkhDnK7ZhT018pYnAZugMm01nugfu7h3gk0VKGquGyiQ60EMRb0UDTdSfs_Oe8hDrqCgieTX9l/s1600/a1.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXEqbnf5Zeqr-d7u9pCzChj90G_V9J8ZAedUo62i6ON_INhHpM8DpvEosX5tv5LxArW5EkhDnK7ZhT018pYnAZugMm01nugfu7h3gk0VKGquGyiQ60EMRb0UDTdSfs_Oe8hDrqCgieTX9l/s400/a1.JPG" style="border: none; position: relative;" width="475" /></span></a></div><span style="color: #1f1c1c; font-family: Calibri;"><div style="font-size: large; text-align: center;">Chairman Mao is the great liberator of the world's revolutionary people, 1968</div><br /><span style="font-size: large;">China lodged an official protest against the policy of apartheid in South Africa in September 1950. After the Sino-Soviet conflict, the Chinese began to differentiate themselves from the Soviets with respect to their attitudes towards the oppressed people of colour. According to their propaganda although yellow and black are not the same, but at least they are not as different as the white of the Soviets.</span><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKlS8Q0QZc9Y6v8le6lgoG7aRM3hZ3MBSkoZxoY99ssk-cmEMIWouplmDGo1Vk6vBQ2Mbnh8d7stKVLRPd0ijE9UgvCyvQoauCRq8YNMqSVA6Y_r9vojN4vfkAV4uXWAv-50HBwdbxpANO/s1600/a1.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKlS8Q0QZc9Y6v8le6lgoG7aRM3hZ3MBSkoZxoY99ssk-cmEMIWouplmDGo1Vk6vBQ2Mbnh8d7stKVLRPd0ijE9UgvCyvQoauCRq8YNMqSVA6Y_r9vojN4vfkAV4uXWAv-50HBwdbxpANO/s400/a1.JPG" style="border: none; position: relative;" width="800" /></span></a></div><span style="font-size: medium;"><div style="color: #1f1c1c; font-family: Calibri; text-align: center;">The struggle of all the people in the world against American imperialism will be victorious! 1965</div><div style="text-align: center;"><span style="color: #1f1c1c; font-family: Calibri;"><br /></span></div><div style="text-align: center;"><br /></div></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHdEq35rOgyKbutrpldNOhs1-en7KHN1Tmgmeq4P0gzXrP41FqaoSh4dpBY4YjvG8DZxkSaJjojNF60jLlCVH9OHAFCByJnniVzLGRkK9FAcayXCFzXDZVOaAaqOLF7vmlLMgERGKqhrL0/s1600/a1.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHdEq35rOgyKbutrpldNOhs1-en7KHN1Tmgmeq4P0gzXrP41FqaoSh4dpBY4YjvG8DZxkSaJjojNF60jLlCVH9OHAFCByJnniVzLGRkK9FAcayXCFzXDZVOaAaqOLF7vmlLMgERGKqhrL0/s400/a1.JPG" style="border: none; position: relative;" width="600" /></span></a></div><span style="font-size: medium;"><div style="color: #1f1c1c; font-family: Calibri; text-align: center;">Vigorously support the anti-imperialist struggles of the peoples of Asia, Africa and Latin America, ca. 1964</div><div style="text-align: center;"><span style="color: #1f1c1c; font-family: Calibri;"><br /></span></div></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7vWKakp6hfCcoWJlMhBAZgqpgD8ERa3y8KCIv4nR1ak4YKTdaouRDqQTxg6UEppiq7OP404LjXncVpe7_72Ka_pbRcUSOrDAOwyHGcTyTGtGxfMsLujofumXQo17gBO93mE1wPBOwS1GX/s1600/a1.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7vWKakp6hfCcoWJlMhBAZgqpgD8ERa3y8KCIv4nR1ak4YKTdaouRDqQTxg6UEppiq7OP404LjXncVpe7_72Ka_pbRcUSOrDAOwyHGcTyTGtGxfMsLujofumXQo17gBO93mE1wPBOwS1GX/s400/a1.JPG" style="border: none; position: relative;" width="400" /></span></a></div><span style="font-size: medium;"><div style="color: #1f1c1c; font-family: Calibri; text-align: center;">The feelings of friendship between the peoples of China and Africa are deep, 1972</div><div style="text-align: center;"><span style="color: #1f1c1c; font-family: Calibri;"><br /></span></div></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxwL3fV0gfl10wvSdmO_AjIb19wOlHl6rgjAkaCG_x9-oGp-XzCTinJRusQe8ooNRfTVTXlQ0UYTe00bE9gSM5oreDkMUrHrX0VwNnHpjYUhl5VgDQhPrQ3DuekEkoDUED3HgeZyV1HtBE/s1600/a1.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxwL3fV0gfl10wvSdmO_AjIb19wOlHl6rgjAkaCG_x9-oGp-XzCTinJRusQe8ooNRfTVTXlQ0UYTe00bE9gSM5oreDkMUrHrX0VwNnHpjYUhl5VgDQhPrQ3DuekEkoDUED3HgeZyV1HtBE/s400/a1.JPG" style="border: none; position: relative;" width="400" /></span></a></div><span style="font-size: medium;"><div style="color: #1f1c1c; font-family: Calibri; text-align: center;">Revolutionary friendship is as deep as the ocean, 1975</div><div style="text-align: center;"><span style="color: #1f1c1c; font-family: Calibri;"><br /></span></div><div style="text-align: center;"><br /></div></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMphsWMdXh6aD6S0u5OsZ8tQHYrasnqndDC0HLl8IQsoncbVuPiHlOXCOcY_zzvZbP3UM0ENBTuotsVN1zzr1Tyy7RO4Sgxlx1tKaocXyh_dMUsMDPgCv1nedyxMsC-BBr5dZ79LO4_-ec/s1600/a1.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMphsWMdXh6aD6S0u5OsZ8tQHYrasnqndDC0HLl8IQsoncbVuPiHlOXCOcY_zzvZbP3UM0ENBTuotsVN1zzr1Tyy7RO4Sgxlx1tKaocXyh_dMUsMDPgCv1nedyxMsC-BBr5dZ79LO4_-ec/s400/a1.JPG" style="border: none; position: relative;" width="400" /></span></a></div><span style="font-size: medium;"><div style="color: #1f1c1c; font-family: Calibri; text-align: center;">1977 - Smash the Gang of Four and popularize the agricultural experience of Dazhai county</div><div style="text-align: center;"><span style="color: #1f1c1c; font-family: Calibri;"><br /></span></div></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkU6fIBydEHJ5ZA2rEjZcwZsCM2NLQd_O_30OrbKyzP1nPGajRJlRHt0Flj2LkncFBbWpE6e-xHUaJ5og7sZqlH9SIjcJvFg0ZRtU31jlr_0bilABWr4kW81z9bNN9H7pZqnfg1Y_yPy4u/s1600/a1.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkU6fIBydEHJ5ZA2rEjZcwZsCM2NLQd_O_30OrbKyzP1nPGajRJlRHt0Flj2LkncFBbWpE6e-xHUaJ5og7sZqlH9SIjcJvFg0ZRtU31jlr_0bilABWr4kW81z9bNN9H7pZqnfg1Y_yPy4u/s400/a1.JPG" style="border: none; position: relative;" width="400" /></span></a></div><span style="color: #1f1c1c; font-family: Calibri; font-size: medium;"><div style="text-align: center;">1977 - Relentlessly criticize the "Gang of four", set of a new upsurge of industry studying Daqing and agriculture studying Dazhai</div></span><div style="text-align: center;"><br /></div><br /><span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><br />After Mao, regime legitimacy is no longer based on ideology, but rather functionally defined: by the promises of modernization and development; of gaining national strength; of preserving political, economic and social stability; and by establishing both a “socialist democracy” and a “rule of law”. It appears that each Paramount leader must provide hie own political theory.<br /><br />Marxism-Leninism was first “sinicised”, i.e. adjusted to help tackle China’s practical problems, and then in the 90s it was complemented by the “Deng Xiaoping theory”, which encapsulated the various policy pronouncements that guided the reform process that started in 1978. His Theory was a major departure from Mao Zedong Thought, as Deng insisted that "economic development is the center of party work". Two of the late paramount leader;s famous dicta were: "It always stands to reason to develop the economy faster" and "The economy must cross a new threshold every few years." Deng's development plan resulted in tremendous development, explosive growth and the first traces of a consumer society. At the same time, it created undesirable consequences that affected stability and the potential for the party's continued rule. They include a growing gap between rich and poor; a large disparity between coastal and western China; bureaucratic corruption. Meanwhile, the aim of the regime was no longer a far away “communism” but a not too distant “harmonious society”.<br /><br />in Deng Xiaoping era Africa and China drifted apart. For many Africans the sudden and dramatic changes of political philosophy were ill-justified. They found Deng's ideological principle of 'Four Modernizations', strengthening the sectors of agriculture, industry, technology and defense, sloganeering and opportunistic. In consequence, China lost much of its credibility in Africa.<br /></span><br /><span style="color: #1f1c1c; font-family: Calibri; font-size: medium;"><tbodoy></tbodoy></span><table style="color: #1f1c1c; font-family: Calibri;"><tbody>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX0WGHEQq56nUmh1jxmnX3VH5UX9z1R1XfMyhFQYBtRkAQi-lwpwa8E4d41jDjUheMNCgJrYCsaxHew8-5QfogSugo-U5JBPWoruG9F6Ps8a8cVJfBkXbp2oNMTBwQgvuZB3u6g8m9yPM4/s1600/a1.jpg" style="clear: left; color: #7f8866; float: left; margin-bottom: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX0WGHEQq56nUmh1jxmnX3VH5UX9z1R1XfMyhFQYBtRkAQi-lwpwa8E4d41jDjUheMNCgJrYCsaxHew8-5QfogSugo-U5JBPWoruG9F6Ps8a8cVJfBkXbp2oNMTBwQgvuZB3u6g8m9yPM4/s400/a1.jpg" style="border: none; position: relative;" width="281" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZZn6zIefDztzkaIl2CsqI61XBA_Vnzx-48g8mJ2b-OOQ6H23tQjX7HSx3b0e3u2_wnnR8A7KmLUkSKN0TMyXcuGjouEuVfvpkQp8YZUsGUC0UkNmEoeOtbg-NkAbYzMHvHvDIZihhRUec/s1600/a1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZZn6zIefDztzkaIl2CsqI61XBA_Vnzx-48g8mJ2b-OOQ6H23tQjX7HSx3b0e3u2_wnnR8A7KmLUkSKN0TMyXcuGjouEuVfvpkQp8YZUsGUC0UkNmEoeOtbg-NkAbYzMHvHvDIZihhRUec/s400/a1.jpg" style="border: none; position: relative;" width="400" /></span></a></div>
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<tr><td><span style="font-size: medium;">Hold high the great banner of Deng Xiaoping Theory to completely advance the cause of building socialism with Chinese characteristics into the 21st century, 1999</span></td><td><span style="font-size: medium;">Designer: Design Institute of Wuxi Light Industrial College (无锡轻工大学设计学院) 1999 Usher in a new epoch - Celebrate the 50th anniversary of the founding of the People's Republic of China Kaichuang xin shiqi -Qingzhu Zhonghua renmin gongheguo chengli wushi zhounian (开创新时期-庆祝中华人民共和国成立五十周年)</span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEHPfzCpjwOBESIVhLO6qnDm2wKMroBmZmsuxjpkyBVoqsURgH8t2aSxTEvuO-kd2qLkAVL1UI6kUylyzrk8rnkk790ijkTgFLy7H0cK23ucds0TzfmLXu483xKF7ciVyTEf9m2DpOmVFq/s1600/a1.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEHPfzCpjwOBESIVhLO6qnDm2wKMroBmZmsuxjpkyBVoqsURgH8t2aSxTEvuO-kd2qLkAVL1UI6kUylyzrk8rnkk790ijkTgFLy7H0cK23ucds0TzfmLXu483xKF7ciVyTEf9m2DpOmVFq/s400/a1.JPG" style="border: none; position: relative;" width="289" /></span></a></div><span style="color: #1f1c1c; font-family: Calibri; font-size: medium;"><div style="text-align: center;">1978 - Move fast forward! Construct and protect the Motherland</div><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA8BeRlyUKbW_755ejnVPC65ey7DTflwYCrMrh0dSwoKhbnvffKG1banZTMZah32HqpqtQSzEc5wuxPFEGowRMdb8qxTCrjjxcnASkty4UA9kaAObBz_nJBUazsJBVpSGmtYPY664kxEmR/s1600/a1.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA8BeRlyUKbW_755ejnVPC65ey7DTflwYCrMrh0dSwoKhbnvffKG1banZTMZah32HqpqtQSzEc5wuxPFEGowRMdb8qxTCrjjxcnASkty4UA9kaAObBz_nJBUazsJBVpSGmtYPY664kxEmR/s400/a1.JPG" style="border: none; position: relative;" width="400" /></span></a></div><span style="color: #1f1c1c; font-family: Calibri; font-size: medium;"><div style="text-align: center;">1979 - Union friendship</div><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf9Bf_NIvZ7VRxDQIuB_V717kESLFmiAQmy4acLQ77SwHum6OlHEXymokRg2lpzK-fRlwDgFxkOJCWUApKme9Ptl4nCuqBVK5I1U0xJmEzq3Hdfg3NLiyY3SU3DvoWjNLPzDVDX8Sl_znL/s1600/a1.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf9Bf_NIvZ7VRxDQIuB_V717kESLFmiAQmy4acLQ77SwHum6OlHEXymokRg2lpzK-fRlwDgFxkOJCWUApKme9Ptl4nCuqBVK5I1U0xJmEzq3Hdfg3NLiyY3SU3DvoWjNLPzDVDX8Sl_znL/s400/a1.JPG" style="border: none; position: relative;" width="400" /></span></a></div><span style="color: #1f1c1c; font-family: Calibri; font-size: medium;"><div style="text-align: center;">1979 - Long live all the nationalities united as one people</div><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZdPDknW5Y0CIeVYpasYukcVTUMqN78lXqJ6NVFFDZewErvXekj3wVFIu4aOlhVUX_AcK1FkIAreDJqCdKbko0KK-246nS41zqkN98FQOmPo-6GlKTK4ZD2f7AHWAM6JG99iYBjK5KV-eJ/s1600/a1.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZdPDknW5Y0CIeVYpasYukcVTUMqN78lXqJ6NVFFDZewErvXekj3wVFIu4aOlhVUX_AcK1FkIAreDJqCdKbko0KK-246nS41zqkN98FQOmPo-6GlKTK4ZD2f7AHWAM6JG99iYBjK5KV-eJ/s400/a1.JPG" style="border: none; position: relative;" width="286" /></span></a></div><span style="color: #1f1c1c; font-family: Calibri; font-size: medium;"><div style="text-align: center;">1984 - To love the country one must first know its history - The deeper the knowledge, the more eager the love</div></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCgQQKOaD8Q-H0sM3J0LPZGWFXx9Q7MCe9-mE1D30t6OOozc-QoNirkOVzwRLHZnZDMMkOMghUqCqzmE6i5IE0TpFd1_MNJcaH9ZL7qGSuyeSw4ImtWDMI6VOGL7J9tNMfzFe9eTzcr0JB/s1600/a1.JPG" style="color: #7f8866; font-family: Calibri; font-size: large; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCgQQKOaD8Q-H0sM3J0LPZGWFXx9Q7MCe9-mE1D30t6OOozc-QoNirkOVzwRLHZnZDMMkOMghUqCqzmE6i5IE0TpFd1_MNJcaH9ZL7qGSuyeSw4ImtWDMI6VOGL7J9tNMfzFe9eTzcr0JB/s400/a1.JPG" style="border: none; position: relative;" width="230" /></a><span style="color: #1f1c1c; font-family: Calibri; font-size: medium;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4LRhk41oTVnYfGPo3xC6pkKeCXD2QkV6vEKCo3NfsMKTJN6-K3Urv39677Z-C6XUJrjLf16n7iH3n4lQJxlUnW4LdwzaXnHkYhKKI-sBnJBC9v0Id__FYgBGe4RsbLbQ8d2s1FWiYN1Xq/s1600/a1.JPG" style="color: #7f8866; font-family: Calibri; font-size: large; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4LRhk41oTVnYfGPo3xC6pkKeCXD2QkV6vEKCo3NfsMKTJN6-K3Urv39677Z-C6XUJrjLf16n7iH3n4lQJxlUnW4LdwzaXnHkYhKKI-sBnJBC9v0Id__FYgBGe4RsbLbQ8d2s1FWiYN1Xq/s400/a1.JPG" style="border: none; position: relative;" width="230" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5LHqOGQlKmM3Lrs9yGXC0ADpa4gbdvyfed-_ZiN-5_LpjMb6Depc4Qelg7enPpr1ehB7e1AJ7qGBGXNsUpmlak9a8M8drnMpt0Cy3UEmoV8QNCAPiWxpwF-F2UxD3_7Io5vzF-GrLS4UU/s1600/a1.JPG" style="color: #7f8866; font-family: Calibri; font-size: large; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5LHqOGQlKmM3Lrs9yGXC0ADpa4gbdvyfed-_ZiN-5_LpjMb6Depc4Qelg7enPpr1ehB7e1AJ7qGBGXNsUpmlak9a8M8drnMpt0Cy3UEmoV8QNCAPiWxpwF-F2UxD3_7Io5vzF-GrLS4UU/s400/a1.JPG" style="border: none; position: relative;" width="230" /></a><span style="color: #1f1c1c; font-family: Calibri; font-size: medium;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLj0JQ6fSdh7vrHzteflN2YHS6BzO57Ct_zqvSjt3EssP53t1l7iOEYkKpNC04dhOYeC4QD69iDSlsOeESxKsZ0pY3EnsGdlPbVSc0FUNqBFxEhuEplJcYathJQ0aLDGvbQUmty0kOc8X8/s1600/a1.JPG" style="color: #7f8866; font-family: Calibri; font-size: large; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLj0JQ6fSdh7vrHzteflN2YHS6BzO57Ct_zqvSjt3EssP53t1l7iOEYkKpNC04dhOYeC4QD69iDSlsOeESxKsZ0pY3EnsGdlPbVSc0FUNqBFxEhuEplJcYathJQ0aLDGvbQUmty0kOc8X8/s400/a1.JPG" style="border: none; position: relative;" width="230" /></a><span style="color: #1f1c1c; font-family: Calibri; font-size: medium;"> </span></div><div dir="ltr" style="background-color: white; color: #1f1c1c; font-family: Calibri; line-height: 22.4px;" trbidi="on"><div style="text-align: center;"><span style="font-size: large;">1984 - Deng Xiaoping's four Basic principles: We must keep to the socialist road. We must uphold the dictatorship of the proletariat. We must uphold the leadership of the Communist Party. We must uphold Marxism-Leninism-Mao Zedong Thought.</span></div><br /><br /><span style="font-size: large;"><br />After the death of Deng Xiaoping, Jiang Zemin began working on his own "theoretical" contribution to China's ideological complex. In 2000, his theory of the "three represents" (三个代表,Sange daibiao) was first presented as the nucleus of his Theory. The so-called theory focused on the future role of the Chinese Communist Party as "a faithful representation of the requirements in the development of advanced productive forces in China". This was perhaps an expression of the fact that the Chinese society has rapidly changed and that the Party no longer represents merely the interests of the workers and peasants, but those of the entire newly commercial class dwelling in its larger cities. The 17th Party Congress in 2007 enshrined the formula “Scientific Concept of Development” (科学发展观) into the Party constitution. This signified a stronger focus on sustainable development, taking care for the socially weak and their problems, establishing a social security net in urban and rural areas, etc.</span><br /><br /><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirM3ySgDgMIak70iDGjl3bEqk1g7sMRqiM0ScoDK3usmdVi5fCHgNkDH8KkFGDXaLWOzCscN0Rd5pymVgygztTCaWCqyB2ivlZ_WL5gpsk9oorXqzaGQQly_LEjmmI6n7Mt5JxTsYPtUNL/s1600/a1.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirM3ySgDgMIak70iDGjl3bEqk1g7sMRqiM0ScoDK3usmdVi5fCHgNkDH8KkFGDXaLWOzCscN0Rd5pymVgygztTCaWCqyB2ivlZ_WL5gpsk9oorXqzaGQQly_LEjmmI6n7Mt5JxTsYPtUNL/s400/a1.JPG" style="border: none; position: relative;" width="271" /></span></a></div><span style="font-size: medium;"><div style="text-align: center;">Love science, explore diligently, 1985</div><br /></span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbgeQjnG0MEPW2ybLYmUHBP0-zxekMUttvto3CkjFC_JmuAY53CEOdG-_D41aw_ujT6TdKlJymNfdGW0ML3BUX8GMJFslUjxJKqQCUc16S84XGS0GlntzKlyx_8gxWykaBFRmFLWcSe0y0/s1600/a1.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbgeQjnG0MEPW2ybLYmUHBP0-zxekMUttvto3CkjFC_JmuAY53CEOdG-_D41aw_ujT6TdKlJymNfdGW0ML3BUX8GMJFslUjxJKqQCUc16S84XGS0GlntzKlyx_8gxWykaBFRmFLWcSe0y0/s400/a1.JPG" style="border: none; position: relative;" width="278" /></span></a></div><span style="font-size: medium;"><div style="text-align: center;">Let our lives have more order, 1983</div><br /></span><table><tbody>
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<br /><br /><span style="font-size: large;">During Hu Jintao chairmanship African attitudes towards China shifted again. China seemed to have the Midas touch in Africa, steadily turning vast natural resource wealth into gold through investments in oil, gas, and mineral projects around the continent. In 2011, Chinese interests invested nearly $16 billion in African mining projects -- a tenfold increase from 2010. At a time when most Western media were retrenching, China’s state-run news media giants were rapidly expanding in the region. They were hoping to bolster China’s image and influence around the globe, particularly in regions rich in the natural resources needed to fuel China’s powerhouse industries and help feed its immense population. “Hostile international powers are strengthening their efforts to Westernize and divide us,” President Hu Jintao wrote in 2012 in a party journal. “We must be aware of the seriousness and complexity of the struggles and take powerful measures to prevent and deal with them.”</span></div><div dir="ltr" style="background-color: white; color: #1f1c1c; font-family: Calibri; line-height: 22.4px;" trbidi="on"><span style="font-size: large;"><br />In 2012, President Hu Jintao hosted the Fifth Forum on China-Africa Cooperation in Beijing, where he highlighted the $165 billion in trade between China and Africa in 2011, a tripling since 2006, making China the continent's largest trading partner. No expense was spared. Advertising was stripped off billboards and replaced with giant pictures of giraffes, lions and elephants roaming the savannah. The walls around building sites was decorated with posters of tribesmen, antelopes and the pyramids. Wanfujing, Beijing's main shopping street, became a safari-land of wooden animals. Everywhere, posters proclaimed: "Africa, the Land of Myth and Miracles." Moreover, Hu Jintao sent a message to the dozens of African heads of state and hundreds of senior African and Chinese government officials in attendance that the commitment behind the Sino-African relationship is consistent, comprehensive, and forged at the highest levels.</span><br /><br /><span style="font-size: x-large;"><br /></span><div style="color: red;">
<span style="font-size: x-large;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Seventeen" style="color: #7f8866; text-decoration: none;"></a></span><span>North Korean Propaganda Posters - 21st Century!</span></span></div>
<br /><span style="font-size: large;"><br />Although North Korean earlier propaganda designs could be considered as a mere copy of Soviet Russian socialist realism, and Mao era's Chinese propaganda, they have been quite avant-garde and bold in recent times. The country's socialist realist art is largely informed by her traditional Korean ink Painting, 한국의 전통회화 Chosŏnhwa painting, admired by its leader Kim Il Sung (Kim Chŏng Il), who considered it as the quintessence of North Korean art, and pronounced it as the most pertinent style for the post-revolutionary North Korean art. North Korean artists are supposed to be in the ideological forefront of the revolution, and must vehemently defend the leadership and their cause. Their training includes a combination of technical and ideological courses, which emphasizes the socialist realism as the only acceptable style.<br /><br />Nevertheless, the artists have experimented with a wide range of expressionistic techniques within the confines of socialist realism. What renders a work of art "socialist realist" is the correct ideological interpretation of social reality in a manner that would be appealing to the people. To attain such an station the artist must toil with the proletariat, and share in their life experiences. The artist should comprehend at its core the diversity and complexity of life represented by its material form but more importantly by its humanistic essence defined as seed theory, 종자론. Artwork is judged not just on its aesthetic/technical merits (예술성), but more importantly on its ideological quality (사상성). A masterpiece is produced when a balance is found between aesthetical and ideological quality.<br /><br /><br /><br /></span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLqSMMjY4AeL4DIj_VDrOzKT9v_JEmPW_D_OEaygPKbHNQR0rDmompUx80scts4WdyQpWeDYEE7twdaFWnnBwm4aCb7K5ghBlerKW96WG6wwp8ITnCWprprXa2TqBwK0ax-XhyphenhyphenWD6UpT4/s1600/220px-Heinrich_Lefler_around_1900.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLqSMMjY4AeL4DIj_VDrOzKT9v_JEmPW_D_OEaygPKbHNQR0rDmompUx80scts4WdyQpWeDYEE7twdaFWnnBwm4aCb7K5ghBlerKW96WG6wwp8ITnCWprprXa2TqBwK0ax-XhyphenhyphenWD6UpT4/s320/220px-Heinrich_Lefler_around_1900.jpg" style="border: none; position: relative;" width="320" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFAqGX8jMb2Vt4iYkOAJJEKC-uYydqzRNJ84ZEfHu5-JyZUIKzYPOwbjJ5LeS2xOs2_bpN4AvV817zFhvp8fdT-vgLKw4spQaO_keU0AAd6yxdCG_aCLQnNc_CTUEvHcEnIMnBvS7eG_Bt/s1600/a1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFAqGX8jMb2Vt4iYkOAJJEKC-uYydqzRNJ84ZEfHu5-JyZUIKzYPOwbjJ5LeS2xOs2_bpN4AvV817zFhvp8fdT-vgLKw4spQaO_keU0AAd6yxdCG_aCLQnNc_CTUEvHcEnIMnBvS7eG_Bt/s400/a1.jpg" style="border: none; position: relative;" width="400" /></span></a></div><span style="font-size: medium;"><div style="text-align: center;">Work and live with the mind and spirit of Pegasus!</div><br /><br />Kim Jong Il’s Misullon 미술론 (Treatise on Art, 1992), which begins by describing the relationship between humans and art describes the function and meaning of art in North Korea;<br /></span><blockquote><span style="font-size: medium;">
The art form that most accurately reflects the demands of the time and serves the people and their aspirations is juche art. Juche art is a revolutionary and people oriented art form that is national in form with socialist content. It is also a new form of art that perfectly fuses ideology and aesthetics. Materializing juche ideology in art best fits the people’s emotions and thoughts and acts as the basis for a new art form that serves our revolution...Beauty is tied to the autonomous desires and aspirations of humans and the emotional responsiveness a depiction evokes from a person... Emotion comes into force and can be experienced only when an artwork is based on the aspirations and desires of humans… A beautiful depiction of an object that is felt through an individual’s aesthetic emotion cannot exist without the active endeavor to understand and reform the world and oneself… Beauty occurs when a depiction of an object that meets the human desire and aspiration for autonomy is emotionally felt</span></blockquote><span style="font-size: medium;">
These characteristics have formed the main framework for North Korean poster art. Kim Jong Il considered posters as important tools in the mobilization of the masses, they have to have an instantaneous impact on the viewers’ understanding and their desire to act upon this understanding. Their message has to be accessible, clear and direct; informative and explanatory, as well as exhortative. The link between contemplation and action is crucial. A poster artist is ultimately an agitator, who, familiar with the party line and endowed with a sharp analysis and judgment of reality produces a rousing depiction of policies and initiatives that stimulate the people into action. Only if the poster appeals to the ideological and aesthetic sentiments of the people will it succeed in truly rousing the people. Kim Jong Il refers to poster painters as standard bearers of their times, submerged in the overwhelming reality and in touch with the revolutionary zeal and creative power of the people, leading the way from a position among the people.<br /><br /></span><div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Y-xqlv2CM31DzwdQPdsY3HtuXSNGXDexX5BXL0VZm1mMFG0MRUMxtXA_snOWFOpVswd3RCeLXSfPQzzRM8TkRwUgGh-HgJuE3F03uuUCRFp0AR-cymS4wTnf2MVpTq51VZsv2VOSkF8T/s1600/a1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Y-xqlv2CM31DzwdQPdsY3HtuXSNGXDexX5BXL0VZm1mMFG0MRUMxtXA_snOWFOpVswd3RCeLXSfPQzzRM8TkRwUgGh-HgJuE3F03uuUCRFp0AR-cymS4wTnf2MVpTq51VZsv2VOSkF8T/s400/a1.jpg" style="border: none; position: relative;" width="280" /></span></a></div>
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<tr><td><span style="font-size: medium;">The U.S. is truly an axis of evil</span></td><td><span style="font-size: medium;">Wicked Man</span></td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQJrAzYkLG7R4cMUnbhM-BKiHfdu4OVc7eOB-3g_17w4m7qNo-ZYkh6P7ePfPvsnrC2yd7ggfiO0Svr0SgW-z8K1nBKifELKz4xha-KSKoz7ffBk9m7iIuC3ryirfsFMHk2JNQDqpDZKYN/s1600/a1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQJrAzYkLG7R4cMUnbhM-BKiHfdu4OVc7eOB-3g_17w4m7qNo-ZYkh6P7ePfPvsnrC2yd7ggfiO0Svr0SgW-z8K1nBKifELKz4xha-KSKoz7ffBk9m7iIuC3ryirfsFMHk2JNQDqpDZKYN/s400/a1.jpg" style="border: none; position: relative;" width="269" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZMk1cxkgiPSOP-J01xEKRl6OLVf8mgolYsXfh2xXdoN7osKsB2oAUGw4qmDrwAnqpEVcaJxKFaY18jTVbhrsi8xvnUs1wprSmwVadR-wKO9L9_-BnQ7SngVpY9juXAmlBygbLUZaMKsbs/s1600/a1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZMk1cxkgiPSOP-J01xEKRl6OLVf8mgolYsXfh2xXdoN7osKsB2oAUGw4qmDrwAnqpEVcaJxKFaY18jTVbhrsi8xvnUs1wprSmwVadR-wKO9L9_-BnQ7SngVpY9juXAmlBygbLUZaMKsbs/s400/a1.jpg" style="border: none; position: relative;" width="285" /></span></a></div>
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<tr><td><span style="font-size: medium;">When provoking a war of aggression, we will hit back, beginning with the U.S.</span></td><td><span style="font-size: medium;">When we say we will, we will. We do not talk idly.</span></td></tr>
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<b><span style="color: #990000; font-size: x-large;">Depths of Hatred</span></b></h2><div><b><span style="color: #990000; font-size: x-large;"><br /></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEkqE03e9G9SJ282oI_PLXMG2cw1YARK-9l9vlh9sZXxKEnM3q7SW7V0Rm1JHPjZADZXPNVZpXb8Ox4sZdQ2TYpc878H4PhODxHLpg_GEi0Jc2JXhK3X6kkKNBlHogCoCzAVLbJeR4e0Q/s1600/d1.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEkqE03e9G9SJ282oI_PLXMG2cw1YARK-9l9vlh9sZXxKEnM3q7SW7V0Rm1JHPjZADZXPNVZpXb8Ox4sZdQ2TYpc878H4PhODxHLpg_GEi0Jc2JXhK3X6kkKNBlHogCoCzAVLbJeR4e0Q/s400/d1.jpg" style="border: none; position: relative;" width="400" /></span></a></div>
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<span style="font-size: x-large;"><span style="color: red;"><span style="text-decoration-color: initial; text-decoration-style: initial;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Eighteen" style="color: #7f8866; text-decoration: none;"></a></span><span>Switzerland Propaganda Poster, in 21st Century!</span></span><br /></span><br /><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0vWgimVH7Ae0zqo36XgBnLXBAz9uKDw6E5xndScEEgwq-HH7_PPXvXVRFVIFh8Y05NAOpoCDrEPmEd4S1c8YQW6A4cD6Fxsn1Y1Gz44JY_vWou8wj4UEn6ky0iXYnFCpOn5GS5RsxFnoo/s1600/a2.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0vWgimVH7Ae0zqo36XgBnLXBAz9uKDw6E5xndScEEgwq-HH7_PPXvXVRFVIFh8Y05NAOpoCDrEPmEd4S1c8YQW6A4cD6Fxsn1Y1Gz44JY_vWou8wj4UEn6ky0iXYnFCpOn5GS5RsxFnoo/s400/a2.JPG" style="border: none; position: relative;" width="500" /></span></a></div><span style="font-size: medium;">
On October 21st 2007, Swiss Justice Minister Christoph Blocher’s SVP party won 29% of the vote on the back of an election campaign dominated by an overtly racist anti-immigration campaign. The SVP’s election propaganda included a poster with three white sheep kicking a black sheep out of the country with the slogan ‘More Security!’.<br /><br /></span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDdQVaXX3em8YojFFH0w1q8x5oHIzS4YSKtTRMi92nwR3_tK75m0dehpXBa0BxQO8CBdFN7IzfMgTVv5zllOjEKy5gT0rHg13J-6xaBQBTQT61KrGWHoQX-9chdwX-q9wdD8br-EFWXYw/s1600/stopp_poster.png" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDdQVaXX3em8YojFFH0w1q8x5oHIzS4YSKtTRMi92nwR3_tK75m0dehpXBa0BxQO8CBdFN7IzfMgTVv5zllOjEKy5gT0rHg13J-6xaBQBTQT61KrGWHoQX-9chdwX-q9wdD8br-EFWXYw/s320/stopp_poster.png" style="border: none; position: relative;" width="400" /></span></a></div>
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According to a <a href="http://news.bbc.co.uk/2/hi/europe/8297826.stm" style="color: #7f8866; text-decoration: none;">BBC reprt on October 8th, 2009 </a>, Switzerland's biggest city, Zurich, did allow the use of this controversial poster which urges a ban on the building of minarets in the country . The poster shows a woman dressed in a burka in front of black minarets standing on a Swiss flag. But Zurich city council said campaign posters were protected by free speech. The advert was used by the far-right Swiss People's Party (SVP) ahead of a referendum on whether to ban the building of new minarets. At the time this poster was created, there were only four minarets in all of Switzerland. Apparently, the woman has forfeited her human right to choose for herself what she wants to wear. <span><br /><b><br /></b><br /><br /><br /><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPS5FR2OP6J74EvdxvRpgA4C4M7ZwT33CKDjDmNE-rXAvURzRBIxG82F2_SMYWka6TkpLK3qmMNIZYg4k69oXqMjJ0hKBl1dKSXdNl11BJ4ZRP1OeP8D3e28Imgpo-o4MS3Y4scdWWaIPr/s1600/a2.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPS5FR2OP6J74EvdxvRpgA4C4M7ZwT33CKDjDmNE-rXAvURzRBIxG82F2_SMYWka6TkpLK3qmMNIZYg4k69oXqMjJ0hKBl1dKSXdNl11BJ4ZRP1OeP8D3e28Imgpo-o4MS3Y4scdWWaIPr/s400/a2.JPG" style="border: none; position: relative;" width="467" /></a></div>
The propagandists boasted that:<br /><blockquote>
The success of the Swiss People's Party - and particularly its iconic posters - is driving the Establishment crazy in Switzerland. The searing power of these images - now regarded as among the great poster art of all time, and being sold in auction houses alongside the work of Toulouse-Lautrec - may well have played a significant role in altering the political dynamic in Switzerland.</blockquote>
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Start Mass Emigration.<br /><br />The designer Alexander Segert and his advertising agency Werbeagentur GOAL AG, have been apparently proud of their bizarre posters!<br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgblN_3BQH0Cai3tt1VunzDNjWZ2EWNsUys6o4k19fxSVK4GZESm3g2Pm_ZMyekwYp4oPR7FaXuUw3oSVft2TWzObt4BYGa2rKrFETgv1_rFVLO1EX0Qr2oyLO53gULYWOEQaaJPKM7B2w/s1600/b.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgblN_3BQH0Cai3tt1VunzDNjWZ2EWNsUys6o4k19fxSVK4GZESm3g2Pm_ZMyekwYp4oPR7FaXuUw3oSVft2TWzObt4BYGa2rKrFETgv1_rFVLO1EX0Qr2oyLO53gULYWOEQaaJPKM7B2w/s640/b.jpg" style="border: none; position: relative;" width="454" /></a></td></tr>
<tr><td>Foreign-vote? Easterners voting right: 2 times No, 2004<br /><div style="text-align: left;">
The poster is against the right to vote of foreign workers who legally work, pay taxes and show a tax declaration in the cantons Neuchâtel and Jura .</div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPsenIk8sAElDDXdtSID52du2ZBqonMPcjjKtd_sDxZVIevVWhuj3uPjEDfhP7X8TngnX7MwBEGg6Qxv0ANnPaf3BUzmHydkKJlBUv_fMjh3lYYRCXUHMKSSIR6P4gkD8XEPNaWQOp7rE/s1600/b.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPsenIk8sAElDDXdtSID52du2ZBqonMPcjjKtd_sDxZVIevVWhuj3uPjEDfhP7X8TngnX7MwBEGg6Qxv0ANnPaf3BUzmHydkKJlBUv_fMjh3lYYRCXUHMKSSIR6P4gkD8XEPNaWQOp7rE/s640/b.jpg" style="border: none; position: relative;" width="640" /></a></td></tr>
<tr><td><br />Poster against Free Movement of Bulgarians and Romanians -2008</td></tr>
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Poster shows black ravens eating Switzerland with the slogan: "Free entrance for all? No". In the background the fruits of Free Movement agreement argumented by the proponents is symbolized as an apple tree. The tree is stolen by one of the ravens.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIP8GIiPnBMXQ2PLvuS0IHHtZCSLcwdoGbu3DUcsXD2oNQa86Lfx8o06zMoJ38EvHfEXNya4Nt3Uxvls83YOTEzBibaoCWtwJb4fmuioQrMr-IxoBcsY3i9PzMPFTh_LJZr7jVGiAbgHA/s1600/b.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIP8GIiPnBMXQ2PLvuS0IHHtZCSLcwdoGbu3DUcsXD2oNQa86Lfx8o06zMoJ38EvHfEXNya4Nt3Uxvls83YOTEzBibaoCWtwJb4fmuioQrMr-IxoBcsY3i9PzMPFTh_LJZr7jVGiAbgHA/s400/b.jpg" style="border: none; position: relative;" width="280" /></span></a></td></tr>
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Non-whites grabbing Swiss passport. 2014</span></div><span style="font-size: medium;">
Schweizerische Volkspartei or SVP , caused outrage among open borders proponents on February 2014 when it gained enough signatures from the Swiss public, forcing the Swiss government to hold a referendum. This led to restrictions being placed on immigration, after the majority of Switzerland voted in favor of restrictions on February 9th.<br /></span><blockquote><span style="font-size: medium;">
Having regard to the poster depicting foreign hands grabbing Swiss passports, it should be said that immigrant couples must fulfill a 12 year waiting period of residence before being able to even apply for Swiss citizenship. Which is the longest waiting period for citizenship anywhere in Europe. Also it should be noted that 23% of the Swiss population being foreign is exaggerated by the fact that approximately a quarter of these people were actually born in Switzerland and have lived there for their whole lives but were unable to obtain citizenship due to strict naturalization laws and are therefore considered to be foreigners. <i>Daily Kos, February 11, 2014</i></span></blockquote>
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<span style="font-size: medium;"><br />The advocates for these posters believed:<br /></span><blockquote><span style="font-size: medium;">
A poster needs to reduce and compress - only in that way can it transmit its messages. The SVP has understood this very well: with conciseness in word and image - and statement - they achieved the optimal effect. Intellectual messages overburden a poster and cannot be deciphered quickly. The SVP advertising also stands out in the crowd by using illustrations instead of the widespread photo aesthetic. It uses the language of comics, a popular, generally understood visual language. This works perfectly through simplification of colour and form.<br /><br already="" always="" and="" another="" blockquote="" collective="" consist="" effect.="" even="" further="" have="" if="" immediately="" inscribed="" into="" is="" mass-immigration="" masseneinwanderung="" memory.="" message="" of="" our="" perfectly="" posters="" statements="" stop="" stoppen="" strengthen="" supplement="" textual="" the="" their="" themselves="" they="" two="" understood="" visual="" words:="" /><br /><br /><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdOvYwOtMwaj7cf2Iib51GnXp4CIUV-aSrd2NV2AVRUMVU_eokBm9Ia-8OovrVAe_cbcGgOqVwE5tV_7Lvy3RvzZWgB-PfS4UZ-8VurSxdcnayD7KhgBwSwB9bhk10KXb95I0G6-Z2QE4/s1600/b.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdOvYwOtMwaj7cf2Iib51GnXp4CIUV-aSrd2NV2AVRUMVU_eokBm9Ia-8OovrVAe_cbcGgOqVwE5tV_7Lvy3RvzZWgB-PfS4UZ-8VurSxdcnayD7KhgBwSwB9bhk10KXb95I0G6-Z2QE4/s400/b.jpg" style="border: none; position: relative;" width="400" /></span></a></td></tr>
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The four white sheep have rolled out the red carpet for golden sheep in this clever Hungarian cartoon that represent foreign millionaires. The cartoon criticizes Swiss' favorable tax policies toward rich people in order to entice foreign millionaires to reside in that country. This cartoon shows that authentic cartoonists can take a piece of propaganda filth such as Alexander Segert's "Sicherheit schaffen" cartoon and turn it into a genuine thought-provoking social commentary.</span></div>
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<span style="font-size: medium;"><br /><br /><br /></span><br /><br /><br /><br /><br /><br /><a href="http://guity-novin.blogspot.com/2010/05/chapter-30-posters-and-cult-of.html" style="color: #7f8866; font-size: 16px; text-decoration: none;">Go to the next chapter; Chapter 30 -- Posters and Cult of Persnality </a><br /><br /><br /><br /><br /><br /><br />------------------------------------------------------------------------------------<br /><div style="font-size: 16px; text-align: center;">
<a href="http://creativecommons.org/licenses/by-nd/3.0/" rel="license" style="color: #7f8866; text-decoration: none;"><img alt="Creative Commons License" src="https://creativecommons.org/images/public/somerights20.png" style="border: 0pt none; position: relative;" /></a></div>
This work is licensed under a <a href="http://creativecommons.org/licenses/by-nd/3.0/" rel="license" style="color: #7f8866; font-size: 16px; text-decoration: none;">Creative Commons Attribution-No Derivative Works 3.0 Unported License</a>.</blockquote>
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-67819991611245172222016-09-12T08:16:00.051-07:002023-08-26T16:05:32.265-07:00Chapter 1 - Birth of Graphic Design --From Cro-Magnon Art to <div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td><span style="font-size: large;"><b>Table of Contents: </b><br /><br />
</span><li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="#Zero" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Introduction</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="#one" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Cro-Magnon Art</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="#one1" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Rock Art in the Aïr Mountains of the Sahara</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="#Two1" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Wanjina Style of Kimberley</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="#Two" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Petroglyphs and Pictographs</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="#Eight" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">The Inception of Visual Communications in Ancient Egypt</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="#Nine" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">The Visual Communications and the Egyptian System of Beliefs</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="#Ten" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Canonical Proportions in Egyptian Design</span></a></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><a href="#Eleven" style="color: #7f8866; text-decoration-line: none;"><span style="font-size: large;">Vertical Perspectives with Multiple Viewpoints</span></a></li>
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<div style="font-family: Calibri;"><span style="color: #cc0000;"><span style="font-size: large; text-align: center;"><br /></span></span></div><div dir="rtl" style="font-family: Calibri; text-align: right;"><span style="color: #cc0000;"><span style="font-size: large; text-align: center;"><br /></span></span></div></div></div></div></div><div dir="ltr" style="text-align: left;" trbidi="on"><div class="post-body entry-content" style="background-color: white; line-height: 1.4; position: relative; width: 770px;"><div dir="ltr" trbidi="on"><div dir="ltr" trbidi="on"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijsUbeU86z66PxzjhbEnEGzGRhQMXO7RWrlJyjbpIskzvMEMcxhN7-ij1nE9jy320iM5q1b9y_SU8uu-GxmvfQ_7S7RV79ETfgH1Ko1m1S_A9dK3fNHMvB5PeHCdrxy9u3OmfIGf5cirXKExsc8krMJoBJd4zhXzZvDL3DrxOFi8XcId-oOEhx9OHA6Y8/s817/aa1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="623" data-original-width="817" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijsUbeU86z66PxzjhbEnEGzGRhQMXO7RWrlJyjbpIskzvMEMcxhN7-ij1nE9jy320iM5q1b9y_SU8uu-GxmvfQ_7S7RV79ETfgH1Ko1m1S_A9dK3fNHMvB5PeHCdrxy9u3OmfIGf5cirXKExsc8krMJoBJd4zhXzZvDL3DrxOFi8XcId-oOEhx9OHA6Y8/w506-h386/aa1.jpg" width="506" /></a></div><br /><div style="font-family: Calibri; text-align: left;"><span style="color: #222222; font-family: Arial, Arial, Helvetica, sans-serif; font-size: 13.2px; text-align: justify;">Although a great number of petroglyphs have been identified in Iran, only a few rock painting sites have been found. Despite this, a considerable number of rock paintings have been discovered in Kuh-e-Donbeh, which is a mountain located to the southwest of the city of Esfahan in central Iran. The paintings can be found on the rims of seasonal water channels on this mountain. All the depictions are painted with red pigment sourced from the immediate region. The motifs depicted include zoomorphs, anthropomorphs, horse-riding scenes, and some unknown shapes, </span><span class="html-italic" style="box-sizing: border-box; color: #222222; font-family: Arial, Arial, Helvetica, sans-serif; font-size: 13.2px; font-style: italic; max-height: 1e+06px; text-align: justify;">etc.</span><span style="color: #222222; font-family: Arial, Arial, Helvetica, sans-serif; font-size: 13.2px; text-align: justify;"> A farming theme is also prevalent in the corpus. The paintings are located in five areas and, in some cases, have been subject to intense weathering. </span></div></div></div></div></div><div dir="ltr" style="text-align: left;" trbidi="on"><div class="post-body entry-content" style="background-color: white; line-height: 1.4; position: relative; width: 770px;"><div dir="ltr" trbidi="on"><div dir="ltr" trbidi="on"><div style="font-family: Calibri;">
<span style="color: #cc0000;"><span style="font-size: large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Zero" style="text-decoration-line: none;"><span></span></a><span face="montserrat, sans-serif"></span></span><span style="font-size: large; text-align: center;"><br /> Introduction</span><span style="font-size: large;"> </span></span></div>
</div></div></div></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><span style="color: red;">A</span><span>s a manifestation of socio-cultural evolution, the emergence of graphic design, sculpted or painted on the surface of rocks, has played a key role in the history of Homo sapiens as a social being, and thus, the history of graphic design must encompass all the memory of human visual communications.Several hundred stylized compositions of animals by the primitive artists of the Chauvet cave, in the south of France, which were drawn even before 30,000 BC, the image of "Spotted Horses", painted by woman artists, inside France's Pech Merle cave dated 23,000 BC, as well as similar designs in the Lascaux cave of France, that were drawn more than 14,000 B.C., the Altamira cave paintings of bison from between 9,000 and 17,000 BC, drawings of primitive hunters in the Bhimbetka rock shelters in India which were drawn over 7,000 BC, Aboriginal rock art, in Kakadu National Park in Australia, and many other carved rock or rock paintings in other parts of the world bear witness to the very long history of the culture of visual communication shared by humanity.</span></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><span style="color: red;">T</span><span>he rock art refers to a very ancient form of visual communication. This art form includes painted, drawn, and sculpted works found on rock formations of all kinds: caves, rock shelters, and open-air boulders or rock outcrops. The term cave art is used to identify art in enclosed spaces. Found on five continents, rock art sites are among the most widespread cultural phenomena of humanity. They have stood the test of time and many can be seen to this day. </span></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><span style="color: #e06666;">T</span><span>he act of creating rock art involved considerable costs for the artist in terms of time and energy spent collecting all the necessary materials, such as pigments and lighting torches, which were very demanding and required considerable effort both for their collection and for their subsequent preparation. In addition, the paintings made deep in the caves also imposed an element of risk with the need to negotiate dangerous routes through the cave systems. The acceptance of these costs by the ancient pioneer artists seems to indicate that the motivation to produce rock art was strong.</span></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><span style="color: #cc0000;">T</span><span>he materials and methods used to produce cave art were varied, and artists used a range of colors to create naturalistic representations. The simplest and most accessible material to mark a cave wall was to use charcoal from the remnants of fires and a large percentage of the rock art produced was drawn this way. Among the pigments used for painting, ocher was a popular choice because this substance has long been used by early humans - perhaps for body art, but it has many uses, including medicinal qualities that make it suitable for healing wounds. Manganese and iron oxides have also been used as pigments, to produce black and red, respectively. Interestingly, almost all cave paintings were drawn in these two colors - although artists also had access to yellow and white colors, these were rarely used. The pigments often came from places several kilometres from where the caves were located.</span></span></div><div dir="ltr" trbidi="on"><span style="font-size: large;"><br /></span></div><div dir="ltr" trbidi="on"><div dir="ltr" trbidi="on"><span style="font-size: large;"><span style="color: #cc0000;">I</span><span>n the process of creating cave paintings, artists would have spent considerable amount of time inside the deepest caves and therefore needed some form of lighting. The simplest form of lighting was to use a piece of burning wood like a torch. As the torches burned, they were often wiped against the walls to remove excess charcoal. Such telltale marks have been found in many caves and have been used in radiocarbon dating. But the problem with torches was that they didn't last too long, so the main source of light were lamps that used animal fat or tallow fuel and a wick often made of lichen, juniper, or grass. The fuel could either be cut directly from the animal (for example, the kidney cavity of an ox) or come from the bone marrow. The lamps were made of pieces of stone with a handle on one end and a wider, ground out area, at the other end. More than a hundred of these lamps were found in the Lascaux cave, many on the ground directly under the paintings.</span></span></div><div><span style="font-size: large;"><br /></span></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #1f1c1c; font-family: Calibri; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJpvcINRlzKkGyP_grpfpW9zfLAaScOyDmB36VgM9NfhQ22vM7qxPSQ-PKd9v6o6VfvmN207az2lIanV_as2NqxrMBmAmI4ycXyN4tPxv6xiRdcu087N91b7QH8lHskih4w3a-t6WwdLQ/s1600-h/cave_art_-_female_artists_shown_by_hand_prints_Pech_Merle_cave_06_16_09.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5441952875616947826" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJpvcINRlzKkGyP_grpfpW9zfLAaScOyDmB36VgM9NfhQ22vM7qxPSQ-PKd9v6o6VfvmN207az2lIanV_as2NqxrMBmAmI4ycXyN4tPxv6xiRdcu087N91b7QH8lHskih4w3a-t6WwdLQ/s320/cave_art_-_female_artists_shown_by_hand_prints_Pech_Merle_cave_06_16_09.jpg" style="border: none; height: 252px; position: relative; width: 394px;" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: large;"><br /><span>The "Spotted Horses" mural, painted by woman artists inside France's Pech Merle cave dated 23 millennium BC is a fine example of the prehistoric graphic design. According to the analysis of Pennsylvania State University archaeologist Dean Snow many of the artists working in that cave were women. Until recently, most scientists assumed the prehistoric handprints on the rockwalls around such images belong to man.<a href="http://news.nationalgeographic.com/news/2009/06/photogalleries/cave-handprints-actually-women-missions-pictures/" style="color: #7f8866; text-decoration-line: none;">National Geographic</a></span></span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0JmJZN1aNsFwTbXBIEXUKjsGmOlbk6o1VWYfb0F6xoXuEXJ9fKrRRZS2Nre1Q6NkUnuxW5nyBIj0l9f_oAlaOK63Mz3KSc00TYXXAg991bmZvsJ-FXgBekAKppcACreSlQ5IHD5aVCHI/s1600/01t.PortraitofdeBry.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img alt="" border="0" height="282" id="BLOGGER_PHOTO_ID_5467587459373617490" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0JmJZN1aNsFwTbXBIEXUKjsGmOlbk6o1VWYfb0F6xoXuEXJ9fKrRRZS2Nre1Q6NkUnuxW5nyBIj0l9f_oAlaOK63Mz3KSc00TYXXAg991bmZvsJ-FXgBekAKppcACreSlQ5IHD5aVCHI/s320/01t.PortraitofdeBry.jpg" style="border: none; display: block; margin: 0px auto 10px; position: relative;" width="400" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">The image of a bison in Altamira Cave, Spain.</span></td></tr>
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<tr><td class="tr-caption"><span style="font-size: large;">Image of a horse in the Chauvet cave.</span></td></tr>
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<tr><td><img alt="" border="0" height="300" id="BLOGGER_PHOTO_ID_5436440003108103826" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM0275q_iYKEGuIhHPxvHEGBtjz1VlrFWBVUtaJi-MH-ECJAESHpsCW7y8qsGBZeeAsNAV7gcxANW9LUT8axvAM4kCQM-9gMT_mqzpHOGUyTPf-jaDmNagUnN8ml9KOSBt7sAjzYFAiis/s320/13759_106459582701694_100000129589211_165692_2292611_n.jpg" style="display: block; margin: 0px auto 10px;" width="400" /></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Drawing of a horse in the Lascaux cave.</span></td></tr>
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<tr><td><span style="font-size: large;"><img alt="" border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzMk4yXAvZRqVkBuyKqz1LucwjJ2h7Eat4ibkQH9FhKIpDZ5JxtMgJ1czE695IdNi5xakNF8BtlkDlGhOvb3A4bP0H6MmPobMtnU-Ll64LU7x_6isvuPcxuxpkm1NKTqftIc9jPnr_JcU/s320/01t.PortraitofdeBry.jpg" style="margin-left: auto; margin-right: auto;" width="265" /></span></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">A rock drawing in Bhimbetka India.</span></td></tr>
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<tr><td><img alt="" border="0" height="288" id="BLOGGER_PHOTO_ID_5466793311557566626" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZK8e1zPmZTcg9rSMdHwAbh3JXRRH7XYjAV82FCmjuc9AJ9agD6kbmkZTP0icJGTmzk4MKZRUgcEVDXom9mhzRuCH6DH0okpGwYeJ6ZRFo750dqky5EtqFUinv5-TiB_v_EqorqD3DLcM/s400/aicher+copy.jpg" style="display: block; margin: 0px auto 10px;" width="640" /></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Aboriginal Rock Art, Ubirr Art Site, Kakadu National Park, Australia</span></td></tr>
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<tr><td><img alt="" border="0" height="255" id="BLOGGER_PHOTO_ID_5436441142210224258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3dYZoP0T9vUDKz1G7Kjo2iQVAh71fkiBtxV5ElkIYu4bXObYL_5KA9F_nbZC4a052M5y5xgYttcqW9KZ3DKQbTcicXL1qCIgpNJQp_oRmlxzHHsHDqGtGYobhUpZ6_GlxXtQh8BQmxx0/s320/13759_106459582701694_100000129589211_165692_2292611_n.jpg" style="display: block; margin: 0px auto 10px;" width="400" /></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">A battle image on Tassili rocks of Ajjer (Algeria),</span></td></tr>
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<span style="font-size: large;"><b style="color: #1f1c1c;"><br /></b><span style="color: #1f1c1c;"><b></b></span><br /></span><div style="text-align: left;">
<span style="font-size: large;"><span style="color: #1f1c1c;"><b></b></span><br /><span style="color: #1f1c1c;"><b></b></span><br /><span style="color: #1f1c1c;"><b></b></span><span style="color: #1f1c1c;"><span style="color: red;">A</span></span><span style="color: #1f1c1c;"> </span><span style="color: #1f1c1c;">good example of this art is observable on the paintings of Altamira, which are located in the deep recesses of caves in the mountains of Northern Spain, far out of the reach of the destructive forces of wind and water. As a result these paintings have been preserved rather intact from 9,000-17,000 B.C. In addition to these murals, Altamira is the only site of cave paintings in which tools, hearths and food remains also have been found. These signs shed light on the habitat, and living conditions of these prehistoric artists . Unlike the other similar caves in Europe and elsewhere, the Altamira caves show no signs of soot deposits, which perhaps suggest that the people at Altamira had slightly more advanced lighting technology emitting less smoke and soot than the torches and fat lamps which Paleolithic people are given credit for.</span><br /><br /><span style="color: red;">I</span><span style="color: #1f1c1c;">t should be noted that, there is no consensus among archaeologists as to when Altamira's parietal art was first created. Early investigations suggested that the most of it was created at the same time as the Lascaux cave paintings - that is, during the early period of Magdalenian art (15,000 BC). But according to the most recent research, some drawings were made between 23,000 and 34,000 BCE, during the period of Aurignacian art, contemporaneous with the Chauvet Cave paintings and the Pech-Merle cave paintings. The general style at Altamira remains that of Franco-Cantabrian cave art, as characterised by the pronounced realism of the figures represented. Indeed, Altamira's artists are renowned for how they used the natural contours of the cave to make their animal figures seem extra-real.<br /></span><br /><span style="color: #1f1c1c;">Like the Lascaux cave, Altamira has three types of art: coloured paintings, black drawings and rock engravings. As mentioned above, subjects are mostly animals (bison, boar, deer, horses), although there are eight anthropomorphic figures and a large amount of geometric signs and symbols.</span><br /><br /></span><div class="separator" style="clear: both; color: #1f1c1c; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS2xC05gh63K0pp-7w827CZZXQtj-rHOGThxcZtQOGHNUAW3054LHezMiJH0HYA45YR6Jvkx17iaIB_WmJYWdIMZlHeJuHbqXL6b5sIBrq4MDasIxqfqttz_TebMy7wY9bwSN9nMQg3HQ/s1600/k.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: large;"><img border="0" data-original-height="400" data-original-width="790" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS2xC05gh63K0pp-7w827CZZXQtj-rHOGThxcZtQOGHNUAW3054LHezMiJH0HYA45YR6Jvkx17iaIB_WmJYWdIMZlHeJuHbqXL6b5sIBrq4MDasIxqfqttz_TebMy7wY9bwSN9nMQg3HQ/s640/k.JPG" style="border: none; position: relative;" width="640" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilmAZH2P-HuqipJjjlFKqN2kQDc_L_4NOAsXODoZmY4grERr-rAmoAskCz7yGZN5dRRq4rmMIk0QbVi27NHgLiScDxrJtltDyUYli23kyQN2Vz4NEx8hXNpFuUBpZlfvcc46QixHeBGrg/s1600/k.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: large;"><img border="0" data-original-height="571" data-original-width="770" height="475" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilmAZH2P-HuqipJjjlFKqN2kQDc_L_4NOAsXODoZmY4grERr-rAmoAskCz7yGZN5dRRq4rmMIk0QbVi27NHgLiScDxrJtltDyUYli23kyQN2Vz4NEx8hXNpFuUBpZlfvcc46QixHeBGrg/s640/k.JPG" style="border: none; position: relative;" width="640" /></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiSK4CArs7YN_ysfmEuhDFZ8jNOjtHxUKnKSQ3rwScLrG7sNFoI79FKq5SocCnks0IdzLtYTePwvUzcKCAENo931wJx26Edi8AWV-SXEzjT8kAIn9QNn-OINBWi3Bbl4zkQlXxkV7eOXA/s1600/k.JPG" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><span style="font-size: large;"><img border="0" data-original-height="631" data-original-width="941" height="429" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiSK4CArs7YN_ysfmEuhDFZ8jNOjtHxUKnKSQ3rwScLrG7sNFoI79FKq5SocCnks0IdzLtYTePwvUzcKCAENo931wJx26Edi8AWV-SXEzjT8kAIn9QNn-OINBWi3Bbl4zkQlXxkV7eOXA/s640/k.JPG" style="border: none; position: relative;" width="640" /></span></a></div>
<span style="font-size: large;"><br /><br /><span style="color: #1f1c1c;">The paintings are unique for several reasons. First, they are composed of many different colours (up to three colours in a single animal), more than is common in most other examples of parietal art. The bisons in particular are depicted in varying shades, making them appear astonishingly lifelike. Second, the animals - twenty-five of which are depicted in life-size proportions - are depicted with unusual accuracy. The bisons are especially well rendered; so too is the red deer. Other animals are also depicted in detail, down to the texture of their fur and manes. Third, when composing their pictures, the Magdalenian artists took full advantage of the natural contours, facets and angles of the rock surface to make the figures as three-dimensional as possible.<br /><br /><span><span style="color: red;">T</span></span>he Altamiran artists primarily focused on bison, which was a main economic resource for them. Not only as a source of food, but also other useful commodities like skin, bones and fur. These prehistoric artists used natural earth pigments like ochre and zinc oxides, some of the images are painted with three colors. This is a significant artistic achievement, particularly when taken into consideration the masterly execution of the animal's anatomy, and their accurate physical proportions.<b> </b><br /><b><b></b></b><br /><br /></span></span></div><div style="color: #1f1c1c; text-align: left;"><span style="font-size: large;"><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9BPlATIGXwdOuuzPdWrC3ONBKWxPxx98c41spHBKR18Mo5z5ky7g9anpZHokFhpRI9px7LuDm3wR5JtmlcXP8hLs9O9lLdYj0ZNaclOH1Sj88cK_Y9Hc1IvZT28ZhulTJHP7GpDw_Syk/s1600/63745e678adb4e6b87ec5682ed8259d4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9BPlATIGXwdOuuzPdWrC3ONBKWxPxx98c41spHBKR18Mo5z5ky7g9anpZHokFhpRI9px7LuDm3wR5JtmlcXP8hLs9O9lLdYj0ZNaclOH1Sj88cK_Y9Hc1IvZT28ZhulTJHP7GpDw_Syk/s640/63745e678adb4e6b87ec5682ed8259d4.png" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;"><br />On the 18th December 1994, three French cavers - Eliette Brunel-Deschamps, Christian Hillaire and Jean-Marie Chauvet discovered the Chauvet cave with breathtaking Palaeolithic period paintings which are about 35,000 years old.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXh1g_eLMyKz9adGO4wPylEgfv8qZeihWcSo3yKLYUQtLOoDFTVN3sCwrwcsDHM9-Rs4hNfs0lrXScFl4FxUIglx6R60UynqVN5eNHqt_VPIYel_yQ9BFXyT3DcrVz15BwAXl542HIFHk/s1600/91-amsel.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXh1g_eLMyKz9adGO4wPylEgfv8qZeihWcSo3yKLYUQtLOoDFTVN3sCwrwcsDHM9-Rs4hNfs0lrXScFl4FxUIglx6R60UynqVN5eNHqt_VPIYel_yQ9BFXyT3DcrVz15BwAXl542HIFHk/s640/91-amsel.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;"><br />The paintings of the Chauvet cave depict a stunning menagerie of the beasts that roamed Ice Age Europe 35,000 years ago. </span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6GIN7-a-O9D-4xY367DjT8g8Eu3majLK_6cscwgD3CIGOQnNk7emPAaPf4d0ZmTnySuwf9jNUQYllRRK0B_yZhWtpRffqylROOfGxGrk-FpDmw94m23I-ByPRc08gNoKJ3Q-7lmTc0LM/s1600/63745e678adb4e6b87ec5682ed8259d4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6GIN7-a-O9D-4xY367DjT8g8Eu3majLK_6cscwgD3CIGOQnNk7emPAaPf4d0ZmTnySuwf9jNUQYllRRK0B_yZhWtpRffqylROOfGxGrk-FpDmw94m23I-ByPRc08gNoKJ3Q-7lmTc0LM/s640/63745e678adb4e6b87ec5682ed8259d4.png" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;"><span><br />P</span><span>ainted in charcoal and red ochre, or etched into the limestone, the artists worked with the contours of the rock with careful shading and skilful technique to bring more than 400 animals to life, revealing movement and depth.<br /><br /><br /></span></span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHQdYPbBMj88PRMlxJm_lPOkh5MyLsH_CpPv83P_QQpkHn8RB9I2nbvUR51vti1UJ8baYoLvD7Ws_iOZhp-BFBN7jgz1smDvAE6eysNaousdUuvk8RCG5veaJ5wrugYBDdFGYS5T2jQuw/s1600/63745e678adb4e6b87ec5682ed8259d4.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHQdYPbBMj88PRMlxJm_lPOkh5MyLsH_CpPv83P_QQpkHn8RB9I2nbvUR51vti1UJ8baYoLvD7Ws_iOZhp-BFBN7jgz1smDvAE6eysNaousdUuvk8RCG5veaJ5wrugYBDdFGYS5T2jQuw/s640/63745e678adb4e6b87ec5682ed8259d4.png" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;"><span><br />Paintings are not the only traces of the human presence: as the soil remained untouched, twenty footprints of a preteen, fireplaces and flint tools with traces of use are also present.<br /></span><br /><br /></span><div style="text-align: left;">
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<span style="color: #cc0000;"><span style="font-size: large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="one" style="text-decoration-line: none;"><span></span></a><span face="montserrat, sans-serif"></span></span><span style="font-size: large; text-align: center;">Cro-Magnon Art</span></span><span style="font-size: large;"> </span></div></div>
<div dir="ltr" trbidi="on"><span style="font-family: Calibri; font-size: large;"><span><span style="color: brown;"><br /></span></span></span></div><div dir="ltr" trbidi="on"><span style="font-family: Calibri;"><span style="font-size: large;"><span style="color: red;">B</span><span style="color: #1f1c1c;">efore adopting a sedentary lifestyle, nomadic groups, like other living creatures, spent most of their lives foraging for food. Our ancient ancestors were much less isolated from nature than we are today. Unlike us who tend to move away from animals by creating urban centers, they have cohabited with them. In 1863-64, the French geologist Édouard Lartet and his friends Henry Christy excavated a number of caves and rock shelters at Cro-Magnon near the town of Eyzies-de-Tayac in the Dordogne in the southwest of France, where they found a number of ancient human skeletons. It was during their excavations at La Madeleine that the engraved drawing of a mammoth on mammoth ivory was found, accompanied by stone tools. Stone tool technology is one of the most durable and studied materials reflecting prehistoric human culture. This observation can be considered as proof that graphic art appeared even before the emergence of agriculture and a sedentary lifestyle. Geologists have discovered five archaeological layers, where human bones have been found in the top layer that could be dated 10,000 to 35,000 years old. </span></span></span></div><div dir="ltr" trbidi="on"><span style="font-family: Calibri;"><span><span style="color: #1f1c1c; font-size: large;"><br /></span></span></span></div><div dir="ltr" trbidi="on"><span style="font-family: Calibri; font-size: large;"><span><span style="color: #1f1c1c;">The prehistoric humans identified by this discovery were called Cro-Magnons and have since been considered, along with the Neanderthals, to be representative of prehistoric humans. Modern studies suggest that Cro-Magnon appeared even earlier, perhaps 45,000 years ago. </span><span style="color: #1f1c1c;">Cro-Magnons were robustly built and powerful and are presumed to have been about 166 to 171 cm tall. The body was generally heavy and solid, apparently with strong musculature. The forehead was straight, with slight browridges, and the face short and wide. Cro-Magnons were the first humans (genus Homo) to have a prominent chin. The brain capacity was about 1,600 cubic centimeter, somewhat larger than the average for modern humans. It is thought that Cro-Magnons were probably fairly tall compared with other early human species.</span><br /><br /><span style="color: #1f1c1c;">Instead of avoiding Chauvet Cave, a potentially dangerous place, it appears that these early humans embraced their affinity with animals and ventured into caves where predators had sought refuge. Although they had recognized the spiritual significance of the cave, they also respected that space as the domain of the cave bears. Thus, they never used this space as a shelter, but employed it only for painting and possibly for their ritual ceremonies. Instead of trying to subjugate the cave bears or occupying their place, they used the space only in special occasion. </span></span><br /></span><div style="color: #1f1c1c; font-family: Calibri;">
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<div><span style="font-size: large;"><span><span style="color: #cc0000; font-family: Calibri;">T</span><span style="color: #1f1c1c; font-family: Calibri;">he subjects of these paintings bear witness to the admiration that artists felt for the beauty of animals in their ecological environment. These early artists demonstrated their respect for the animals by being meticulously faithful to their anatomical detail. In fact, their art exhibits an intimate knowledge of the animal world, as is evident by their ability to accurately represent not only the appearance of animals but also their behaviors. In Chauvet, there are paintings of multiple horses shown with their mouths open giving the impression they are whinnying, rhinos fighting with legs jutting forward and horns colliding, and a male lion courting a female who is "raising her lips [and] baring her teeth." What is amazing about these pieces are the sensory response they trigger in the viewer. The viewer is able to hear the whinnies, the clashing of the horns, and the harsh growl. More importantly, the viewer feels the emotions of the animal and can understand their story. </span></span><span style="color: #1f1c1c; font-family: Calibri;">To have such a penchant for relating these stories, artists must have a strong connection to these animals, which has helped them develop a powerful visual communication grammar - a grammar that will be discussed throughout this book. In order to properly describe these stories, he or she must have been able to empathize with the animals and understand their emotions. By sympathizing with animals, they saw themselves as part of this animal kingdom, not necessarily dominant over it.</span></span></div><div><span style="font-size: large;"><span style="color: #1f1c1c; font-family: Calibri;"><br /></span></span></div><div><span style="font-size: large;"><span style="color: #1f1c1c; font-family: Calibri;"><br /></span></span></div>
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<span style="color: #cc0000;"><span style="font-size: large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="one1" style="text-decoration-line: none;"><span></span></a><span face="montserrat, sans-serif"></span></span><span style="font-size: large; text-align: center;">Rock Art in the Aïr Mountains of the Sahara</span></span><span style="font-size: large;"> </span></div><div style="font-family: Calibri;"><span style="font-size: large;"><br /></span></div><div style="font-family: Calibri;"><span style="font-size: large;"><br /></span></div></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAa3sSJREr06ZxGYrgi-JrnlJEnA1IbDdo4Bh9vZgvNi6nxtBlkBUM4FAWcTu1s5w5995AkrdUCneGvI9w4YCPKEctptoReJTA5-daI3SRPBFy1FSKNo8v2ZDW6-_LtoydV-VvCJixXZG4nVT1bxzDK_AuMCDWxGc_5lyBwRvh0tEmKY6wGByBEvYk/s900/309020437_129117046550875_3148153850089453955_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="599" height="693" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAa3sSJREr06ZxGYrgi-JrnlJEnA1IbDdo4Bh9vZgvNi6nxtBlkBUM4FAWcTu1s5w5995AkrdUCneGvI9w4YCPKEctptoReJTA5-daI3SRPBFy1FSKNo8v2ZDW6-_LtoydV-VvCJixXZG4nVT1bxzDK_AuMCDWxGc_5lyBwRvh0tEmKY6wGByBEvYk/w461-h693/309020437_129117046550875_3148153850089453955_n.jpg" width="461" /></a><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both;"><span style="font-size: large;">In the heart of the Sahara is the Ténéré desert. 'Tenere', literally translated as 'where there is nothing', is a barren desert landscape stretching for thousands of miles, but this literal translation belies its ancient meaning - for over two millennia the Tuareg operated the trans-Saharan caravan trade route linking major cities on the southern edge of the Sahara via five desert trade routes to the northern coast of Africa.</span></div><div class="separator" style="clear: both;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-size: large;">Life in the region now known as the Sahara has evolved over millennia, in various forms. A particular piece of evidence of this centuries-old occupation can be found atop a solitary rock outcrop. Here, where the desert meets the slopes of the Aïr Mountains, lies Dabous, home to one of the finest examples of ancient rock art in the world - two life-size giraffes carved in stone. They were first recorded in 1987 by Christian Dupuy. A subsequent field trip organized by David Coulson of the Trust for African Rock Art, caught the attention of archaeologist Dr Jean Clottes, who was surprised at their significance, due to their size, beauty, and technicality.</span></div><div class="separator" style="clear: both;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-size: large;">The two giraffes, a large male in front of a smaller female, were etched side by side on the weathered surface of the sandstone. The larger of the two stands over 18 feet tall, combining several techniques including scraping, smoothing, and deep contour engraving. However, signs of deterioration were clearly evident. Despite their remoteness, the site began to receive more and more attention, as these exceptional engravings began to suffer the consequences of voluntary and involuntary human degradation. The petroglyphs were damaged by trampling, but perhaps worse than that, they were defaced by graffiti, and fragments were stolen.Under the auspices of UNESCO, the Bradshaw Foundation was tasked with coordinating the Dabous preservation project, in association with the Trust for African Rock Art.</span></div></div><br /><div>
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<span style="color: #cc0000;"><span style="font-size: large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Two1" style="text-decoration-line: none;"><span></span></a><span face="montserrat, sans-serif"><span>Wanjina Style of Kimberley</span><span> </span></span></span><span style="font-size: large; text-align: center;">Region of Western Australia</span><span style="font-size: large;"> </span></span></div>
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<span style="font-size: large;"><span>Aboriginal people in northern and central Kimberley </span><span><span style="text-align: center;">region of Western Australia</span> </span><span>continue to identify with Wanjina, a continuous tradition dating to the last 4000 years. As figurations of supernatural power, images of Wanjina are characterised by halo-like headdresses and mouthless faces with large round eyes, set either side of an ovate nose. These ‘Creator Beings’ and the ‘Wunggurr Creator Snake’ are painted in many forms and can be repainted to ensure annual renewal of the seasonal cycle and the associated periods of natural fertility. The actual Wanjina is believed to either reside in the rock where it is painted or to have left its body there. </span></span></div><span style="font-size: large;"><span><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPWdq2CJZJv728dusNOeSEhd2L6d0ST0IVgoazpOZGZSLes-nJ0xk5kafR0XXzTp-a1MY632wsyM2kCNbjzPdHMf5y8iYJjI_K8AMn5eJVlxvGVQnEY9mvLvwCIZXBCigHFKZHZf9fcDQ/s1600/%25D8%25A8.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="502" data-original-width="1021" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPWdq2CJZJv728dusNOeSEhd2L6d0ST0IVgoazpOZGZSLes-nJ0xk5kafR0XXzTp-a1MY632wsyM2kCNbjzPdHMf5y8iYJjI_K8AMn5eJVlxvGVQnEY9mvLvwCIZXBCigHFKZHZf9fcDQ/s640/%25D8%25A8.png" width="640" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: large;"><br />Kimberley region of Western Australia is one of the world’s oldest and richest rock art regions. Two major traditions of rock art are seen in the Kimberley - Gwion Gwion Bradshaw figures and Wandjina rock art. Claimed to be some of the earliest figurative art, the Gwion Gwion or Gyorn Gyorn paintings were first seen by European eyes in the late 1890’s. Their distinguishing feature is the stick-like human figures, often depicted with adornments of tassels or sashes.</span></td></tr>
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<span style="font-size: large;">The land of the Wunambal Gaambera people, which unfurls over 6.17 million acres (2.5 million hectares) in the north Kimberley, is home to tranquil Swift Bay, or <em style="box-sizing: border-box; outline: 0px;">Warrabii West</em>. “Two sites at Swift Bay are close together but depict totally different styles,” says Silversea guest lecturer Tim Harvey. “One site contains mostly Gwion figures. The other, more recent site, has large Wandjina figures on the ceiling, as well as numerous fish, ducks, turtles and crocodiles.”</span></div>
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<span style="font-size: large;">According to Harvey, this location is the perfect place to compare the two principal Kimberley rock art styles, which are Wandjina and Gwion (also called Bradshaw) art. The large, wide-eyed Wandjinas are spirit figures drawn on thousands of cliffs and cave walls in the Kimberley.</span></div>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: large;"><br />The Wandjina is highly revered as the Supreme Being spirit for the Worrora, Ngarinyin and Wunumbal tribes in the Kimberley. These language groups make up the Mowanjum Community located 15km outside of Derby. The artists at the Mowanjum Aboriginal Art & Cultural Centre depict Wandjina and Gyorn Gyorn figures based on the cave paintings central to their culture.</span></td></tr>
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<span style="font-size: large;">Researchers who study Aboriginal rock art face a significant challenge— definitively dating these pieces. From 2013 until 2016, Dr. June Ross from the University of New England, Dr. Kira Westaway from <a href="https://www.mq.edu.au/newsroom/2016/09/01/ice-aged-aboriginal-art-in-the-kimberley/" style="background-color: transparent; box-sizing: border-box; color: black; outline: 0px;">Macquarie University</a>, together with her colleagues and Aboriginal community members, analyzed art in over 200 sites in the northwest Kimberley.</span></div>
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<tr><td class="tr-caption" style="text-align: left;"><span style="background-color: white; color: #383838; font-family: "Crimson Text";"><span style="font-size: large;"><br />In their study published in the scientific journal PLOS ONE, the researchers explain how they used a technique known as Optically Stimulated Luminescence (OSL) to date wasp nests overlying the artworks. The method measures the period since grains of sand, which are found within mud wasp nests, were last exposed to sunlight. By learning when the nests were constructed, researchers can use the resulting age to confidently claim that the artist painted the image before the mud wasp created its nest. OSL results confirmed that the art was indeed ancient, providing evidence that art has a minimum age estimate of more than 16,000 years.</span></span></td></tr>
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<div style="background-color: white; box-sizing: border-box; margin-bottom: 1rem; outline: 0px; text-align: left;"><span style="color: #383838; font-family: "Crimson Text"; font-size: large;"> </span></div><div style="background-color: white; box-sizing: border-box; margin-bottom: 1rem; outline: 0px; text-align: left;"><span style="color: brown; font-family: Calibri; font-size: large;"><br /></span></div><div style="background-color: white; box-sizing: border-box; margin-bottom: 1rem; outline: 0px; text-align: left;"><span style="color: brown; font-family: Calibri; font-size: large;">Rock Art in Game Pass Shelter, South Africa </span></div><div style="background-color: white; box-sizing: border-box; margin-bottom: 1rem; outline: 0px; text-align: left;"><span style="color: brown; font-family: Calibri; font-size: large;"><br /></span></div><div style="background-color: white; box-sizing: border-box; color: #383838; font-family: "Crimson Text"; margin-bottom: 1rem; outline: 0px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJRARwpXQbp3VK8nkVgaAIAs8kMC-dB2yyqJ_8_nJHNmP5e0LYtgvrP_O9SofJPLNdh1Xtl4F53qh3Mnz304clz6A50Flb7_ahcrlil7CRz6mVFOF6oY0msdzC5ywp-XHg6rW6uChEMew/s1420/240879233_4837249016289370_6321901660709220205_n.jpg" style="font-family: Sans; margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="950" data-original-width="1420" height="494" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJRARwpXQbp3VK8nkVgaAIAs8kMC-dB2yyqJ_8_nJHNmP5e0LYtgvrP_O9SofJPLNdh1Xtl4F53qh3Mnz304clz6A50Flb7_ahcrlil7CRz6mVFOF6oY0msdzC5ywp-XHg6rW6uChEMew/w738-h494/240879233_4837249016289370_6321901660709220205_n.jpg" width="738" /></span></a></div>
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</div><span style="font-size: large;"><span><div style="text-align: center;">Polychrome paintings of elands and human characters on the Game Pass site, located in the Drakensberg mountains, in the province of Kwazulu-Natal South Africa.</div><div style="text-align: left;"><div><br /></div><div>High in a secluded valley in the Drakensberg Mountains sits the spectacular Game Pass site. Here, on the walls of a narrow sandstone shelter, are painted numerous images of eland (the largest of all antelopes). For a shelter so open to the elements, the paintings are miraculously well preserved and in some places the brush marks are still visible. Among the many images of eland are smaller human figures in running postures. This site, however, is best known for a group of images tucked away on one side of the shelter. It was an in-depth analysis of these images that first led researchers to realize that art was a system of metaphors closely associated with San shamanic religion.</div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4uPBRMZg28TYy010q3Ef3CTIAd2kQVbnTHljV5hGAVyDsyeI0fOZy88RtGsCDPJFg6z-B3uekBFJ3Py6wR5jB-s3tZLov5zx1iYNlyOalswfKnpghrpQ3xWL_3bxKMtQaxp701o3uu98/s263/240879233_4837249016289370_6321901660709220205_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="192" data-original-width="263" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4uPBRMZg28TYy010q3Ef3CTIAd2kQVbnTHljV5hGAVyDsyeI0fOZy88RtGsCDPJFg6z-B3uekBFJ3Py6wR5jB-s3tZLov5zx1iYNlyOalswfKnpghrpQ3xWL_3bxKMtQaxp701o3uu98/w520-h380/240879233_4837249016289370_6321901660709220205_n.jpg" width="520" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvRVLfByPDh7m4B2P4WpEoE_-AvMQvsyA-7YWdOcrg00aGBfX244jzcNslnetZMYWu3nr7B7HREsfmmiOYG9MlJ6l5jp5XC7ZHVs9qV6m9S4gseGkqK-n0b5dUxiFvXdKJne3l8EAmpSw/s447/240879233_4837249016289370_6321901660709220205_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="273" data-original-width="447" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvRVLfByPDh7m4B2P4WpEoE_-AvMQvsyA-7YWdOcrg00aGBfX244jzcNslnetZMYWu3nr7B7HREsfmmiOYG9MlJ6l5jp5XC7ZHVs9qV6m9S4gseGkqK-n0b5dUxiFvXdKJne3l8EAmpSw/w469-h286/240879233_4837249016289370_6321901660709220205_n.jpg" width="469" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div style="text-align: center;"><br /></div></div></span> <br />
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<span style="font-size: large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Two" style="color: #7f8866; text-decoration-line: none;"><span style="color: #993300;"></span></a><span face="montserrat, sans-serif"><span style="color: brown;">Petroglyphs and Pictographs</span></span></span></div>
<span style="font-size: large;"><br /><span style="color: #1f1c1c; font-family: Calibri;"><div>Rock art has been divided into several categories:</div><div><br /></div><div>I. Lichenoglyphs are created by scratching the surface of a rock covered with lichen to create, by contrast, a more or less complex pattern;</div><div><br /></div><div>ii. Sgraffito are patterns produced on the surface of a rock by removing the top layer to reveal the contrasting layer below. These patterns are usually in lighter shades, as the rock surface acquires a darker patina over time;</div><div><br /></div><div>iii. Petroforms are rocks arranged in lines or circles on the ground, or stacked on top of each other - like an Inuit inukshuk - to form a figure. Petroforms have several purposes: practical or linked to the cosmology of the groups that created them;</div><div><br /></div>iv. Geoglyphs are large geometric or figurative patterns created by removing the surface of the ground to produce a contrasting pattern with the layer below.</span></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><br /></span></div><span style="font-size: large;"><br /></span><div><span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><br /></span></div><div><span style="color: #1f1c1c; font-family: Calibri; font-size: large;">In general, Petroglyphs, carved or pecked into stone, are the most common form of rock art remaining in Nevada, Scandinavia, and Canada. Early artists sometimes chose a stone covered with a dark surface called desert varnish (or patina) and carved through the surface, creating an image in the lighter colored rock beneath. While desert varnish has covered the images, the original marks are still visible. Pictographs were painted onto the surfaces with red, yellow, and sometimes green pigments made from minerals or plants and other organic material. Over thousands of years, water, wind, and even people have washed away or damaged much of the paint, leaving only faint traces of some of these paintings. </span></div><div><span style="color: #1f1c1c; font-family: Calibri;"><span style="font-size: large;"><br /></span></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;"><span style="color: #cc0000; font-family: Calibri;">Rock Art in </span><span style="font-family: Calibri;"><span style="color: #cc0000;">Scandinavia </span><br /></span><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #1f1c1c; font-family: Calibri; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz9SPxdoBYMkmBnnVG2AI3FyIuOqL-U-9Axdwy0sQ5n9MeEsYD0ezl0Lsjuy4r0kxCUo2gC9D1aggtOmoBx2eHfVlkCZuOWEVsFaOY_T8s8NWnBdWBR2AKsP9aUkk_gV8Z7HYXGYm1bNM/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" data-original-height="600" data-original-width="800" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz9SPxdoBYMkmBnnVG2AI3FyIuOqL-U-9Axdwy0sQ5n9MeEsYD0ezl0Lsjuy4r0kxCUo2gC9D1aggtOmoBx2eHfVlkCZuOWEVsFaOY_T8s8NWnBdWBR2AKsP9aUkk_gV8Z7HYXGYm1bNM/s640/a.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: large;"><br />The Petroglyphs in Tanum, located in the northern part of Bohuslän province in western Sweden (Västra Götaland County), are a unique artistic achievement for their rich and varied motifs (depictions of humans and animals, weapons, boats, and other symbols) and for the cultural and chronological unity they express. They reveal the life and beliefs of people living in the Nordic region of Bronze Age Europe, and are remarkable for their large numbers and outstanding quality. A cultural landscape with a continuity in settlement and consistency in land use that spans more than eight millennia, the area is rendered outstanding by its assemblage of Bronze Age rock art.</span></td></tr>
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<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: large;"><br />Ships were a very frequent motif in the South Scandinavian Bronze Age. There are thousands of petroglyphs depicting ships and they are a common motif on bronze razor knifes, of which also many have been found. For example, half of Bornholm's petroglyphs depict ships.<br /><br />Flemming Kaul has analyzed ship images on Danish bronze objects and found that 97 ships are sailing to the right while only 26 of the ships are sailing left. By comparing with the sun chariot and the sun's path in the sky, seen to the south, we can conclude that the 97 ships are sailing to the west and the 26 against east. The motives that are attached to the respective right and left sailing ships are different, indicating that the sailing direction is not random. As many as 41 of the right-sailing ships have attached circles, which can be interpreted as sun symbols, while not a single ship sailing to the left is attached with sun symbols.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG_SofxVQ5vGl1J4xZsJk6DDhV2t2TWJSZv9fMyQioCLSzS3k0LCt7qZkDRunJ5KvuhC6dO47k4h2rtJgV6GnLDB_ygpdCT4bEE5dU2GNsaE6LDpzhgNv_5HJ70aqbNDSRTzd-8dTCSf8/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" data-original-height="438" data-original-width="739" height="378" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG_SofxVQ5vGl1J4xZsJk6DDhV2t2TWJSZv9fMyQioCLSzS3k0LCt7qZkDRunJ5KvuhC6dO47k4h2rtJgV6GnLDB_ygpdCT4bEE5dU2GNsaE6LDpzhgNv_5HJ70aqbNDSRTzd-8dTCSf8/s640/a.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: large;"><br />There are more questions than there are answers about the symbolism of the petroglyphs. We do not know why they were made, but many historians believe that the figures can be linked to religious practices, such as sun worship or fertility wishes for animals and humans. it is common to talk about two groups of rock carvings in Norway, and also in the rest of the Scandinavian countries for that matter. The oldest group is often called veideristninger (rock engravings) because motives are associated with hunting cultures. These engravings are sometimes also called stone age engravings because many archaeologists consider them to have been made during the Stone Age.<br /><br /><br /><span style="color: #cc0000; font-family: Calibri;">Rock Art in </span><span style="color: black; font-family: Calibri;"><span style="color: #cc0000;">North America<br /> </span></span></span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk66PxzjTMHiepTYiF4Hh0zMz9yfWSDBihtCG3EsUcKgXrZmMbROVUBg43_Q7Egnnrw-Kmubq5BP70bjE4UUM9Ab6ia_N50FAasrHQERbMZaPC9uOGV35jUoPxNt2y04gkpNYX35PMGfI/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" data-original-height="343" data-original-width="640" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk66PxzjTMHiepTYiF4Hh0zMz9yfWSDBihtCG3EsUcKgXrZmMbROVUBg43_Q7Egnnrw-Kmubq5BP70bjE4UUM9Ab6ia_N50FAasrHQERbMZaPC9uOGV35jUoPxNt2y04gkpNYX35PMGfI/s640/a.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: left;"><span style="font-size: large;"><br />Anasazi and other Native American groups in Nevada came over 8,000 years ago and created a lasting legacy in rock art images carved or painted on stone surfaces. While we do not know what many of the images mean, native people living in Nevada today have traditional stories that incorporate some of the images or scenes.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfAvW6CQ250jMySpu33gi9VmXU6qIDJTcAv93rNhgBOYl1_atGSV8M-16Gkgw7c6dTU8TuL4Giy6eiLXwr7MaGnt3rh03RAwoo39vBofnuTKitlUalhDKmNKP1w2fZnMCy0vuzcuJNaTg/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" data-original-height="427" data-original-width="640" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfAvW6CQ250jMySpu33gi9VmXU6qIDJTcAv93rNhgBOYl1_atGSV8M-16Gkgw7c6dTU8TuL4Giy6eiLXwr7MaGnt3rh03RAwoo39vBofnuTKitlUalhDKmNKP1w2fZnMCy0vuzcuJNaTg/s640/a.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
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<span style="font-size: large;"><span style="text-align: center;">The gleaming white limestone slab at Peterborough, carved by the native Algonquin and other First Nations peoples between 900 and 1400 AD resemble ancient art found in Scandinavia. Additionally, two images closely resemble the hunchback figure of a Hopi kachina flute player named Kokopelli and may be attributable to ancient migrating Hopi travelers. This is the largest known concentration of Aboriginal rock carvings in Canada (and probably North America) with over 900 petroglyphs. Over 300 of the carvings are very distinct and depict turtles, snakes, birds, humans and other images including the figure of the Algonquin shamen, carved into crystalline limestone</span>.</span></div>
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<span style="font-size: large;"> According to indigenous legends this is an entrance into the spirit world and that the Spirits actually speak to natives from this location. They call it Kinoomaagewaapkong, which translates to "the rocks that teach". </span></div>
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<span style="font-size: large;">The petroglyphs are carved into a single slab of crystalline limestone which is 55 metres long and 30 metres wide. About 300 of the images are decipherable shapes, including humans, shamans, animals, solar symbols, geometric shapes and boats.</span></div>
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<span style="font-size: large;">It is generally believed that the indigenous Algonkian people carved the petroglyphs between 900 and 1400 AD. But rock art is usually impossible to date accurately for lack of any carbon material and dating artefacts or relics found in proximity to the site only reveals information about the last people to be there. They could be thousands of years older than experts allow, if only because the extensive weathering of some of the glyphs implies more than 1,000 years of exposure.</span></div>
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<span style="font-size: large;">There are some other mysteries surrounding these remarkable petroglyphs. The boat carvings bear no resemblance to the traditional boat of the Native Americans. One solar boat — a stylized shaman vessel with a long mast surmounted by the sun — is typical of petroglyphs found in northern Russia and Scandanavia. A Harvard professor believes the petroglyphs are inscriptions (and maybe even a form of written language) left by a Norse king named Woden-lithi, who was believed to have sailed from Norway down the St. Lawrence River in about 1700 B.C., long before the Greenland Viking explorations.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggboDCf8VzlHNpcLSdH1_VHutX4NLAYxCESe3RHJM6FZJwLY5gwd9Vf0M0BunSlYH2AZXnTED74pK7KqO9A9VT38qte37y80qmNApFg5_dswJwsCYfmt-zK3rHSuBtOy-xaTTK-CivMro/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" data-original-height="1054" data-original-width="1600" height="420" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggboDCf8VzlHNpcLSdH1_VHutX4NLAYxCESe3RHJM6FZJwLY5gwd9Vf0M0BunSlYH2AZXnTED74pK7KqO9A9VT38qte37y80qmNApFg5_dswJwsCYfmt-zK3rHSuBtOy-xaTTK-CivMro/s640/a.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Mishipeshu and other pictographs at Agawa Bay – said by Thor Conway to be “the most famous image of aboriginal art in Canada”<br /></span><div>
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<span style="font-size: large;"><span style="color: #cc0000;"><br /></span><span><span style="color: #cc0000;">Rock art of Iran </span> </span></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">Iran's rock art sites are spread across the country at Birjand (Lakh mazar), Khorasan (Nehbandan), Yazd (Arnan), Sistan and Balochistan (Nikshahr and Saravan), Isfahan (Gharghab and Kucherey at Golpaygan and Vist in Khansar), Lorestan (Homiyan in Kuhdasht, Khommeh in Aligudars, Mihad in Borujerd), Arak (Ibrahim Abad, Yasavel in Komijan, Ahmadabad in Khondab and Khomein), Hamadan (Darre Shahrestaneh Alvand, Darreh Ganjistan (Sarcenameal and) Khosrabayer Deh), village of Dowlatabad, Sharyar, Kuhe (Kaftarlu) and Qum (Kahak) In the Khomein region, there are several thousand rock art sites.</span></div><div><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQJraYCOFYNxwII6TGV_Pdw3NzH5zPL7EsK-nNzhcivUS-lpb3iE5QahNkan4Eevxo22Z3j5pKe7PG4Cvq0_tW-k2DTcyGRk7qfbOWDnMTW6Bgt_TDRLj-55pNBEVHqDi9QXjecAjR7ZE/s1047/240125407_4830326390314966_7509836413624243545_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="699" data-original-width="1047" height="427" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQJraYCOFYNxwII6TGV_Pdw3NzH5zPL7EsK-nNzhcivUS-lpb3iE5QahNkan4Eevxo22Z3j5pKe7PG4Cvq0_tW-k2DTcyGRk7qfbOWDnMTW6Bgt_TDRLj-55pNBEVHqDi9QXjecAjR7ZE/w638-h427/240125407_4830326390314966_7509836413624243545_n.jpg" width="638" /></span></a></div><span style="font-size: large;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2JAYUKlAfYK0fYmXImFrhY24CSk_z8HaxVD-fb1D4Iad1sSroxj3x7aKNuuMvYBrx5HseIoHsTR16Os5tHbDJcDL5BAlgOLAFXglTh_7jKq3YzXAwUiK1eeX5o3qUOfZbQxvXDt6Zln0/s1873/240584037_4830589350288670_249392532992417132_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="1221" data-original-width="1873" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2JAYUKlAfYK0fYmXImFrhY24CSk_z8HaxVD-fb1D4Iad1sSroxj3x7aKNuuMvYBrx5HseIoHsTR16Os5tHbDJcDL5BAlgOLAFXglTh_7jKq3YzXAwUiK1eeX5o3qUOfZbQxvXDt6Zln0/s320/240584037_4830589350288670_249392532992417132_n.jpg" width="320" /></span></a></div><span style="font-size: large;"><br /></span><div class="separator" style="clear: both; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQkNKOP_vgflVa-LIj9hPrLqQDtJWAVT5F1flcqGGmEcytHDO2lcBY64sw6HsuvWmtVG3bSdCdSKSBrMC6UbJiaxENwE5Se1OUoLUF75IiZYKqoOGPZOzbgRv7QEKT0Gcq7rDP6gpRADo/s760/240767577_4831054636908808_7537621100861341986_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="570" data-original-width="760" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQkNKOP_vgflVa-LIj9hPrLqQDtJWAVT5F1flcqGGmEcytHDO2lcBY64sw6HsuvWmtVG3bSdCdSKSBrMC6UbJiaxENwE5Se1OUoLUF75IiZYKqoOGPZOzbgRv7QEKT0Gcq7rDP6gpRADo/s320/240767577_4831054636908808_7537621100861341986_n.jpg" width="320" /></span></a></div><span style="font-size: large;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJoV6zyJMEbPI8V1u4ffN6W8TQxLhr4LvlfkYL3zrtCvDqOddnXrevbXGGJzUQp2eSpjKTgIecNSmC6tYwoIR1Ub6BnzsuhOjemfIQpiRDdrzKGhgT2k6fZyTSegUiom-WyQZueMCeY-g/s750/240772141_4837211949626410_6266757903364598124_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="563" data-original-width="750" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJoV6zyJMEbPI8V1u4ffN6W8TQxLhr4LvlfkYL3zrtCvDqOddnXrevbXGGJzUQp2eSpjKTgIecNSmC6tYwoIR1Ub6BnzsuhOjemfIQpiRDdrzKGhgT2k6fZyTSegUiom-WyQZueMCeY-g/s320/240772141_4837211949626410_6266757903364598124_n.jpg" width="320" /></span></a></div><span style="font-size: large;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje_vUZ8pGXyC66wDRfm-jkEN2zhDaqgjiLhM1m76oNkPSUbBKFAWTARd6UV1pszB0HKwCOanL5qzcBTI7q_o4Jozf4Lx92-GIktDqQkgn-1FXx1c6dXT5hOp5ANiDvHkWhkKJfV3qzUtM/s1278/240810841_4837222932958645_7368554148755727003_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="716" data-original-width="1278" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje_vUZ8pGXyC66wDRfm-jkEN2zhDaqgjiLhM1m76oNkPSUbBKFAWTARd6UV1pszB0HKwCOanL5qzcBTI7q_o4Jozf4Lx92-GIktDqQkgn-1FXx1c6dXT5hOp5ANiDvHkWhkKJfV3qzUtM/s320/240810841_4837222932958645_7368554148755727003_n.jpg" width="320" /></span></a></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;">Much of Iranian rock art consists of the ibex motif, which is believed to have been a source of meat and secondary products such as horn and skin for prehistoric peoples. Archaeological evidence shows that it was hunted in Iran from the Middle Paleolithic onward, at the sites of Warwasi and the Yāfte cave (c. 38,000-29,000 BC). Studies of horn cores from the early Neolithic sites of Tappe ʿAli Koš and Tappe Sabz indicate that ibex were hunted at the end of the 8th and 7th millennia BC.</span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq1y5yGQyW_b49JqCx-jg7iEz0Sxxvth_b27ImeAsHtN91F5A-f54VIKcpET-MfWdczn1IvW8yROcZbtBsKUQLhhgRiVejf3sjHEcNflMbgjX_TXoHbDbYByrmTm_2oOeYuMbhHHkc6lQ/s1023/240819675_4837211966293075_6123226019175643315_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="575" data-original-width="1023" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq1y5yGQyW_b49JqCx-jg7iEz0Sxxvth_b27ImeAsHtN91F5A-f54VIKcpET-MfWdczn1IvW8yROcZbtBsKUQLhhgRiVejf3sjHEcNflMbgjX_TXoHbDbYByrmTm_2oOeYuMbhHHkc6lQ/s320/240819675_4837211966293075_6123226019175643315_n.jpg" width="320" /></span></a></div><span style="font-size: large;"><br /></span><div class="separator" style="clear: both; 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text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIKDuKpuVdjIymzKJ3ABPvAAADuakxk67iownSTlJ5Yg2lGVSLGPsGr1U6HcHDopKPiPA-KETI32FjCv0QVgGAWQmr_AY3hXotC7eGcO8Mwz5g1lspgIjkQmaDA4wV8Mznq-7QwAP65q4/s700/240901788_4837238679623737_19876560806368442_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="700" data-original-width="467" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIKDuKpuVdjIymzKJ3ABPvAAADuakxk67iownSTlJ5Yg2lGVSLGPsGr1U6HcHDopKPiPA-KETI32FjCv0QVgGAWQmr_AY3hXotC7eGcO8Mwz5g1lspgIjkQmaDA4wV8Mznq-7QwAP65q4/s320/240901788_4837238679623737_19876560806368442_n.jpg" width="213" /></span></a></div><span style="font-size: large;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjVrs6_MWZw6UDyO_22jeAIw0Y7h2UuPVs38RC8ZAgi-7g8iSyHQeTNGUlfflcubT-339ay-RL7CTpaf0KnM4cn8hPQyHmDs8EU9mNR1bm5Br_zcQKIRjN1gt8fsEnYEfWFC03MPybSHE/s894/ushabti+of+ancient+egyptian+pharaoh+pinedjem+i.JPG" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="647" data-original-width="894" height="393" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjVrs6_MWZw6UDyO_22jeAIw0Y7h2UuPVs38RC8ZAgi-7g8iSyHQeTNGUlfflcubT-339ay-RL7CTpaf0KnM4cn8hPQyHmDs8EU9mNR1bm5Br_zcQKIRjN1gt8fsEnYEfWFC03MPybSHE/w542-h393/ushabti+of+ancient+egyptian+pharaoh+pinedjem+i.JPG" width="542" /></span></a></div><span style="font-size: large;"><br /></span></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div dir="ltr" style="text-align: left;" trbidi="on"><div class="post-body entry-content" style="background-color: white; line-height: 1.4; position: relative; width: 770px;"><div dir="ltr" trbidi="on"><div dir="ltr" trbidi="on"><div style="text-align: center;"><span style="font-size: large;"><br /></span></div></div></div></div></div></blockquote><div dir="ltr" style="text-align: left;" trbidi="on"><div class="post-body entry-content" style="background-color: white; line-height: 1.4; position: relative; width: 770px;"><div dir="ltr" trbidi="on"><div dir="ltr" trbidi="on"><div style="text-align: left;"><span style="color: #cc0000; font-size: large;"><br /></span></div><div style="text-align: left;"><span style="color: #cc0000; font-size: large;">Rock Art of Algeria</span></div><div style="text-align: left;"><span style="color: #cc0000; font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;"><span style="color: #1f1c1c; font-family: Calibri;"><span style="color: red;">I</span><span>n Tassili-n-Ajjer in Algeria, one of the most famous of North African sites of rock painting, various images depict a historical evolution. This historical documentation of mankind evolution is something that graphic design has always done, and will do so in future. Tassili paintings depict at least four distinct chronological periods, which are: an archaic tradition depicting wild animals whose antiquity is unknown but certainly goes back well before 4500 B.C.; a so-called bovidian tradition, which corresponds to the arrival of cattle in North Africa between 4500 and 4000 B.C.; a "horse" tradition, which corresponds to the appearance of horses in the North African archaeological record from about 2000 B.C. onward; an</span></span><span style="color: #1f1c1c; font-family: Calibri;">d a </span><span style="color: #1f1c1c; font-family: Calibri;">"camel" tradition, which emerges around the time of Christ when these animals first appear in North Africa.</span></span></div><div style="text-align: left;"><span style="font-size: large;"><span style="color: #1f1c1c; font-family: Calibri;"><br /></span></span></div><div style="text-align: center;"><span style="font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN4HGMndH0ThVQ-Fqbscwu52OxkDOFW3dATv612xvz2FVhG-W8ceBWIOKIvNhldMBCJgAcehtbP_q8dMItP38CpLmN82W79HisITQwsBnygqBIYIeNthnby92M1RyxpK7WMs-9nXWmTZo/s890/240772141_4837211949626410_6266757903364598124_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="592" data-original-width="890" height="307" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN4HGMndH0ThVQ-Fqbscwu52OxkDOFW3dATv612xvz2FVhG-W8ceBWIOKIvNhldMBCJgAcehtbP_q8dMItP38CpLmN82W79HisITQwsBnygqBIYIeNthnby92M1RyxpK7WMs-9nXWmTZo/w461-h307/240772141_4837211949626410_6266757903364598124_n.jpg" width="461" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8ZFASa8sslw23xy40pLkbL9G8BlLkpX-OB67o0BrSaf8NfRAc_lY8Kj2gkK7BLWo6gWRz-oYJ8mbrl3jDhjHM5R2wMci7gtBoafOR2FU8d7Dt3m5om_nX-2fatwMX8FWzI-WJwdwLzm4/s274/240810841_4837222932958645_7368554148755727003_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="184" data-original-width="274" height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8ZFASa8sslw23xy40pLkbL9G8BlLkpX-OB67o0BrSaf8NfRAc_lY8Kj2gkK7BLWo6gWRz-oYJ8mbrl3jDhjHM5R2wMci7gtBoafOR2FU8d7Dt3m5om_nX-2fatwMX8FWzI-WJwdwLzm4/w416-h279/240810841_4837222932958645_7368554148755727003_n.jpg" width="416" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP9oS6hCJgUg0fOlnMka8_y2UG_BW5cl7CPJweBB5kJHagO46BX6IwIU2rvzS404hZFS1hUdvYxVEAC_mQG7h8CS9qXiYOPLC1ej6zAOT6empS9oJ_bVbWtM4E7bf_wvf1rf5alfPcLGY/s1300/240819675_4837211966293075_6123226019175643315_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="932" data-original-width="1300" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP9oS6hCJgUg0fOlnMka8_y2UG_BW5cl7CPJweBB5kJHagO46BX6IwIU2rvzS404hZFS1hUdvYxVEAC_mQG7h8CS9qXiYOPLC1ej6zAOT6empS9oJ_bVbWtM4E7bf_wvf1rf5alfPcLGY/w422-h302/240819675_4837211966293075_6123226019175643315_n.jpg" width="422" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUK1aywc72rfYE10XWsuFX-Bc8ga-zzqyijh-OSfStXykuCbay9FwxXuztxAIn4xtw9gD-pijyo_Yn9Or17WxKnzPrdS3UH7YaC-R8bYyg2vbAJRumrwvTfpMxdwPBgxeDIi8hXJkF0lU/s580/240889088_4837274426286829_8163578834746266870_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="358" data-original-width="580" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUK1aywc72rfYE10XWsuFX-Bc8ga-zzqyijh-OSfStXykuCbay9FwxXuztxAIn4xtw9gD-pijyo_Yn9Or17WxKnzPrdS3UH7YaC-R8bYyg2vbAJRumrwvTfpMxdwPBgxeDIi8hXJkF0lU/w453-h280/240889088_4837274426286829_8163578834746266870_n.jpg" width="453" /></a></div><br /><span style="color: #1f1c1c; font-family: Calibri;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="color: #cc0000; font-size: large;"> Rock Art of the Amazonian Rainforest</span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;">Archaeologists have found tens of thousands of paintings of animals and humans created up to 12,500 years ago across cliff faces that stretch across nearly eight miles in Colombia. The site is in the Serranía de la Lindosa, and the Chiribiquete national park. The paintings are estimated to have been made between 11,800 and 12,600 years ago, towards the end of the last Ice Age. Their date is based partly on their depictions of now-extinct ice age animals, such as the mastodon, a prehistoric relative of the elephant that hasn’t roamed South America for at least 12,000 years. There are also images of the palaeolama, an extinct camelid, as well as giant sloths and ice age horses.</span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQngrjwLY7byxTMEJfJhJ9bhb9bFeJFphAryFu1vW_m-fNbmMwk_Q2d0Otqq_SdyUhHRZCXW-VujvZe7SdOt7UW6_49TLQlMs85xnSrDu5TUv0rKiw2ngeyifUNHqmj__k-u6Tvh4PHRU/s1210/240901788_4837238679623737_19876560806368442_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="726" data-original-width="1210" height="390" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQngrjwLY7byxTMEJfJhJ9bhb9bFeJFphAryFu1vW_m-fNbmMwk_Q2d0Otqq_SdyUhHRZCXW-VujvZe7SdOt7UW6_49TLQlMs85xnSrDu5TUv0rKiw2ngeyifUNHqmj__k-u6Tvh4PHRU/w650-h390/240901788_4837238679623737_19876560806368442_n.jpg" width="650" /></span></a></div><span style="font-size: large;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIXwy2FxWaLQO1ZJxp58_CAgbt4iyGTYLICljlLawHRAkK6ZHLkAb73mPJs57vooWBHeubbpaIVXN2uzTgenyoPL2wWAQwCgYafOr5RFBU9egZfN89YUr2J1PSDs3LoafZ5kQ1RraDrbQ/s976/240901788_4837238679623737_19876560806368442_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="549" data-original-width="976" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIXwy2FxWaLQO1ZJxp58_CAgbt4iyGTYLICljlLawHRAkK6ZHLkAb73mPJs57vooWBHeubbpaIVXN2uzTgenyoPL2wWAQwCgYafOr5RFBU9egZfN89YUr2J1PSDs3LoafZ5kQ1RraDrbQ/w597-h336/240901788_4837238679623737_19876560806368442_n.jpg" width="597" /></span></a></div><span style="font-size: large;"><br /><span><br /></span></span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLF5B2SUNJgHRgewCbhffgeRys-AcquWgvLCaxAGdxlhyh1lXy3kYYPNe08gJ6ALUTUFsAl4J-X4lvDxQ-tp4wgBGkkZD3y98-N3kkfM4Am-ZGYdtmnxdeDxlQyhKzLudFI_1GYwVm-HY/s2048/944337813.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="1367" data-original-width="2048" height="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLF5B2SUNJgHRgewCbhffgeRys-AcquWgvLCaxAGdxlhyh1lXy3kYYPNe08gJ6ALUTUFsAl4J-X4lvDxQ-tp4wgBGkkZD3y98-N3kkfM4Am-ZGYdtmnxdeDxlQyhKzLudFI_1GYwVm-HY/w510-h341/944337813.jpg" width="510" /></span></a></div><span style="font-size: large;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXfaAvH0KAgJVJdxxbs00-J2brVB_FU7N5jSifVfqDMT6hT3A5elL_ulwrr4G1_cyQfBBzqACoPVvw-nF8vLSRqB7YTitArJDPYe26OSwuWY0sDS4zOyIHmIpBheFqIDOODw5bX29SS_U/s976/240879233_4837249016289370_6321901660709220205_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="549" data-original-width="976" height="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXfaAvH0KAgJVJdxxbs00-J2brVB_FU7N5jSifVfqDMT6hT3A5elL_ulwrr4G1_cyQfBBzqACoPVvw-nF8vLSRqB7YTitArJDPYe26OSwuWY0sDS4zOyIHmIpBheFqIDOODw5bX29SS_U/w609-h343/240879233_4837249016289370_6321901660709220205_n.jpg" width="609" /></span></a></div><span style="font-size: large;"><br /><span><br /></span></span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;"><span>The paintings vary in size. There are numerous handprints and many of the images are on that scale, be they geometric shapes, animals or humans. Others are much larger. </span><span><span>For Amazonian people, non-humans like animals and plants have souls, and they communicate and engage with people in cooperative or hostile ways through the rituals and shamanic practices that we see depicted in the rock art.</span><span> This is perhaps why </span><span>the imagery includes trees and hallucinogenic plants and </span><span>many of the large animals are surrounded by small men with their arms raised, which apparently they are worshipping the animals. </span></span></span></div><div style="text-align: left;"><span style="font-size: large;"> </span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;"><div><span style="color: #cc0000;">The Petroglyphs of Indus Valley</span></div><div><br /></div><div style="text-align: center;"><br /></div><div><br /></div></span></div><div style="text-align: left;"><span style="font-size: large;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzWIxDotWDH4Qxi3RVFLIAuB3WUiWAJLz1GEXB_1I39vHyCTTviRnME3Qc-E5TXh30mHqwN55wk5YJa4jzQVgtv1Gs_uAuuoSY0ZlTtNt3-ycD4-d91GjSueoKhGgqcxE5TCxRZYJ5Wf8R5mEQjZ1eQCpyljamdjQdTdx6r7ZpDrThgSTTbflPtC0Q/s898/ua1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="898" data-original-width="720" height="619" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzWIxDotWDH4Qxi3RVFLIAuB3WUiWAJLz1GEXB_1I39vHyCTTviRnME3Qc-E5TXh30mHqwN55wk5YJa4jzQVgtv1Gs_uAuuoSY0ZlTtNt3-ycD4-d91GjSueoKhGgqcxE5TCxRZYJ5Wf8R5mEQjZ1eQCpyljamdjQdTdx6r7ZpDrThgSTTbflPtC0Q/w497-h619/ua1.jpg" width="497" /></a></div><br /> High in the Indus Valley of Pakistan are some of the most intricate and diverse petroglyphs on earth. These are the ancient Shatial glyphs on the Karakoram Highway in the Giligit-Baltistan region. Dating from the Stone Age to the birth of Islam, the glyphs cover rocks and boulders stretching for over 100 kilometers. The writings and designs cover several languages, religions and the symbolism of peoples dating back 10,000 years. Some of these magnificent glyphs are under threat from modern hydropower projects planned in the Indus Valley.</span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="color: #cc0000; font-size: large;">The Wall Paintings at Zimri-Lim's Palace</span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;"><span style="color: #cc0000;">I</span><span>t is evident that with the process of human development and the emergence of civilization triggered by urban settlements, rock art and cave painting evolved into mural art.The town of Mari is located on the Middle Euphrates, an important place for river trade provides an early example of mural art. Mary in its history has drifted in and out of the orbit of Mesopotamian influence. It was destroyed by Sargon or Naram-Sin during the Akkadian dynasty and then again by Hammurabi despite the fact that Zimri-Lim supported the troops of the Babylonian king Mariote during his conflict with the Elamites of Iran . The city was eventually destroyed by Hammurabi of Babylon around 1760 BC. The palace was so large that Hammurabi claims it took him 2 years to completely plunder it, and it was remarkable even in ancient times - a letter to Zimri-Lim from another king states "Show me Zimri-Lim palace! I want to see it !" </span></span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;"><span>After its looting by Hammurabi, Babylonian soldiers set the remains on fire, but despite this, more than 20,000 texts from the palace archives and fragments of several wall paintings were discovered during the excavations. </span><span>While the palace is almost empty of furniture and decorative vases, the walls were covered with paintings that could not be removed by the looters. Some of these paintings have been found in situ on the walls, while others have been found in small fragments on the floors. The paintings were in varying states of preservation, sometimes only as fragments requiring extensive reconstruction, and sometimes as more complete scenes. Various visual communication scenes were featured, including cult / religious scenes, and possibly political and military narratives as well.</span></span></div><div><span style="font-size: large;"><br /></span></div><div><span style="font-size: large;">Scenes include sacrifices, mountainous terrain, and the so-called “investiture scene”, which remained on the wall in fairly good condition. Set in an otherworldly fantasy environment (represented by the composite animals flanking the main activity), the scene shows the king standing in front of the goddess Ishtar, who stands on a lion and presents him with a rod and ring, symbols of royalty. The figures at the bottom are goddesses holding flowing vases and are comparable to a statue found in an adjacent room that appears to have been an actual fountain.</span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: left;"><span style="font-size: large;"><br /></span></div><div style="text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-i7q7Z1MvvZVTtcmwfGfapmF0wOKi16cjKfxgL_kK0DhuS0OaaUVOjQOcxgDQ64sGVAiE6Ptm6eEj9OgqPv5dN7xSF67TZygVH2K9Bb1SPsMTb931TTD9YNBDqHnvF5_LNQG48gWOPC8/s1920/240901788_4837238679623737_19876560806368442_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="1280" data-original-width="1920" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-i7q7Z1MvvZVTtcmwfGfapmF0wOKi16cjKfxgL_kK0DhuS0OaaUVOjQOcxgDQ64sGVAiE6Ptm6eEj9OgqPv5dN7xSF67TZygVH2K9Bb1SPsMTb931TTD9YNBDqHnvF5_LNQG48gWOPC8/w571-h380/240901788_4837238679623737_19876560806368442_n.jpg" width="571" /></span></a></div><span style="font-size: large;"><br /><span><span face=""Helvetica Neue", Helvetica, Arial, sans-serif" style="color: #555555;">The so-called "Investiture Scene" wall painting from the palace of Zimri Lim.</span></span></span></div><div style="text-align: center;"><span style="font-size: large;"><br /></span></div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #1f1c1c; font-family: Calibri; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoZwvqAVdg8q-s-_NNWuEUSIsTFkRcUZbGXB2-ycpvDuqmYBkLBHWdogBKGfVIrH0lqdEPFSzNFs-P8nnHH4AXItShh1XedTH6-r0zYQrCppQy4Pq2dmr25js0cIAp3wK5OkyjDg877kY/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoZwvqAVdg8q-s-_NNWuEUSIsTFkRcUZbGXB2-ycpvDuqmYBkLBHWdogBKGfVIrH0lqdEPFSzNFs-P8nnHH4AXItShh1XedTH6-r0zYQrCppQy4Pq2dmr25js0cIAp3wK5OkyjDg877kY/s640/a.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td><span style="font-size: large;">Priest Guiding a Sacrificial Bull- Fragment of mural painting from the palace of Zimri-Lim, Mari (modern Tell Hariri, Iraq) 2040-1870 BC.</span></td></tr>
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<span style="font-size: large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Eight" style="color: #7f8866; text-decoration-line: none;"><span style="color: #993300;"></span></a>The Inception of Visual Communications in Ancient Egypt</span></div>
<span style="font-size: large;"><br /><br /><span><br />There is no doubt that ancient Egyptians were the originator of what is today defined as 'visual communication design'. The Egyptian language of antiquity used the same word, sekh, to signify writing, drawing, and painting, and from the very beginning of her history, Egypt used written messages in combination with images to convey various socio-cultural values that were at the roots of her system of beliefs. More than five thousand years ago, the graphic designers of Egypt were working on a strict greed system that established conventional codes of representation in sculpture, painting, and relief. By and large, Egyptian scribes used the same conventions in the standardization of hieroglyphic signs in their system of writing. This is why the ancient Egyptian graphic design and hieroglyphs are closely correlated. For instance, the hieroglyphic ideogram for "man," is the figure of a seated man, which also appears frequently in sculptures and paintings.</span></span></div><div style="color: #1f1c1c; font-family: Calibri;"><span style="font-size: large;"><br /></span></div><div style="color: #1f1c1c; font-family: Calibri;"><span style="font-size: large;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQe3NHmUR6y_SYObmRPioCC5F2UnYT7oXcU79sHnaXSxcHYPjOyJqAlIXz5bJt_RoEtAMHG7iPdD4IuavFwFRHhPOFxQCnXAD1Tsqt6uA_Xyzmc5KIjaq_UzWy9EwXSOpNTvmunKgfhksnl84SelgAf5z1L_co9PZOce9vU5sDRZyaHAvVh7T9Ko_0/s900/302182138_125902400205673_928697899764613828_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="685" data-original-width="900" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQe3NHmUR6y_SYObmRPioCC5F2UnYT7oXcU79sHnaXSxcHYPjOyJqAlIXz5bJt_RoEtAMHG7iPdD4IuavFwFRHhPOFxQCnXAD1Tsqt6uA_Xyzmc5KIjaq_UzWy9EwXSOpNTvmunKgfhksnl84SelgAf5z1L_co9PZOce9vU5sDRZyaHAvVh7T9Ko_0/w405-h309/302182138_125902400205673_928697899764613828_n.jpg" width="405" /></a></div><br /></div><div style="color: #1f1c1c; font-family: Calibri;"><span face="Roboto, Helvetica, Arial, sans-serif" style="color: #050505; font-size: 14.0625px; white-space: pre-wrap;"> A topless dancer with elaborate hairstyle and hoop earrings in gymnastic backbend on a limestone ostracon</span><span face="Roboto, Helvetica, Arial, sans-serif" style="color: #050505; font-size: 14.0625px; white-space: pre-wrap;">, from Deir el-Medina; New Kingdom, 19th Dynasty, 1200 BC.</span></div><div style="color: #1f1c1c; font-family: Calibri;"><span style="font-size: large;"><br /></span></div><div style="color: #1f1c1c; font-family: Calibri;"><span style="font-size: large;"><br /></span></div><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl3pAoVGzaWHrPs1RrMA2BEExKl8heAb0BhHHfYWGG241lERD1o-ulGgjkwVPQnqbjM5kO77eUWgqOvHovehdA43eofmGQRiZmhjHCKSLPm1EQMy2LZqK0SPUeQyPRxgOSvDMA2cVWzWU/s400/ushabti+of+ancient+egyptian+pharaoh+pinedjem+i.JPG" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="359" data-original-width="400" height="447" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl3pAoVGzaWHrPs1RrMA2BEExKl8heAb0BhHHfYWGG241lERD1o-ulGgjkwVPQnqbjM5kO77eUWgqOvHovehdA43eofmGQRiZmhjHCKSLPm1EQMy2LZqK0SPUeQyPRxgOSvDMA2cVWzWU/w498-h447/ushabti+of+ancient+egyptian+pharaoh+pinedjem+i.JPG" width="498" /></span></a></div><span style="font-size: large;"><br /></span><div style="text-align: center;"><span style="font-family: Calibri;"><span style="font-size: large;">Wooden ushabti box and ushabtis of Pinedjem I. </span></span></div><div style="text-align: center;"><span style="font-family: Calibri; font-size: large;"><br /></span></div>
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The composition of the Egyptian designs are well balanced, harmonious, and adhere to certain minimalism principles. The artists abstract from play of light and shadow, and minimalize the illusion of space and atmosphere in outdoor scenes. The images are sharpened by clear outlines, and the complexity of interrelationships among spatial forms are simplified. The artists use flat areas of color to enhance order and clarity, and compose figurative scenes in horizontal registers. The figures were portrayed emotionless since artists wanted to avoid the transient aspect of life, as they were interested in eternal features and immortality.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX2ufKCifz9yUbDdLZ2ulzHVMInfe9KHa8jjno3ZnNsEg5julTvps1mdTneH9Ui6t0jLART2poQUuv_v-fLpNG0bdUaVNKCTe2lrYSCfYfEdgl6qJBzQgcoI5cZf7z7Hd5bnNer_tRQzxC/s1600/Osiris.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX2ufKCifz9yUbDdLZ2ulzHVMInfe9KHa8jjno3ZnNsEg5julTvps1mdTneH9Ui6t0jLART2poQUuv_v-fLpNG0bdUaVNKCTe2lrYSCfYfEdgl6qJBzQgcoI5cZf7z7Hd5bnNer_tRQzxC/s400/Osiris.jpg" style="border: none; position: relative;" width="400" /></span></a></td></tr>
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The Gods Osiris and Atum, from the Tomb of Nefertari, New Kingdom (wall painting), Egyptian 19th Dynasty (c.1297-1185 BC) / Valley of the Queens, Thebes</span></div>
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Egyptian gods are depicted wearing headdresses with a solar disk. Ostrich feathers, and animal horns. Usually the deities hold an ankh and a scepter. When in human form, the gods are shown wearing a false beard with a curved tip.</span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Nine" style="color: #7f8866; text-decoration-line: none;"><span style="color: #993300;"></span></a>The Visual Communications and the Egyptian System of Beliefs</span></div>
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<span style="font-size: large;"><i>“Greetings to you, Osiris, Lord of Eternity</i><br /><i>King of the Two Lands, Chief of both banks…</i><<br /><i>Youth, King, who took the White Crown for himself…</i><br /><i>Who makes himself young again a million times…</i><br /><i>What he loves is that every face looks up to him…</i><br /><i>Shining youth, who is in the primordial water, born on the first of the year…</i><br /><i>From the outflow of his limbs both lands drink.</i><br /><i>Of him it is arranged that the corn springs forth from the water</i><br /><i>In which he is situated….</i></span></blockquote>
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In the Egyptian system of beliefs Gods, such as Atum and Osiris, as well as many others, played the key roles in the management of universe and all its affairs. Not only they symbolized all natural phenomena but also abstract concepts such as truth, justice, kinship, and love.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiZHtt1dsn7owTBbsv0LezS8CLCpjRtwjuAjRV8_K5PVx2SjC8R_w7I1ttvs8azRGYy9Jj_jLTj0NQmaBqwiSBCRtuQCTA7MYovmtstuhxHNfoZjG6aJrGZTVMBWy-w0_T3rgTHNLwFvRV/s1600/geb_nut.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiZHtt1dsn7owTBbsv0LezS8CLCpjRtwjuAjRV8_K5PVx2SjC8R_w7I1ttvs8azRGYy9Jj_jLTj0NQmaBqwiSBCRtuQCTA7MYovmtstuhxHNfoZjG6aJrGZTVMBWy-w0_T3rgTHNLwFvRV/s400/geb_nut.jpg" style="border: none; position: relative;" width="400" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;"><br /><span>Geb, the earth god is reclining beneath Nut, the sky goddess, while Shu, the air god, is preventing her from falling, and two ram-headed Heh deities, are supporting Shu's arms, Detail from the Greenfield Papyrus, from the Book of the Dead of Nesitanebtashru, c. 950 BC.</span></span></td></tr>
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In a dialogue between Atum and Osiris in the Book of the Dead, Atum states that he will eventually destroy the world, submerging gods, men and Egypt back into Nun, the primal waters, which were all that existed at the beginning of time. In this nonexistence, Atum and Osiris will survive in the form of serpents.<br /><br />Atum’s myth merged with that of the great sun god Ra, giving rise to the deity Atum-Ra. In the beginning there was only Nun, a primordial mass of unstructured water, Atum-Ra, lived in Nun. After a period of time he rose from the splendor of the Sun. Atum-Ra was the father of the gods, creating the first divine couple, Tefnut and Shu, the first female and male gods. He created these two children out of dust and his own spittle; Tefnut, was the Goddess of Moisture, and Shu was the god of Air and together with their father they formed a trinity. Tefnut and Shu, gave birth to Geb, the earth God, who married Nut, the Goddess of sky, and with her fathered four children; Osiris, Isis, Seth and Nephthys.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEbdtOg9w_n_P8BKI3d0llRaJPOF8_sC83wSg2BH0hOFALaawnBiA39AIGgdEsjK9Le-_To-GKe6KsGdpYJX2vSq6SsiJe22_gju8_nYHEVeT0ybHec3b3r-ooavtS1vM1R8AIWhxEMjcV/s1600/+osiris+judgement.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEbdtOg9w_n_P8BKI3d0llRaJPOF8_sC83wSg2BH0hOFALaawnBiA39AIGgdEsjK9Le-_To-GKe6KsGdpYJX2vSq6SsiJe22_gju8_nYHEVeT0ybHec3b3r-ooavtS1vM1R8AIWhxEMjcV/s640/+osiris+judgement.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Judgement before Osiris, from the papyrus of the scribe Hunefer, from the book of the dead of Hunefer, 19th Dynasty. 1285 BC, painted papyrus, British Museum, London</span></td></tr>
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Osiris was the ruler of the underworld. The oldest and simplest hieroglyphic form of his name is written by a "throne" and an "eye." He was the eldest offspring of Geb, the god of Earth and Nut, the goddess of sky. He married Isis, who the Book of the Dead describes as "She who gives birth to heaven and earth, knows the orphan, knows the widow, seeks justice for the poor, and shelter for the weak". Osiris and his wife Isis became the king and the queen of Egypt when his father, Geb, retired. Osiris promulgated just and fine laws for his people who were considered privileged among the mankind. Osiris then asked Isis to assume the throne of Egypt and himself traveled afar to spread his laws around the world.<br /><br />When Osiris returned, Seth, his jealous brother, plotted to murder him in order to usurp his throne. Seth gave a royal banquet and offered his guests, including Osiris, a prize in the form of a magnificent coffin, which was specially built to fit Osiris’ body. The winer was supposed to be the one who best fitted in the coffin, and when Osiris tried it, Seth shut the lid and threw the coffin in the Nile river. Seth assumed the kingship, and the grieving Isis went out to look for Osiris' body, where she found it in Byblos. She brought the corpse back to Egypt, and through her powerful magic brought him back to life for a while to conceive a son, Horus, who was to avenge his father's death. Seth found the Osiris body, tore it apart into pieces, and threw them back into the Nile. Isis stubbornly searched for him and found every piece of his body and reassembled it by papyrus bands into a mummy. Osiris then transformed to an akh, and traveled to the underworld to become king and judge of the dead.<br /><br />Meanwhile, Seth continued his cruel rule. Isis was hidden with her baby Horus in the marshes. When Isis went to buy food in the villages Seth's spies found where she was hiding. Seth disguised as a snake and went into her hiding place. He found Horus alone and being a snake bit and poisoned the child. The poor mother brought the baby to the villagers and asked for their help to no avail. she cried out in despair. Nephtys, her sister, advised her to stop the Sun Boat of Ra and ask him for help. Isis, who was aware of Ra's secret name, used it to stop his boat. Ra through his messenger, Thoth assured her of the safety of Horus by promising that the Sun Boat would stop untill Horus was recovered. Ra kept his promises and Horus was cured. Horus grew to become a hero, and when he was ready, Isis gave him great Magic to use against Seth. Horus found Seth and challenged him for the throne. They fought for many days, until Seth gave up, and was castrated. Horus did not kill him, lest he be just as wicked as him. A fight broke up among the Gods who supported Horus and the Gods who supported Seth. But realizing that their quarrel would disturb Ma'at, or the balance of life,they asked the wise Neith for for his arbitration. Neith ruled that Horus was the rightful heir to the throne. Thus, Horus cast Seth into Darkness, where he lives to this day, still scheming to overthrow Horus.<br /><br /><br /></span></div>
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<tr><td class="tr-caption"><span style="font-size: large;"><span>Judgement before Osiris (detail),</span><br /></span><div style="text-align: left;"><span style="font-size: large;">
This is the weighing of the heart scene. Anubis conducts the weighing on the scale of Maat, against the feather of truth. The ibis-headed Thoth, scribe of the gods, records the result. If his heart is lighter than the feather, it is the sign of his innocence and Hunefer is allowed to pass into the afterlife. If not, it is the sign of his wickedness and his heart will be eaten by the waiting chimeric devouring creature Ammit, which is composed of the deadly crocodile, lion, and hippopotamus.</span></div>
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Every king of Egypt was identified with Horus during his life and with Osiris after his death, and Egyptians performed rituals and made offerings to gain the favor of these gods who are featured prominently in their art.</span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Ten" style="color: #7f8866; text-decoration-line: none;"><span style="color: #993300;"></span></a>Canonical Proportions in Egyptian Design</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2dkxACGExdY3WrI-CCYur1sB9bF47lAmLM3A2oV1Mr3uIQAtkcDKrPsAD7HTIqOJf1YAFYHZmHJZDyf6Cwuqeq_FCGrgdxKV55uyizTVwr3m8dguhTggyK8ZvD5EqRj1clIGO-pPZw3S_/s1600/threefigures.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2dkxACGExdY3WrI-CCYur1sB9bF47lAmLM3A2oV1Mr3uIQAtkcDKrPsAD7HTIqOJf1YAFYHZmHJZDyf6Cwuqeq_FCGrgdxKV55uyizTVwr3m8dguhTggyK8ZvD5EqRj1clIGO-pPZw3S_/s400/threefigures.jpg" style="border: none; position: relative;" width="400" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;"><br />(From L. to R.) Hesire Seqqara of the Third Dynasty, a nobleman of the Sixth Dynasty, and Mererurka Seqqqara of the Sixth Dynasty.<br /></span><div style="text-align: left;"><span style="font-size: large;">
Note that these three figures are depicted on a grid of 19 squares in height. The canonical ratio of 18/11 shows 18 square from the hairline and 11 square from the navel.</span></div>
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Whether carving statues or painting figures, the Egyptian graphic designers used a grid system in order to adhere to a canon of aesthetics, which determined some strict ratios. As Iversen has pointed out, the Egyptians frequently referred to their works of art as being 'true', which means they wanted to represent the natural proportions, and perhaps even the true dimensions of the objects. Grids were used to control the proportions of two-dimensional relief sculpture and to line up the sides, back, and front of sculpture. The evidence of grids is often found in unfinished relief sculpture or in paintings where a layer of paint has peeled off to reveal the traces of grids. These traces have provided the data to study how Egyptian artists worked.</span></div>
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Grids are first appeared in 2125–1991 BC during the Eleventh Dynasty and remained in force until the end of the 26th Dynasty in the New Kingdom. The Egyptian artists first drew horizontal and vertical grid-lines on the surface of the wall they intended to paint, or on a rock they intended to carve. The grid canonically determined the aesthetic proportions of the figures, which was 18 units to the hairline, or 19 units to the top of the head. The height of the figure was usually measured to the hairline rather than the top of the head, perhaps because the head often were concealed by a crown or head piece. Various parts of body was placed on precise segments of grid lines. For instance, the connection of the neck and shoulders was placed at the row sixteenth, the elbow at the row ninth with width of six squares. The width of female figures was only between four and five squares. The face is two squares high, the shoulders are aligned at sixteen squares from the base of the figure, the elbows align at twelve from the base, and the knees at six. The grid system thus allowed artists to create striking compositions of harmony and consistency that are scalable to colossal statues or tiny figures in hieroglyphic scripts.</span></div>
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<span style="font-size: large;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Eleven" style="color: #7f8866; text-decoration-line: none;"><span style="color: #993300;"></span></a>Vertical Perspectives with Multiple Viewpoints</span></div>
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<tr><td><span style="font-size: large;"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqcpGDy-l1xG6NtP6zciqsn40Ko7k8f5-ZZgY-HDn26k46U4ealROz3h9zJjpaa2kTOt8jH_RRM6DheCZsPwQBLobCAla0cwhSlS5VnDpZEA1ZrDaf5CRQgK71rUr8jS_Tw5qkdLW-zXPw/s1600/Screenshot.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><img border="0" height="367" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqcpGDy-l1xG6NtP6zciqsn40Ko7k8f5-ZZgY-HDn26k46U4ealROz3h9zJjpaa2kTOt8jH_RRM6DheCZsPwQBLobCAla0cwhSlS5VnDpZEA1ZrDaf5CRQgK71rUr8jS_Tw5qkdLW-zXPw/s400/Screenshot.png" style="border: none; position: relative;" width="400" /></a></span></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Nebamun hunting in the marshes, fragment of a scene from the tomb-chapel of a wealthy Egyptian official called Nebamun, C. 1350 BC.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2ApPTFZWRmAKvnqn5fok_VViEcs-jei4ldua8IHUipeZdWN2LgEPPKwjkjQ48IQQ-y4CIrqu5fisuscdRdeybotE9tQVyBB3jWVW6BXf9NROI1_jPWmT2-Tbv-LnRX8fUjdAHcyvakOon/s1600/Nakht+hunting+.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2ApPTFZWRmAKvnqn5fok_VViEcs-jei4ldua8IHUipeZdWN2LgEPPKwjkjQ48IQQ-y4CIrqu5fisuscdRdeybotE9tQVyBB3jWVW6BXf9NROI1_jPWmT2-Tbv-LnRX8fUjdAHcyvakOon/s640/Nakht+hunting+.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Nakht hunting birds in the marsh: Nakht is shown both on the left and the right (his family is also shown twice). On the left he holds a boomerang, on the right he hunts with a spear - the spear was never painted in (most probably because Nakht had died), Tomb of Nakht - Scribe of the Granaries (reign of Tuthmosis IV)</span></td></tr>
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<span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><br />The grammatical rules of Egyptian visual communication were framed within the two aspects of 'Frontality' and 'Axiality'. The rules of axiality meant figures were placed on an axis. Proportions of figures were related to the width of the palm of the hand so there were rules about proportions of head to body. The faces were devoid of emotional expression. Hieratic scaling dictated that the sizes of figures were determined by their importance. The proportions of children did not change; they are just depicted smaller in scale. Servants and animals were usually shown in smaller scale. In order to clearly define the social hierarchy of a situation, figures were drawn to sizes based not on their distance from the painter's point of view but on relative importance. For instance, the Pharaoh would be drawn as the largest figure in a painting no matter where he was situated, and a greater God would be drawn larger than a lesser god.<br /><br />Axiality, proportion and hieratic scaling indicate that Egyptian artists would have had to use mathematics to construct their composition. Ancient Egyptian artists used vertical and horizontal reference lines in order to maintain the correct proportions in their work. The tombs walls still carry the traces of these grids used to ensure the conventions were kept to by the lower and apprentice artists working for the master artist. Political and religious, as well as artistic order was maintained in Egyptian art. Important figures were not usually depicted overlapping, but figures of servants were. Each object or element in a scene was designed and drawn from its most recognizable angle. The objects in a scene were then grouped together to create the whole. This is why images of people show their face, waist, and limbs in profile, but the eye and shoulders are shown facing frontally. These scenes are composite images designed to provide complete information about the relationship of the objects to each other, rather than from a single viewpoint.<br /><br /></span><div style="color: #1f1c1c; font-family: Calibri;"><span style="font-size: large;">
In short, Egyptian art's perspective was complex and geared towards enhancing the harmony of a composition, while providing the most complete information. In their figurative paintings artists realizing the fact that they are representing a three dimensional geometric body in a restricted two dimensional surface, opted to add other visual dimensions to achieve their orderly aesthetics ideals while conveying a "true" message. They typically used size as one of their dimensions in order to indicates the hierarchical importance of characters. For instance, as we argued before kings are often depicted much larger than his subjects. In general, this resulted in a <i>vertical perspective</i>. Other dimensions were employed through multiple points of view, that would allow the human figures to be represented from the angle of view where they are best defined. Thus, heads are defined in profile with protruding nose and lips. The eyes in profile are depicted from the front view, looking at the viewers. The shoulders are seen from the front, their torsos and hips are depicted in three-quarter view point which allow the legs and arms to be seen in profile with legs extended when the figure is walking.<br /><br />Distance of a figure, with respect to the viewer, is either presented by the overlapping of the bodies or by placing of the more distant figures above the ones in the foreground. However, the prominent dignitaries rarely overlap one another. Husbands and wives are depicted in a close distance from each other so that only their arms may overlap. The important peoples' bodies had to be represented complete and according to the canons. However, the lower ranking individuals, servants and slaves were often depicted as overlapping. The artists used such occasions to introduce some rhythmic repetitive patterns with these overlapping bodies so as to enhance the aesthetics of their works.<br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz5oYBmTPD3EcpMcf8KbmZXYfk0bT5J_8LP7QHp26ij9YjnSh6blKn1R4BalGlibsIwubaza6DiI17EIgUyHg1SrFlnypgPP47gSbSeRopg9QjJoZefJ5oEOfpjaHXYvLPuvWMs1HrS6DG/s1600/offering.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz5oYBmTPD3EcpMcf8KbmZXYfk0bT5J_8LP7QHp26ij9YjnSh6blKn1R4BalGlibsIwubaza6DiI17EIgUyHg1SrFlnypgPP47gSbSeRopg9QjJoZefJ5oEOfpjaHXYvLPuvWMs1HrS6DG/s400/offering.jpg" style="border: none; position: relative;" width="400" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Queen Nefertari bringing an offering to Goddesses Hathor and Selkis, Tomb of Queen Nefertari, wife of Rameses IInd. Thebes.</span></td></tr>
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<span style="font-size: large;"><br /><span><br />In representing objects and landscapes the artists used the same multiple points of view technique. For instance, in the image <i>Queen Nefertari bringing an offering to Goddesses Hathor and Selkis</i>, we can see the goddesses are sitting in profile. The table-leg in front of them is represented from front viewpoint, the tabletop is viewed directly from above. The offerings on the tabletop are arranged vertically, so that each item can be identified by the viewer.<br /><br />Egyptians paid particular attention to represent various modes of production at various stages of the of work, in farming, wine making and so on. In many of their tombs, such as tomb of nakht, various scenes of daily works such as ploughing, digging, sowing, stages of the harvest: the measuring and winnowing of the grain , the reaping and pressing of the grain into baskets and so on are depicted.</span><br /><br /></span><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmoQkiFAtLDTZkrLA6cXafUW0fhid7q5rIp_Kn5GXRVs9Q9oMjVJ3d7paMOMwfh59Xp_XAaQcwr6klp38mMh4OJKIOy296tkiz1XfTUuhppocMGzUCx1AJFYHoxTWQmxc4GJMWo9w4W2Hp/s1600/Measuring+the+land.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="410" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmoQkiFAtLDTZkrLA6cXafUW0fhid7q5rIp_Kn5GXRVs9Q9oMjVJ3d7paMOMwfh59Xp_XAaQcwr6klp38mMh4OJKIOy296tkiz1XfTUuhppocMGzUCx1AJFYHoxTWQmxc4GJMWo9w4W2Hp/s640/Measuring+the+land.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Various Stages in the Production of Grains. The Mortuary Chapel of Menna, superintendent of the estates of the king and of Amen, at the middle of the 18th dynasty, Thebes.<br /><br /></span><div style="text-align: left;"><span style="font-size: large;">
In the top row from left to right, a slave is kissing the foot of the overseer, the lands are measured by means of a rope, from which the knobs, that assured the correctness of the measurement, have been struck out by the avenger, in order that Menna may never again count his acres. In the second row, Menna's chariot and servants await to carry him to his fields, the quantity of his grain is recorded by the scribes; Menna stands under a canopy while servants bring him drink. In the third row, Menna sits under a canopy, outside of which is a tree with birds-nests built in it.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6E-fGGl_5m4IKhtwiI3oohOyRIX90wc7S35Fj8PklLZBsVzozZHkX81Il9YcuoLVYqgEoRHEgkjEPjjN6OdeZ6beqhDVru-vOWD8vOMxBg6zVH3qARIFxr2aVmzffST8etbsiZIDPN_sp/s1600/harvest.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6E-fGGl_5m4IKhtwiI3oohOyRIX90wc7S35Fj8PklLZBsVzozZHkX81Il9YcuoLVYqgEoRHEgkjEPjjN6OdeZ6beqhDVru-vOWD8vOMxBg6zVH3qARIFxr2aVmzffST8etbsiZIDPN_sp/s640/harvest.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Mortuary Chapel of Menna, superintendent of the estates of the king and of Amen, at the middle of the 18th dynasty, Thebes.<br /><br /></span><div style="text-align: left;">
<span style="font-size: large;"><br />In the top row from left to right, a boy walks along driving an animal, and carrying a small kid. Menna waits under a canopy to watch the arrival of a transportation boat. A servant receives the traders as they come ashore, and two sailors are punished with lashes for their wrong doings. In the second row, scenes of winnowing and threshing are illustrated.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXwXNG3ParCnqvu3w89nawtZ1EDgUzlc5fNBF2HnKcID4yJwH1yXNVLsG_UyvLkcSVAXGc0KqwCadnX17nhBCzNGSXASyFhk5gyQSALTu4eB26-v-7KzM5TjwhdEXOtcTFmiHRCVzGga09/s1600/Harvesting.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXwXNG3ParCnqvu3w89nawtZ1EDgUzlc5fNBF2HnKcID4yJwH1yXNVLsG_UyvLkcSVAXGc0KqwCadnX17nhBCzNGSXASyFhk5gyQSALTu4eB26-v-7KzM5TjwhdEXOtcTFmiHRCVzGga09/w528-h332/Harvesting.jpg" style="border: none; position: relative;" width="528" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Sennedjem and his wife harvesting grain, from the tomb Sennedjems at Deir el Medina.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFy589ZCRan6hbvA14S67mNnVXzojlLode8eCYkzytLBh4HlPuYr2j2sO48dgSMEyluT6EJhgZug7N0KOBcICMyID2ykYMSESU4oxoRc4KL2ynRjzaUOTJjmfgwQDRH9gXFxAMlH9UOZKd/s1600/Making+wine.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFy589ZCRan6hbvA14S67mNnVXzojlLode8eCYkzytLBh4HlPuYr2j2sO48dgSMEyluT6EJhgZug7N0KOBcICMyID2ykYMSESU4oxoRc4KL2ynRjzaUOTJjmfgwQDRH9gXFxAMlH9UOZKd/s640/Making+wine.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Production of wine - two laborers pick the grapes, the juices are then squeezed out of them by men on the left - while a man is filling jars from a tap</span></td></tr>
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<span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><br /><br /></span><div style="color: #1f1c1c; font-family: Calibri;"><span style="font-size: large;">
The Egyptians believed that the pleasures of life including the times of prosperity could be made permanent by depicting scenes like; A feast for Nebamum, Nebamun hunting in the marshes, Sennedjem and his wife harvesting grain, Nakht and his wife sit before offerings, and so on. In these paintings the humanity rejoice, the family and friendship is glad, the nature and water resound; and the fields are jubilant. Overall, scenes of life, hunting and farming in the Nile marshes and the abundant wildlife supported by that environment symbolized rejuvenation and eternal life. As images like; Nakht hunting birds in the marsh, or Nebamun hunting in the marshes reveals, The geese, of several different species are depicted, and the colours are natural and subtle. Egyptian artists studied carefully the wildlife of their surroundings and paid utmost attention to detail in depicting the birds, fish, cattle, crocodiles, wildcats, butterflies and so on.</span></div>
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The Egyptian nobles were fond of elaborate parties and feasts as their main form of entertainment. Listening to music, watching dances, being served with foods, and friendly chats in an orderly and civilized manner were the main features of these parties. Both men and women were invited, and dining couches and small tables were provided for the guests, who regaled themselves with dishes of fowl, game, fish, bread, and wine. Women wore elegant dresses, and they paid particular attention to style and design of their dress, jewelery and furniture.</span></div>
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<tr><td><a href="http://4.bp.blogspot.com/-RBzgfg26WLU/TlXe9d2JHuI/AAAA.AAAACfk/L21w80wKJAs/s1600/Screenshot-1.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="411" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcV4NYeuQ096CyOuCm-fkhTClil8zcFCJRD2DroiwAQmpnB39S6Kde2Y2iiCbeq06-286zQ6aqk5PIOYi1th2M3EvW35fk-28yBlf06qqGwth9jag5TWPj68CrECeSQ1xWUT_86ia0gJ2s/s640/Screenshot-1.png" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Nebamun’s cattle, fragment of a scene from the tomb-chapel of Nebamun, around 1350 BC</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoCt9qe78ZJOH_h5ZHN46NFXiXENpRCRk0KCKXDhZedIhLBZSikNY8PqrTLjbYV5iYRojNVXZ0kCrlV-75lPaWacduwJmqjwTWQwdqnXYQlneNGzbTOddKK57HBCARkSPxO1SvOHJD6v5h/s1600/Screenshot-2.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoCt9qe78ZJOH_h5ZHN46NFXiXENpRCRk0KCKXDhZedIhLBZSikNY8PqrTLjbYV5iYRojNVXZ0kCrlV-75lPaWacduwJmqjwTWQwdqnXYQlneNGzbTOddKK57HBCARkSPxO1SvOHJD6v5h/s640/Screenshot-2.png" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">A feast for Nebamum, bottom half of a scene from the tomb-chapel of Nebamun, C. 1350 BC</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBxUHZMbLURPUH90r1l4Gec1r2t312dO3myCNAXf2RdTLknnWGWyDe99zsTR2VOh3ikust9m5TemRjXwSt79QZyPQkPllk5LuBt6stskztGmhkfIb6xocRVi-XZzvKeFP4OyR3itZERqxo/s1600/Screenshot.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBxUHZMbLURPUH90r1l4Gec1r2t312dO3myCNAXf2RdTLknnWGWyDe99zsTR2VOh3ikust9m5TemRjXwSt79QZyPQkPllk5LuBt6stskztGmhkfIb6xocRVi-XZzvKeFP4OyR3itZERqxo/s640/Screenshot.png" style="border: none; position: relative;" width="484" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">A feast for Nebamum, top half of a scene from the tomb-chapel of Nebamun, C. 1350 BC</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMkP2XTncSj5aoZ419V0thyphenhyphenKHg7wiXhnirSM04cAH-XJe8ofpKaBHofs2Nz4TJn-FvnVSAChlx4y9Q7BshwSoFbZw0GzT47pAPwBDKUq5QFxD6UxaIuhtFYGiK_nCBP7QZqs_K3RLXfL-B/s1600/Screenshot-3.png" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMkP2XTncSj5aoZ419V0thyphenhyphenKHg7wiXhnirSM04cAH-XJe8ofpKaBHofs2Nz4TJn-FvnVSAChlx4y9Q7BshwSoFbZw0GzT47pAPwBDKUq5QFxD6UxaIuhtFYGiK_nCBP7QZqs_K3RLXfL-B/s640/Screenshot-3.png" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">A feast for Nebamum, top half of a scene from the tomb-chapel of Nebamun, C. 1350 BC</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikJOL-5-DJaDkGDN8NDnXUXu2XwgzkojBhyf4Cjk35j_HIXCgv6oBvNcMfcZM4sZ7UV5_0zgEP_14MgN5HjOIS0HmBbemVQ7fTvYpMlTjQcDOyhQIfHzFLFWRN3g39_Wo-zC9xpVk99Hjn/s1600/senejim.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikJOL-5-DJaDkGDN8NDnXUXu2XwgzkojBhyf4Cjk35j_HIXCgv6oBvNcMfcZM4sZ7UV5_0zgEP_14MgN5HjOIS0HmBbemVQ7fTvYpMlTjQcDOyhQIfHzFLFWRN3g39_Wo-zC9xpVk99Hjn/s400/senejim.jpg" style="border: none; position: relative;" width="277" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Senejem and His Wife, Tomb of Nakht</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbMmylcupm5dLfGuEAOVQCzA2y5KZfpm7ai8kWfb2SOzhBoQQMFtO5V6v_MXIA0g-DdWYZ1FU_x7DV57NbKkqEcvG7shp_L9FqGe4_Gn8kgHRkJl7EV7py4z0AMRObjrWeDQ1glyOr9x8o/s1600/Tomb+of+Nakht+-+Scribe+of+the+Granaries+.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbMmylcupm5dLfGuEAOVQCzA2y5KZfpm7ai8kWfb2SOzhBoQQMFtO5V6v_MXIA0g-DdWYZ1FU_x7DV57NbKkqEcvG7shp_L9FqGe4_Gn8kgHRkJl7EV7py4z0AMRObjrWeDQ1glyOr9x8o/s400/Tomb+of+Nakht+-+Scribe+of+the+Granaries+.jpg" style="border: none; position: relative;" width="400" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Nakht and his wife sit before offerings, Tomb of Nakht - Scribe of the Granaries (reign of Tuthmosis IV)</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGTCLqnxcVYHUh5UnEY3-8zqNN0aguOZ0v7wQuvnnJgtJtj0xB9vhMaiwZa3onTqcNFXTAvhka9FsCa55om8uYwMRd7nLFLyAk6t_uXpQJ4HnbZzlyds300DaNcplLkJS71VlZ9Qx9SqmV/s1600/Tomb_of_Nakht.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGTCLqnxcVYHUh5UnEY3-8zqNN0aguOZ0v7wQuvnnJgtJtj0xB9vhMaiwZa3onTqcNFXTAvhka9FsCa55om8uYwMRd7nLFLyAk6t_uXpQJ4HnbZzlyds300DaNcplLkJS71VlZ9Qx9SqmV/s640/Tomb_of_Nakht.jpg" style="border: none; position: relative;" width="544" /></span></a></td></tr>
<tr align="left"><td class="tr-caption"><span style="font-size: large;">These female musicians are sensually painted in such a striking detail. The graceful nude lute-player dances to the accompaniment of a beautiful harpist and an elegant flute player. Her body is seen in front-view while her head is turned in profile to speak to her friend.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAPdVjNJP1UrEs0JDTRAxfsZpLalscWetONWMo4q7OejfNzboSgTzUfapYbASMqzfU26pbKdrBKjn5vn5XYLKZ45HsBY232N1Np5kfeCyehy8GP54SNSxPrCY9LSiHEoXyc0TiRwB3HgM6/s1600/Tomb+of+Nakht7.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAPdVjNJP1UrEs0JDTRAxfsZpLalscWetONWMo4q7OejfNzboSgTzUfapYbASMqzfU26pbKdrBKjn5vn5XYLKZ45HsBY232N1Np5kfeCyehy8GP54SNSxPrCY9LSiHEoXyc0TiRwB3HgM6/s320/Tomb+of+Nakht7.jpg" style="border: none; position: relative;" width="227" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">The tomb of Nakht; his wife tenderly holds a bird in her hand.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUgeze5dFdxzGF6B7f2qEO7lateThL0WZljtV99AbI6hC-UYMhZCwq6hV59fBDwxM0B-oPP8_64b4YPLZ2XJxu0SAyxUXd-d1_2Amg5cnaDb8_7U753IzJEsKtbUxCFtbtznOQQqGUmzdv/s1600/Tomb+of+Nakht6.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="436" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUgeze5dFdxzGF6B7f2qEO7lateThL0WZljtV99AbI6hC-UYMhZCwq6hV59fBDwxM0B-oPP8_64b4YPLZ2XJxu0SAyxUXd-d1_2Amg5cnaDb8_7U753IzJEsKtbUxCFtbtznOQQqGUmzdv/s640/Tomb+of+Nakht6.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">The tomb of Nakht, a nude young girl leaning to offer perfume to three female dignitaries.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-y4vDWLGd6lqYZwx5yYoxfwhqzI7wGHNEL1LGfvtUl8_A2R3Luuu_F6FETMXaeiqiKImH1V394QShSGdrrrVV208H8AJoJYjDJaXQd2fkD_c60-JlYBtMCfwulVF2pt-P342ldP_tJ22i/s1600/Tomb+of+Nakht+4.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="361" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-y4vDWLGd6lqYZwx5yYoxfwhqzI7wGHNEL1LGfvtUl8_A2R3Luuu_F6FETMXaeiqiKImH1V394QShSGdrrrVV208H8AJoJYjDJaXQd2fkD_c60-JlYBtMCfwulVF2pt-P342ldP_tJ22i/w563-h361/Tomb+of+Nakht+4.jpg" style="border: none; position: relative;" width="563" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Birds are being caught in nets and plucked. The filled net is a complex of wings and colors</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgonDZqvrdzww_AOduAb04myzEuJvSY_g9GElJJ_gCenAxVj1UBy0utY-41L0I5sgGFLu_KEGn5AuJvp5745U-s8u0SoGc4x4gNcY8UsGUT6eeXUOROP3FG9rw8_PU4QFLkZvwoHP1URaVs/s1600/herihor%252C+ancient+egyptian+book+of+the+dead.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span style="font-size: large;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgonDZqvrdzww_AOduAb04myzEuJvSY_g9GElJJ_gCenAxVj1UBy0utY-41L0I5sgGFLu_KEGn5AuJvp5745U-s8u0SoGc4x4gNcY8UsGUT6eeXUOROP3FG9rw8_PU4QFLkZvwoHP1URaVs/s640/herihor%252C+ancient+egyptian+book+of+the+dead.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: large;">Detail from the joint Book of the dead of Herihor and Queen Nodjmet.<br />They both make obeisance towards offerings and a Weighting of the Heart scene, and Osiris seated beyond. Removed from the Deir el-Bahari royal cache before 1881. British Museum.</span></td></tr>
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<span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-y4vDWLGd6lqYZwx5yYoxfwhqzI7wGHNEL1LGfvtUl8_A2R3Luuu_F6FETMXaeiqiKImH1V394QShSGdrrrVV208H8AJoJYjDJaXQd2fkD_c60-JlYBtMCfwulVF2pt-P342ldP_tJ22i/s1600/Tomb+of+Nakht+4.jpg" style="color: #7f8866; margin-left: 1em; margin-right: 1em; text-decoration-line: none;"><br /></a><br /><br /><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: #1f1c1c; margin-left: auto; margin-right: auto; padding: 4px; position: relative; text-align: center;"><tbody><tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy5_MNQF3rAjGIutvag96qXku4kEIc4_K-TiF-x-Tqyl0kN2bzQQ-JTTcvQ06IWLFZa0KohAR5Z4OBRtRK4GtFfxd3y8juHnXPCSSIL8OJdjw9bHbd32i6r_bV-H9dIzdGbjQqKm39X0k/s1600/a.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration-line: none;"><span><img border="0" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhy5_MNQF3rAjGIutvag96qXku4kEIc4_K-TiF-x-Tqyl0kN2bzQQ-JTTcvQ06IWLFZa0KohAR5Z4OBRtRK4GtFfxd3y8juHnXPCSSIL8OJdjw9bHbd32i6r_bV-H9dIzdGbjQqKm39X0k/s640/a.jpg" style="border: none; position: relative;" width="640" /></span></a></td></tr><tr><td><span>The tomb of Sebekhotep in the reign of Thutmose IV (c. 1400-1390 BC), The wall from which this fragment came almost certainly showed Sebekhotep receiving the produce of the Levant and Africa, which he then presented to the king.</span></td></tr></tbody></table><span style="color: #1f1c1c; font-family: Calibri;"></span><br /><div>Sebekhotep's tomb is located on the West Bank at Luxor, at the north end of the hill of Sheikh Abdel Qurna, the site of the tombs of most of the high officials of the Theban region in the Eighteenth Dynasty before the reign of Amenhotep III. He was an important treasury official in the reign of Thutmose IV (c. 1400-1390 BC), bearing the title 'overseer of the seal', in effect the minister of finance. </div><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDOFoaD5Uk51x6GBCPn-ILF7lLAGnZaw__kuF2RpFj4PLhePJKPTK5-n_PpWU3mfS9CV34qnwyVapfiakCmln2P2To-VFPmbvIUhnDjLo9KMtTy9QuelhfuVVBpiM3JFsqaH7iu4c2o_c/s1114/240901788_4837238679623737_19876560806368442_n.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: large;"><img border="0" data-original-height="619" data-original-width="1114" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDOFoaD5Uk51x6GBCPn-ILF7lLAGnZaw__kuF2RpFj4PLhePJKPTK5-n_PpWU3mfS9CV34qnwyVapfiakCmln2P2To-VFPmbvIUhnDjLo9KMtTy9QuelhfuVVBpiM3JFsqaH7iu4c2o_c/w792-h440/240901788_4837238679623737_19876560806368442_n.jpg" width="792" /></span></a></div><span style="font-size: large;"><br /></span><div class="separator" style="clear: both; color: #1f1c1c; font-family: Calibri;">
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<span style="color: #1f1c1c; font-family: Calibri; font-size: large;"><br /><br /><br /><div class="separator" style="clear: both; color: black; font-family: Sans; text-align: center;"><div class="separator" style="clear: both; text-align: left;"><span style="color: #cc0000;">Mural art of Pompeii and Herculaneum</span></div><div class="separator" style="clear: both; text-align: left;"><span><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span>The visual arts of ancient Rome included a long history of mural painting, and much of what we know about it comes from the excavated ruins of Pompeii and the nearby small town of Herculaneum. Interestingly, visual artists from both cities provided a wealth of information and can communicate with us about various aspects of Roman life in AD 79. Herculaneum, for example, was once a thriving city and port in the region surrounding the Bay of Naples. It was made up of amazing villas and beautiful homes for the rich and famous. Unfortunately, it is much less excavated, as it now sits beneath a bustling modern city, and its soil is so much more compacted than Pompeii due to the dense volcanic material littering the site.</span></div><div class="separator" style="clear: both; text-align: left;"><span><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span>Roman painting in general did not survive, but the eruption of Vesuvius near Naples in AD 79 buried the cities in volcanic ash, which served to preserve these works of art. A</span><span style="text-align: center;"><span>n important eyewitness account by Pliny the Younger (A.D. 61-113) offers us a glimpse of that fateful day in A.D. 79 when the eruption of Mount Vesuvius buried an entire town and most of its inhabitants. Pliny, whose uncle died in the disaster, vividly describes sheets of fire and enormous pumice stones raining down from the volcano as well as people running desperately towards the sea, terrified for their lives. </span></span><span>Pompeii was covered with a thick layer of pumice stone and ash up to five meters deep, while its nearest neighbor Herculaneum was buried in lava mud up to fifteen to twenty meters deep. It was not until 1748 that Pompeii and to a lesser extent Herculaneum were accidentally rediscovered.</span></div><div class="separator" style="clear: both; text-align: left;"><span><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span>Rather than having windows, Roman houses were built around a central courtyard, so the mural was both decorative and served to visually enlarge the interiors. They were expensive to put into service and were mostly found in the homes of the wealthy.</span></div></div><div class="separator" style="clear: both; color: black; font-family: Sans; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-family: Sans; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-family: Sans; text-align: center;"><br /></div><div class="separator" style="clear: both; color: black; font-family: Sans; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcdC9WgmPPXwy8QOzSCTFRvl2mLvrSA-XcbSoYU09kyWYcUWTDveh05jctXLUpBCsZQLUcCfFqCw9hxVhSCKEiaLEFMKW9QHabTvgPq2qwZXsQxOdtWEgsCUNmYxj6SJIlyEhwY4kQi_U/s640/240889088_4837274426286829_8163578834746266870_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="211" data-original-width="640" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcdC9WgmPPXwy8QOzSCTFRvl2mLvrSA-XcbSoYU09kyWYcUWTDveh05jctXLUpBCsZQLUcCfFqCw9hxVhSCKEiaLEFMKW9QHabTvgPq2qwZXsQxOdtWEgsCUNmYxj6SJIlyEhwY4kQi_U/w592-h196/240889088_4837274426286829_8163578834746266870_n.jpg" width="592" /></a></div><div style="color: black; font-family: Sans; text-align: center;"><span><span face="Arial, Helvetica, sans-serif" style="color: #333333;">Dionysiac Frieze,</span><span face="Arial, Helvetica, sans-serif" style="color: #333333;">Villa of the Mysteries, Pompeii, 60-50 BC</span></span></div><div style="color: black; font-family: Sans;"><span face="Arial, Helvetica, sans-serif" style="color: #333333;"><span> It is thought that the figures here are performing rituals associated into the initiation into the cult of the god Dionysus (Bacchus).</span></span></div><p style="color: black; font-family: Sans;"><br /></p><div class="separator" style="clear: both; color: black; font-family: Sans; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGTZ_sP1_V0D4JIhCVV0GYPMCVJTKcuLDy7hcDBj62GJbwuSZP6XxOhVECdIGNEwQVwt2077q5Poxz58GBMM0UqMRv0b4xEhDAYympD6s89c6KSuaWHs3xHIIZUIlAAzy2ttUHUXIgiIc/s940/240889088_4837274426286829_8163578834746266870_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="717" data-original-width="940" height="423" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGTZ_sP1_V0D4JIhCVV0GYPMCVJTKcuLDy7hcDBj62GJbwuSZP6XxOhVECdIGNEwQVwt2077q5Poxz58GBMM0UqMRv0b4xEhDAYympD6s89c6KSuaWHs3xHIIZUIlAAzy2ttUHUXIgiIc/w554-h423/240889088_4837274426286829_8163578834746266870_n.jpg" width="554" /></a></div><br style="color: black; font-family: Sans;" /><p style="color: black; font-family: Sans;"><br /></p><div class="separator" style="clear: both; color: black; font-family: Sans; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoX1u-LcyKjtcgYWyNwpQDYYeP-jZplzdaTHia-sUxJQ-uPno4QteGVN5YbinFEpLlYZCpZWsZNT6g7U1iZnqSa6whsFHGeYeuwFb780Zvp7qJZvceWx6RMDGJEH8DAqLJ7t8cR1rp8ww/s1474/240889088_4837274426286829_8163578834746266870_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1474" data-original-width="1326" height="544" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoX1u-LcyKjtcgYWyNwpQDYYeP-jZplzdaTHia-sUxJQ-uPno4QteGVN5YbinFEpLlYZCpZWsZNT6g7U1iZnqSa6whsFHGeYeuwFb780Zvp7qJZvceWx6RMDGJEH8DAqLJ7t8cR1rp8ww/w489-h544/240889088_4837274426286829_8163578834746266870_n.jpg" width="489" /></a></div><p style="color: black; font-family: Sans; text-align: center;">Fresco of the rite of the goddess Isis, Herculaneum, Italy.</p><p style="color: black; font-family: Sans;">Isis was an Egyptian goddess whose worship spread all over the Mediterranean. It arrived on Pompeii’s doorstep at the end of the 2nd century B.C and archeological evidence suggests that the cult of Isis (and of Dionysus) reached its height in popularity probably in Pompeii and Herculaneum’s final years. When Pompeii’s origin Temple of Isis was destroyed in an earthquake in 62 AD, a new one was fully restored in its place, highlighting the importance the cult of Isis held over the town.</p><p style="color: black; font-family: Sans; text-align: center;"><br /></p><p style="color: black; font-family: Sans; text-align: center;"> </p><p style="color: black; font-family: Sans;"><br /></p><div class="separator" style="clear: both; color: black; font-family: Sans; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_B2zCWldnyXtSIu3JkDlCsD2iO7G9jR8Xmyl0cafdP2NSTyeQgEaEUugEqOHKCmBsVzJ3eL5XLnRZ-kIS9qqpvo5VEL-b_SyQ1JjFAWIqgvGKTfGkH5JKR-f2nCrXsjAdPsuWcXfCPUw/s1280/240889088_4837274426286829_8163578834746266870_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1264" data-original-width="1280" height="553" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_B2zCWldnyXtSIu3JkDlCsD2iO7G9jR8Xmyl0cafdP2NSTyeQgEaEUugEqOHKCmBsVzJ3eL5XLnRZ-kIS9qqpvo5VEL-b_SyQ1JjFAWIqgvGKTfGkH5JKR-f2nCrXsjAdPsuWcXfCPUw/w561-h553/240889088_4837274426286829_8163578834746266870_n.jpg" width="561" /></a></div><div style="color: black; font-family: Sans; text-align: center;">A rehearsal for a satire or Choregos and actors mosaic, National Archaeological Museum, Naples, c.62-79 CE.</div><p style="color: black; font-family: Sans;"><br /></p><p style="color: black; font-family: Sans;"><span>The mosaic on the tablinum floor of the House of the Tragic Poet, which features a rehearsal scene for a theatrical performance, tells us how seriously the Pompeiians took their theaters. Interestingly, Pompeii had two stone theaters almost two decades before Rome had its first permanent stone theater.</span></p><br /><br /><br /><br /><br />Go to the next chapter: Chapter 2 - <a href="http://guity-novin.blogspot.com/2016/09/chapter-2-medium-is-message_12.html#Five" style="color: #7f8866; text-decoration-line: none;">The Medium is the Message </a></span><br /></div>
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-60908204000249123902016-09-12T07:56:00.013-07:002021-10-25T16:22:47.941-07:00. She 2: The Medium is the Message: A philosophical Underpinning for Visual Communication <div dir="ltr" style="text-align: left;" trbidi="on">
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<li> <a href="#One"> What is Graphic Design?</a></li>
<li> <a href="#One1"> Signs and Structures of Meaning</a></li>
<li style="font-family: Tinos;"><a href="#Two">What is Communication Design?</a></li>
<li style="font-family: Tinos;"><a href="#Three">Why do we need to know about history of visual communication?</a></li>
<li style="font-family: Tinos;"><a href="#Four">What is wrong with the the existing historical treatments of visual communication?</a></li>
<li style="font-family: Tinos;"><a href="#Five">Towards an Understanding of the Grammar of Visual Design</a></li>
<li style="font-family: Tinos;"><a href="#Six">The Conflict Between Advertising and Graphic Art</a></li>
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<span style="font-size: medium;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="One" style="color: #7f8866; text-decoration: none;"><span style="color: #993300;"></span></a>What is Graphic Design?</span></div>
<p> </p><blockquote><span style="font-size: medium;"><span face="Helvetica Neue, Arial, Helvetica, sans-serif"><i>Now I understand that the basic constitution of the game, to be filled with its spirit—the spirit of buoyancy, freedom and the joy of success—and to fulfill him who is playing, is structurally related to the constitution of the dialogue in which language is a reality. When one enters into a dialogue with another person and then is carried further by the dialogue, it is no longer the will of the individual person, holding itself back or exposing itself, that is determinative. Rather, the law of the subject matter is at issue in the dialogue and elicits statement and counterstatement and in the end plays them into each other. </i></span><br />
<span face="Helvetica Neue, Arial, Helvetica, sans-serif"><i>--Hans-Georg Gadamer, Philosophical Hermeneutics,</i></span></span></blockquote>
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<span style="color: red;">T</span>he word '''Graphics''' is rooted in the ancient Greek word of <i>Graphikos </i>or γραφικός which means: able to draw or paint. It is equivalent to <i>gráph(ein)</i> implying to draw or to write. The term graphic designer first coined by American designer William Addison Dwiggens in 1922 and is today universally acknowledged as the title for the occupation of an artist engaged in communication or advertising design. In Europe, the title became widely accepted in the 1960s, sixty years after the profession had actually been established. In French, the term for Graphic Design is <i>graphisme</i> and a graphic designer is either <i>un graphiste</i> or <i>un maquettiste</i>. Nevertheless, the proper French term for a designer, which is now increasingly used in French, is <i>concepteur</i>, associated with the verb <i>concevoir</i> or to conceive (a concept). In Germany, during the early years of the history of the profession, the graphic designers were simply called <i>Künstler</i>, artists, or <i>Zeichner -</i>- literally meaning a drawer, but implying a designer. Until the adoption of graphic designer, the term <i>Gebrauchsgraphiker</i>, commercial artist, or simply <i>Graphiker</i>, an abbreviated version, was the most widely used and popular label in Germany through World War II. As well, Germans frequently used the term <i>Angewandte Künstler</i>, applied artists, which corresponded to <i>Angewandte Kunst</i>, applied art, produced by applied artists. In Persian the term used is " انگاره آفرینی --<i>Engareh Afarini</i>" the creation of perception. Although, some persian designers use " طراحی گرافیک -- <i>Tarrahi Graphic</i>" a mixture of Arabic-English words that literally translates "Graphic Design". I prefer the word انگاره آفرین --<i>Engareh Afarin</i>" the creator of perception, since I believe as graphic designers we create perceptions or <i>engareh</i>, which are the source of new Logos.</span></div><div><span style="font-size: medium;"><br />
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<span style="color: red;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="One1" style="text-decoration: none;"></a>Signs and Structures of Meaning</span></span></div><div><span style="color: red; font-size: medium;"><br /></span></div>
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<br /><span style="color: #ff6600;">A</span><span>s Jill Deleuze (1925-1995) </span></span><span style="font-size: large;"> </span><span style="font-size: medium;">in all of his works pointed</span><span style="font-size: medium;"><span> out, the power of life in all its forms is the power to pose problems. Life involves problems - not just for a thinking consciousness, but for biological, mechanical, and all other forms of organizations, such as cells, machines, and electromagnetic waves, all of which are manifestations of reactions to the quandary or to the "problematizing" impulse of life. . Questions of philosophy, art and science are an extension of the questioning power of life, and in this context, graphic design is no exception to this rule, it is also one of the most powerful means of Logos, </span></span><span style="font-size: medium;"><span>Λ</span><span>όγος, </span><span>for finding solutions to the problems posed.</span></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><br /></div><div dir="ltr" style="text-align: left;" trbidi="on"><span style="font-size: medium;"><span style="color: red;">L</span>ogos is a difficult world to translate. Even Romans found it impossible to translate it by any single word, and therefore adopted the phrase <i>ratio et oratio</i> (reason and speech). Logos is derived from the root λεγ, appearing in λεγω, the etymological meaning of which is “gathering,” “laying,” and “collecting,” : hence to gather or composing words or pictures together, like a poster for a cause. Hence λόγος is, first of all, a collecting or collection both of pictures in the mind, and of words by which they are expressed. Barbara Cassin in her <i>Dictionary of Untranslatables: A Philosophical Lexicon</i>, provides the list of the senses of logos in a marginal scholium of a manuscript of the <i>Tekhnê grammatikê,</i> by Dionysius Thrax (Dionysius Thrax, <i>Scholia in Dionysii Thracis artem grammaticam</i>, in Grammatici Graeci, vol. 1, fasc. 3). She argues that logos in the representation of “speech” never means a “word”; and in the representation of “counting,” never means an isolated “number”—in either representations, it always refers to something having a “syntax”: “the constitution or consideration of a series, of a notionally complex set.”<br /><br /><span style="color: red;">F</span>or Plato the “weakness of the logos,” by which he means the ordinary language is treacherous, that it has a tendency to slip out of our control so that meanings disappear into the thickets of ambiguity, self-contradiction and paradox. Logos fails to represent reality, and thus must be replaced by a system of signs which corresponds exactly to the logical structure appearance, a system of signs that can always be controlled and always behaves according to the dictates of logic. The paradigmatic expression of such a language, for Plato, was the language of mathematics; the ideal language for thinking is one in which words function like numbers. In this way, “the word, just like the number, becomes the mere sign of a being that is well-defined and hence pre-known.” In this book, I suggest the language of graphic design with its grammar is another paradigmatic expression.<br /><br /><span style="color: red;">I</span><span>n Aristotle's</span> body of works, which begins with a discussion of the ambiguity of logos, he demands the philosophers to disambiguate and analyze such ambiguities of fundamental philosophical terms. As a universal law of nature, Aristotle in his philosophy of nature, argues that nature lies less in the material than in the form according to logos. He also claims that humans are the only animal species having logos, or the capacity for understanding and communicating their understanding to each other. Logos as “visual communication” is precisely the human capacity for understanding.<br /><br /><span style="color: red;">O</span>ne may argue that a system of signs, with its own grammatical rules, can be regarded as a more potent language representing reality. Jean-François Lyotard, a late professor of philosophy at the university of Paris, in one of his "fables"; <i>The Paradox on the Graphic Artist</i> provides a sense of the process of logos, in the sense of putting together, in the context of visual communication design. Given the multidimensional nature of reality, he has accurately characterized graphic designers as artists, attorneys, witnesses, historians, and judges all rolled into one. As manufacturer of objects of visual communication of certain realities, they have “very little freedom of movement. Not only under stringent constraints, but various kinds of constraints […] They [the graphic artists] struggle in this web like crazy people. Each in his or her own way. What are these constraints? Lyotard argues "The heavy-duty ones are obvious: to be liked, to be persuasive, and to be just". Here, I think, the operative word is "JUST". Then, he explains that what he means to say is that the graphic artist's work;<br /></span><blockquote class="tr_bq"><span style="font-size: medium;"><br />"gives pleasure to the gaze; that it induces a disposition in the viewer to buy into (in the double sense of going there and believing in it) the demonstration, the exhibit, the institution, etc. : that the work is faithful to the thing (institution, exhibit, etc.) it promotes, faithful both in the spirit and in the letter. (...) By targeting this pleasure, the graphic design falls into the realm of aesthetics: by targeting belief, it derives from rhetoric. And by respecting the truth of thing -- or by revealing it, the truth of the thing promoted, the graphic object takes on the value of testimony, it belongs to the art of proving, to inquiry, to history, to the establishment of knowledge" </span></blockquote><span style="font-size: medium;"><br /><span style="color: red;">T</span>his reference to the design of objects of visual communication, as a message, demands a further clarification of the constraints.<br /><br /></span><blockquote class="tr_bq"><span style="font-size: medium;"> First of all, art is not free. It is freedom, within constraints at every level, conscious and unconscious. But then aesthetics is an art, the art of producing or of feeling pure (disinterested pleasure. Rhetoric is an art of persuasion. History is an art of true recounting, And interpreting is hermeneutics art, perhaps the most difficult of them all Its rules are almost unknown.</span></blockquote><span style="font-size: medium;"><br /><span style="color: red;">L</span>yotard describes these constraints as the necessity to make decisions in the midst of the design process all of which are equivalent to a judgment on the message to be communicated. The search for Logos, or truth and, at the same time, the necessity of a surprising effect which pulls the viewer of an object of visual communication from the boredom of an overstimulated environment, is at the heart of the aesthetic experience that graphic designers want to achieve. In this, designers are always depending on the continually changing, collective, aesthetic preferences of the cultural context. To define, influence, and develop these further is equally as well part of visual communication as the exchange of icons.<br /><br /></span><blockquote class="tr_bq"><span style="font-size: medium;">Graphic artists "target" an object, but the target keeps shifting. It cannot be said that they commune, or even dialogue, with their people. On the the contrary, they are banking on an unsure, unforeseeable, perhaps impossible communication. They are the popular artists of cities without people and populations without traditions. Their addressees, all of us, are inhabited by the monotonous passion of 'performances," only thinking about what is possible, about what is "feasible," as one says.</span></blockquote><span style="font-size: medium;"><br /><span style="color: red;">A</span>ccording to the Tractatus Logico-Philosophicus of Wittgenstein thoughts are pictures of how things are in the world. This is his “Picture theory of language” (aka Picture theory of meaning). According to his theory picture is a model of reality: it “presents a situation in logical space, the existence and nonexistence of states of affairs”. Wittgenstein theory is derived from an analogy with painting, where he realized that a painting is something very different than a natural landscape, however, a skilled painter can still represent the real landscape by placing patches or strokes corresponding to the natural landscape reality. Reality is defined as the totality of facts about the world.<br /><br /><span style="color: red;">I</span>n communicating certain conceptual “reality” as its message, a picture “is laid against reality like a measure”, so that the picture is “true” or “false” on the basis of whether it agrees or disagrees with the message. This implies that the message of a picture must in some “sens ” corresponds to the logical form of reality. So what makes a picture have a particular sense? The answer is that: “A picture contains the possibility of the situation that it represents”.<br /><br /><span style="color: red;">W</span>ittgenstein has realized that the same thing happens with language. We are able to assemble words in sentences to match the same logical form as the core idea that made us able to talk about the world. This “logical form” is the set of internal relationships between both visual and oral representations. It is why the painter was able to represent reality of the natural landscape, and why the speaker was able to express the reality of idea. This is how the visual communication design relates to the existing facts about the world, that is the world we observe.<br /><br /><span style="color: red;">O</span>f course, from antiquity, philosophical thoughts puzzled by the relationship between language and reality. Heraclitus, a noble from Ephesus (ca. 500 B.C.), was the first to identify the Logos λόγος; “that universal principle which animates and rules the world” as the Urstoff. He spoke of a reference provided by language and focused on the universe of meaning (i.e., the logos). The logos was seen as a term of pure substitution, the sign of an objective message.In the modern hermeneutic experience. In his prologue to one of his fragments he wrote:<br /><br /></span><blockquote class="tr_bq"><span style="font-size: medium;"> "Now, men always live far from understanding the discourse [logou], which is this one, before they have listened to it, as after they have listened to it the first time. For everything lives according to this discourse, so that one sees them apparently ignorant of what they practice, their words and their actions, such as those that I myself develop thoroughly, dividing each one according to its nature and showing how it is made. Other men are unaware of what they do when they are awake and of all they forget during their sleep." </span></blockquote><span style="font-size: medium;"><br /><span style="color: red;">H</span>eraclitus, thus, suggests that people to be uncomprehending of the logos both after and also before hearing, which implies that what they fail to understand has some existence prior to and independent of the words of the speaker. This abstract tension created by language, the tension inherent in words, in the logos as word in its relation to a thing is related to the inherent truth that language tries to reveal. To help people to understand this truth is the duty of the visual communication designer.<br /><br /><span style="color: red;">T</span>his is the truth that according to Hraclitus the people most often miss. Since the discourse had already failed to be heard before the writer had written it, it is the truth, an objective correspondence called “meaning” that alone, deserves to be called eternal. According to Heraclitus, the 'Logos' is eternal, being both preexistent and everlasting , all things both in the material and the spiritual world happen through the Logos, it is a cosmic principle, , 'common, or 'universal' . Finally it is duty the of individual to obey the Logos and so to place himself in harmony with the rest of nature.<br /><br /><span style="color: red;">A</span>ccording to a number of scholars ( E Vernon Arnold, Roman Stoicism, p. 37, Gladisch, Heraakleitos und Zoroaster; Ueberweg, Greundriss, p.S9 ) Heraclitus borrowed this doctrine from Zarathustra. In the words of Arnold ,<br /><br /></span><blockquote class="tr_bq"><span style="font-size: medium;">"(T)he historical circumstances are not unfavorable to this suggestions. Inonia was conquered in turn by Cyrus and Darius, and definitely annexed by Persia about 496 B.C. that is at the very time at which Heraclitus taught. Moreover the Persian invasion was akin to a religious crusade, and had for a principal aim the stamping out of the idle and superstitiou habit of worshiping images, by which (according to the Persians) the true God was dishonored. The elevated character of the Persian religion could hardly fail to attract learned Greeks, already dissatisfied with the crude mythology of their own people. Further, the resemblance between the teaching of Zarathustra and that of Heraclitus is not restricted to the language used of the divine fire; the doctrines of an all creating, all-pervading Wisdom, the Logos or word and of the distinction between the the immortal soul and the corruptible body, are common to both. (...) We may in fact well believe that Heraclitus was acquainted with Zarathustranism and influenced by it, but we have not the means to determine what the extent of that influence was. It is related that he received (but declined) an invitation to the court of Darius; and that his dead body was given to to be torn to pieces by dogs in the Persian Fashion"</span></blockquote><span style="font-size: medium;"><br /><span style="color: red;">L</span>ater on, after 300 B,C., Zeno who founded the school of Stoics, which its name, interestingly from a graphic design perspective, is derived from the 'picture porch' (so called because it was decorated with paintings by Polgnotus) adopted the Heraclitean doctrine of the Logos. He postulated that the Logos or divine reason is the power which pervades and gives shape to the universe, and this Logos is identical with the deity, "<i>rationem quadam per naturam omnem rerum pertinentem vi divina esse affectam putat</i>' . Logos ( ορθός λόγος , vera ratio) brings into harmony various parts of philosophy. From this perspective there is no distinction between divine reason and the world.<br /><br /><span style="color: red;">A</span>t the beginning of the Roman Empire, especially for the Stoics and the Cynics, the fundamental task of a philosopher was the construction of his own self. A man who sought to improve himself had to first regulate his own nature, controlling his passions and emotions and eliminating any gap between theory and practice. He was thus supposed to approach the perfection of a god. Philo of Alexandria who was a Jewish thinker, in the first half of the first century BC. and a pupil and admirer of the Greek philosophers Plato, Pythagoras, Parmenides, Empedocles, Zeno and Cleanthes disagreed. He consciously deconstructed the rationalist patterns of Greek thought, which in his opinion served to affirm the primacy of the self, and argued for the <i>oudeneia</i>, the ontological nothingness of human beings. Thus, the only way to have real existence was to admit that one is nothing without the help of God, who is the source of freedom, logos (reason) and consciousness.<br /><br /><span style="color: red;">P</span>hilo aimed to be the best possible servant of the Revelation and of the text that forms God’s Logos. Thus, he placed logos clearly within the unique perspective of divine transcendence. However, this transcendence was not exactly Platonic, but rather of a God both absolutely unknowable yet very close to mankind.The Logos, as embodying the divine will, is personified in Hebrew poetry. Consequently divine attributes are predicated of it as being the continuous revelation of God in law and prophecy (Psalms 3:4; Isaiah 40:8; Psalms 119:105). The Word is a healer in Psalms. 107:20; a messenger in Psalms 147:15; the agent of the divine decrees in Isaiah 55:11.<br /><br /><span style="color: red;">I</span>n the modern times Ferdinand de Saussure argued that the relationships between the signifier, i,e., a word like "Pipe" and the signified, i.e., the object like the pipe itself are arbitrary, as are determined by random circumstances, conventions, and historical accidents. The " sign" do not "refer" to the truth of things themselves. Rather, it has a meaning within the entire system that is language - which itself a network system of graded differences.<br />
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In the 20th century phenomenologists , such as Edmund Husserl (1859–1938) and Martin Heidegger (1889–1976), argued that life needs to be studied just as it appears (as phenomena). In Heidegger's essay on the work of art, Van Gogh's painting of ‘a pair of peasant shoes;" the painting has spoken", the truth of his painting is manifested in the nearness of the work, which reveals the truth itself. The concept of nearness of the work reveals the logos, or the meaning of painting as the truth of a "text", which presupposes pre-texts. Heidegger writes :<br />
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As long as we only imagine a pair of shoes in general, or simply look at the empty, unused shoes as they merely stand there in the picture, we shall never discover what the equipmental being of the equipment in truth is. (…) we know nothing at all of the work character of the work in the sense of the work of art. (…)The artwork lets us know what shoes are in truth. …the equipmentality of equipment first expressly comes to the fore through the work and only in the work. (…) Van Gogh’s painting is the disclosure of what the equipment, the pair of peasant shoes, is in truth. This being emerges into the unconcealment of its Being. The Greeks called the unconcealment of beings <i>alētheia</i>. We say “truth” and think little enough in using this word. If there occurs in the work a disclosure of a particular being, disclosing what and how it is, then there is here an occurring, a happening of truth at work. -- <i>The Origin of the Work of Art</i></span></blockquote><span style="font-size: medium;">
Based on phenomenologists' ideas a graphic designer has to establish a secure foundation for meaning of its design based on experience itself, which would be totally independent of who or what was doing the experiencing! Another school of thought, structuralism represented by the linguist Ferdinand de Saussure (1857–1913), anthropologist Claude Levi-Strauss (1908- 2009)and psychoanalyst Jacques Lacan (1901-1981); was engaged in a search for 'deep structures' underlying the 'surface features' of phenomena. They argued that meaning ought not to be discovered by experience but by exploring the structures that make experience possible: structures of concepts, language or signs. Here, a graphic designer seeks to discover meaning in the overall organization of sign systems.<br />
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It is... possible to conceive of a science which studies the role of signs as part of social life. It would form part of social psychology, and hence of general psychology. We shall call it semiology (from the Greek semeîon,'sign'). It would investigate the nature of signs and the laws governing them. Since it does not yet exist, one cannot say for certain that it will exist. But it has a right to exist, a place ready for it in advance. (Saussure 1983, 15-16; Saussure 1974, 16)</span></blockquote><span style="font-size: medium;">
Hans-Georg Gadamer in his seminal book Truth and Method provides a compromise and writes:<br />
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The essence of the picture is situated, as it were, halfway between two extremes: these extremes of representation are pure indication (Verweisung: also, reference), which is the essence of the sign, and pure substitution (<i>Vertreten</i>), which is the essence of the symbol. There is something of both in a picture. Its representing includes indicating what is represented in it. We saw that this emerges most clearly in specific forms such as the portrait, for which the relation to the original is essential. At the same time a picture is not a sign (<i>Zeichen</i>). For a sign is nothing but what its function requires; and that is to point away from itself. In order to fulfill this function, of course, it must first draw attention to itself. It must be striking: that is, it must clearly foreground itself and present itself as an indicator, like a poster. But neither a sign nor a poster is a picture. It should not attract attention to itself in such a way that one lingers over it, for it is there only to make present something that is absent and to do so in such a way that the absent thing, and that alone, comes to mind. It should not invite the viewer to pause over its own intrinsic pictorial interest. The same is true of all signs: for instance, traffic signs, bookmarks, and the like. There is something schematic and abstract about them, because they point not to themselves but to what is not present—e.g., to the curve ahead or to one's page. (Even natural signs—e.g., indications of the weather, function as signs only by way of an abstraction. If we look at the sky and are filled with the beauty of what we see there and linger over it, we experience a shift in attention that causes its sign character to retreat into the background.)</span></blockquote><span style="font-size: medium;">
Structuralism, however, has found advocates among a large number graphic designers, who have argued that a visual language, like any other language, has a vocabulary that is organized by a specific grammar. Visual elements are in a way the alphabet of this visual language that include:<br />
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(i). 'Abstract objects' which are idealized shapes that can’t physically be created (Points, Lines, Surfaces and Volumes),<br />
(ii). Concrete objects, which are perceived within defined limits called contours, which can be geometric, organic, or random.</span></blockquote>
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Any element of a visual design on the page is a concrete object, which can be organized into direction, tone, color, texture, dimension, scale and movement. A visual structure is formed by placing two or more objects in relation to one another. They can be abstract or concrete.<br />
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Structuralists insisted that nothing is meaningful in itself; meaning is determined in relation to other components of a system, so that an object has no sense outside of its visual grammar. They objected to the idea that the work of art is an instrument for reflecting a pre-existent reality or for expressing a human intention and believed that ‘subjects’ are produced by artistic structures which are ‘always already’ in place. As a subject’s utterances belong to the realm of <i>parole</i>, which is governed by <i>langue</i>, the true object of structuralist analysis, so are artistic expressions.<br />
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This view was criticized by the post-structuralists; thinkers such as Jacques Derrida (1930 – 2004) Michel Foucault (1926-1984), Gill Deleuze (1925-1995) and Jean-François Lyotard (1924-1998) who argued that the structuralists' systematic view of communication excludes all subjective processes by which individuals interact with others and with society, they brought to attention the impossibility of access to meaning either by pure experience (phenomenology) or systematic structures (structuralism). Post-structuralists tried to deflate the scientific pretensions of structuralism; if structuralism was unequivocal in its desire to master the world of artificial signs, post-structuralism is sarcastic and suspicious in its refusal to take such claims seriously. Of course, Saussure himself had noticed that there is no necessary connection between signifier and signified. Sometimes a language will have one word (signifier)for two concepts (signifieds): in English ‘sheep’ is the animal and ‘mutton’ the meat; French has only one word for both signifieds (‘mouton’). As Saussure puts it,<br />
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‘A linguistic system is a series of differences of sound combined with a series of differences of ideas.’</span></blockquote><span style="font-size: medium;">
The same can be said, of course, about visual signs.<br />
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The same idea of the utter arbitrariness of signs; that is total unruliness of the pairing between signifiers (signs) and signified (concepts) is brilliantly expressed in a remarkably simple poem by Rumi (1207- 1273)<br />
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<span dir="RTL"><span dir="RTL" lang="AR-SA" msonormal=""><span dir="RTL" face=""arial" , sans-serif" lang="FA" style="font-size: medium;"> آن یکی شیرست اند ر بادیه وین یکی شیرست اندر بادیه<o:p></o:p></span></span></span></div>
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<span dir="RTL" face=""arial" , sans-serif" lang="FA" style="font-size: medium;">آن یکی شیرست که آدم می خورد وین یکی شیرست که آدم می خورد<o:p></o:p></span></div>
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<span style="font-size: medium;"><span dir="LTR"></span><span dir="LTR"></span><span dir="LTR"></span><span dir="LTR"></span> In the poem the philosopher employs two paronomastic words “Sheer” (meaning both lion and milk) and “Badieh”(meaning both desert, and bowl in Persian) and constructs two double-entendre statements, where the first verse can either mean; “That is a lion in a desert and this is milk in a bowl” or vice-versa i.e., “That is milk in a bowl and this a lion in a desert”. Similarly the second verse can either mean “that is the lion that feeds on man, and this is the milk that man feeds on” or vice versa. Despite the poem’s utter simplicity, because statements are identical it is impossible for the reader to decipher which verse corresponds to which meaning. Here lies the challenge and the opportunity faced by graphic designers in visual communication.</span></div>
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Rene Magritte (1898-1967), who disliked being called an artist, preferring to be considered a thinker who communicated by means of painting, in an early version of his poster-like painting <i>Ceci n 'est pas une pipe</i>, appeared in 1968 in the journal <i>Les Cahiers du chemin</i>, has visually expressed a similar dilemma of communications.<br />
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In this work the pipe as a sign is not so much a well-understood object that can momentarily provide a ‘fixed’ point of reference between two moving layers of signifier and signified. As Foucault explains:<br />
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Magritte ' s drawing is as simple as a page borrowed from a botanical manual: a figure and the text that names it. Nothing is easier to recognize than a pipe, drawn thus; nothing is easier to say-our language knows it well in our place-than the "name of a pipe". what lends the figure its , Now, strangeness is not the " contradiction" between the image and the text . For a good reason: Contradiction could exist only between two statements, or within one and the same statement. Here there is clearly but one, and it cannot be contradictory because the subject of the proposition is a simple demonstrative. False, then, because its " referent" - obviously a pipe - does not verify it? But who would seriously contend that the collection of intersecting lines above the text is a pipe? Must we say: My God, how simpleminded! The statement is perfectly true, since it is quite apparent that the drawing representing the pipe is not the pipe itself. And yet there is a convention of language: What is this drawing? Why, it is a calf, a square, a flower. An old custom not without basis, because the entire function of so scholarly, so academic a drawing is to elicit recognition, to allow the object it represents to appear without hesitation or equivocation. No matter that it is the material deposit, on a sheet of paper or a black board, of a little graphite or a thin dust of chalk. It does not " aim" like an arrow or a pointer to ward a particular pipe in the distance or elsewhere. It is a pipe."</span></blockquote><span style="font-size: medium;">
Foucault in his Book <i>Les Mots et les choses</i>, had already tried to tackle this enigma:<br />
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that there is a worse kind of disorder than that of the incongruous, the linking together of things that are inappropriate; I mean the disorder in which a large number of possible orders glitter separately, in the lawless and uncharted dimension of the heteroclite; and that word should be taken in its most literal etymological sense; in such a state, things are "laid," "placed," "arranged" in sites so very different from one another that it is impossible to find a common place beneath them all. (...) Heterotopias are disturbing , probably because they secretly undermine language, because they make it impossible to name this and that, because they shatter or tangle common names, because they destroy syntax in advance, and, not only the syntax with which we construct sentences but also that less apparent syntax which causes words and things (next to but also opposite one another) to "hang together."</span></blockquote><span style="font-size: medium;">
Saussure himself had recognized that signifier and signified are two separate systems, but he did not see how unstable units of meaning can be when the systems come together. Having established language as a total system independent of physical reality, he tried to retain a sense of the sign’s coherence, even though his splitting of the sign into two parts threatened to undo it. In the words of James Harkness:<br />
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In Saussurean linguistics, words do not "refer" to things themselves . Rather, they have meaning as points within the entire system that is a language- a system , further , conceived as a network of graded differences. " D o g " is not somehow attached to the real animal, arising naturally from it and participating magically in its essence or presence. Instead, " dog " has conceptual signification insofar as it evokes an idea that differs from the idea of a cat, a bear, a· fur seal, etc.</span></blockquote><span style="font-size: medium;">
Post-structuralists criticize the belief in impartiality of the Anglo-Saxon empiricism that considers the researcher as the source of meaning, which is derived from a repeatable scientific experiment in which the human mind receives impressions from without. Then by sifting and organizing these inferences a model of the world is constructed. The researcher as ‘subject’ grasps the ‘object’ and puts it into the model in shape of a verbal or visual statement. This model has been challenged by a theory of ‘discursive formations’, which refuses to separate subject and object, artist and viewer, into separate domains. Meanings are always formed from discourses, a dialogue between artist and the viewer of its art, which preexist the subject’s experiences. Even the subject i.e., artist, itself is not an autonomous or unified identity, but is always ‘in process'.<br />
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There has been a parallel shift in the history and philosophy of science. Popper insists that there is no such thing as induction and that there is no process by which the testing of a scientific theory yields reasons to believe in that theory. It is alright to use a theory that has passed severe tests, but we ought also to be continually attempting to disprove that theory - keeping in mind that one false consequence provides sufficient grounds for rejecting the theory while no run of correct predictions provides any grounds for believing the theory to be true. The only time we learn something definitive from the scientific process is when we discover that we are wrong. Within science there is a fundamental distinction between data and theory: theories make claims that go beyond available data, and thus yield predictions about what will occur in cases that have not yet been examined. T. S. Kuhn and Paul Feyerabend have challenged the belief in the steady progression of knowledge in the sciences, and have shown that science ‘progresses’ in a series of jumps and breaks, in a discontinuous movement from one discursive formation (or‘paradigm’) to another. Individual scientists are not subjects apprehending objects through the blank mirror of the senses (and their technical extensions). They conduct and write up their research within the conceptual limits of particular scientific discourses, which are historically situated in relation to their society and culture.<br />
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Post-structuralists, like Foucault emphasis notions such as self-organization, time as an irreversible dimension, and a world of infinite possibility because it is characterized by the principles of openness, in-determinism, unpredictability and uncertainty. Many of these thinkers like Deleuze, recognize that impossibility of organizing life into closed structures is not a failure or loss but a cause for celebration and liberation. The fact that we cannot secure a foundation for meaning means that we are given the opportunity to invent, create and experiment. Deleuze asks us to grasp this opportunity, to accept the challenge to transform life.<br />
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As Wittgenstein perceives when we engage in a language discourse , or when a painter engages in act of painting, we are participating in representation games. We do not so much learn how to paint or how to talk a language, but we get engaged in acts of playing the game, a game that its rule changes in time and space. When as children we learn these games, we are at the same time being trained to view the world in certain socially determined ways. Representation games are played according to rules that apply within a particular situation. Our activities are inseparably interwoven with representation; we live in a logos-constituted world; and in order to act in that world we must know how to play the logs game in the particular circumstances that apply in the situation in which we find ourselves. We must know the rules of the logs game that is being played at any moment; we must know the appropriate responses to whatever is said.
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<span style="color: #ff6600;">G</span>raphic design is perhaps the most potent manifestation of this opportunity which is the main building block of the the human culture. It exhibits cultural aspirations, historical memories of struggles and triumphs , spiritual beliefs, socio-economical modes of life, moral and ethical judgments and so on and so forth. In no other phenomena but the Graphic Design the truth of Marshall McLuhan statement in his , <i>Understanding Media </i>, is so evident that:<br />
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In a culture like ours, long accustomed to splitting and dividing all things as a means of control, it is sometimes a bit of a shock to be reminded that, in operational and practical fact, the medium is the message. This is merely to say that the personal and social consequences of any medium - that is, of any extension of ourselves - result from the new scale that is introduced into our affairs by each extension of ourselves, or by any new technology</span></blockquote>
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<span style="font-size: medium;"><span style="color: #ff6600;">W</span>hat McLuhan implies is that independent of its content or visible messages, a visual design has its own intrinsic impacts on viewers' perceptions, which stems from the interrelationships among the socio-cultural factors, which create a unique message unrelated to its content. In fact, the visual design recreate its content, and by virtue of determining the overall form of a written message it determines the ways in which that message will be perceived and thus would have far-reaching sociological, aesthetic, and philosophical consequences, to the point of actually altering the ways in which we experience the world. It is interesting to note that McLuhan co-authored a book, 'The Medium is the Massage' by Quentin Fiore, a graphic designer that gave the book a pertinent graphic treatment, combining modernist typography with collage and various images. The authors tried to show that how the medium is reshaping and restructuring patterns of social interdependence and every aspect of man's personal life. In particular, how the medium forces people to reconsider and reevaluate practically every thought and every institution they formerly took for granted. Thus, graphic design changes the world and, of course, a changing world alters the graphic design -- both the message and the interpretation of that message. This is why the graphic design needs to be analyzed in the wider context of the social relationships.</span></div>
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The reason why is the title of the book 'The Medium is the Massage and not The Medium is the Message?' according to McLuhan biographer W. Terrence Gordon, is that by the time the book appeared in 1967, "McLuhan no doubt recognized that his original saying had become a cliché and welcomed the opportunity to throw it back on the compost heap of language to recycle and revitalize it". When the book came back from the typesetter's, it had a typo on the cover -- 'Massage' instead of 'Message' but the typesetter had made an error. When McLuhan saw the typo he exclaimed,'Leave it alone! It's great, and right on target!' With all due respect to McLuhan, as the rest of this piece tries to demonstrate; 'The Medium' cannot, and should not be 'the Massage'. The art is not dead, and the artists are still revitalizing the world.<br />
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<span style="font-size: medium;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Two" style="color: #7f8866; text-decoration: none;"><span style="color: #993300;"></span></a>What is Communication Design?</span></div>
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Today Communication Design is an interdisciplinary practice that involves, aesthetically trained craftsmanship , intellectual curiosity, technical dexterity, and creative talent. It is concerned with the analysis, organization and methods of presentation of visual solutions to communication problems.<br />
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In contrast to propaganda, which perhaps is a more pertinent representative of McLuhan's idea of 'massage' relative to 'message', as it pertains to a systematic propagation of magisterial policies through manipulative communications to the public, Lyotard describes the work of a graphic designer as a search for unknown visual deviations able to draw the attention of passersby. In this, he situates visual communication as a close relative of liberal arts, so-to-say street art, that operates with the very same means of the visible — color, shape, and composition on a two-dimensional surface. In relation to the evaluation of objects of visual communication, Lyotard writes: “What you’re not telling is what makes for a good poster, a good logo … And there is where we come across the constraint I’m talking about. Graphic art is not just good to sell things. It is always an object of circumstances, and consequently ephemeral. Of course, you can put it in archives, collect it and exhibit it".</span></div>
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According to cognitive neurologists the way our brain works is trough seeing multiple images of our surroundings at once. Like all other comprehension processes, our brain armed with a "blueprint" of a concept, provided to it by cultural and biological environment, tries to decipher various observed signs. These signs are transmitted by the eyes in their persistent search for clues in a process of “visual inspection” of the world. The process continues until the brain would find a replica that would satisfy the main characteristics of the aforementioned blueprint. This convinces the brain that it has arrived at a moment of understanding. The visual communication tries to emulate and enhance this process in an efficient and timely manner, so that, upon seeing a visual design, many of observers arrive at the same moment of understanding.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDw5r_fxotZxkqcSw1YfsGJX8Kptz0QLCW49urthm8bcDroxBa81F8CVy7SbRg07fm0VAVGGEuAP0Dr9HLN23iVsM3WNxESW08yUYyzXYV-cdlkZIiaAzh6Gmtf5T9MYqOv6cT3sSskA0/s1600/Morteza+Momayez%252C+Mythological+Antic+I%252C+1961.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDw5r_fxotZxkqcSw1YfsGJX8Kptz0QLCW49urthm8bcDroxBa81F8CVy7SbRg07fm0VAVGGEuAP0Dr9HLN23iVsM3WNxESW08yUYyzXYV-cdlkZIiaAzh6Gmtf5T9MYqOv6cT3sSskA0/s320/Morteza+Momayez%252C+Mythological+Antic+I%252C+1961.jpg" style="border: none; position: relative;" width="234px" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Morteza Momayez, Mythological Antic I, 1961</span></td></tr>
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<span style="font-size: medium;"><span><span style="color: #e06666;">B</span></span>ased on this theoretical paradigm, the term Visual Communication in the modern world has expanded markedly to incorporate activities at large exhibitions, socio-political signage projects, corporate logos, scientific expositions, social engineering, fashion design, street art and so on, as well as the traditional demarcation of graphic design encompassing; typography , posters, magazine layouts, book covers, and advertisement. Furthermore, with the advent of the worldwide web and internet, there has been another rapid expansion of the field in the digital universe of blogs, and websites. <span style="font-family: "times new roman";">As Dietmar Winkler, the former director of the School of Art and Design at the University of Illinois, has argued; design theory cannot be separated from evolving contemporary and future professional practices. An analysis of design issues must be in the context of a theory that incorporates the historical realities of design practices.</span><br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlLKlxCdvKYl7cagp26EqUK5ZfEG7EEyUY-I3stL9KIoOw6wLJasCMh_6gkejICYP_sH6KvwkhMtsG_1jaf7WG-VSnQ3fvTL0FlEN9pvYY_7tvQj37r355ISuJls3yYfyR9bKoFUqGIiU/s1600/Poster%252C+Morteza+Momayez.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="320px" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlLKlxCdvKYl7cagp26EqUK5ZfEG7EEyUY-I3stL9KIoOw6wLJasCMh_6gkejICYP_sH6KvwkhMtsG_1jaf7WG-VSnQ3fvTL0FlEN9pvYY_7tvQj37r355ISuJls3yYfyR9bKoFUqGIiU/s320/Poster%252C+Morteza+Momayez.jpg" style="border: none; position: relative;" width="213px" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Morteza Momayez,9th Shiraz Festival of Arts, 1975</span></td></tr>
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<span style="font-size: medium;"><span><span style="color: red;">M</span></span>ost people agree that the images such as as those of twine towers in New York on September 11, 2001, or that of the brief student uprising in China's Tiananmen Square in 1989, with a lone protester standing defiantly in front of a line of menacing green Chinese tanks have been etched in our minds for the rest our lives. This is not only because these are highly emotional images, but because we have reflected on the philosophical, cultural , political, social, and economical significance of such images with words. According to studies cited by educational psychologist Jerome Bruner of New York University people only remember ten percent of what they hear, thirty percent of what they read, but about eighty percent of what they see and do. In other words, words are easily forgotten, but pictures stay in our minds. In today's world, because of integration of the visual media and computers, through phenomena such as YouTube, and Facebook words and pictures have integrated to create a formidable and ubiquitous mode of communication.</span></div>
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<span style="font-size: medium;"><span style="font-family: "times new roman";"><span><span style="color: red;">T</span></span>he great documentary photographer, Lewis Hine, who often used words to accompany his photographs once said,</span><br />
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<span style="font-family: "times new roman"; font-size: medium;"> "If I could tell the story in words, I wouldn't need to lug a camera." </span></blockquote>
<span style="font-family: "times new roman"; font-size: medium;">It is beyond question that words and pictures are different modes of communication. But each possess a language that some can interpret better than others. There appears to be a disagreement among various thinkers and artists about the role of image in conveying of a message. According to the photographic historian Helmut Gernsheim;</span></div>
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"Photography is the only 'language' understood in all parts of the world, and bridging all nations and cultures."<span style="text-align: center;"> </span></span></div>
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On the other hand, the photography philosopher John Berger states;</span></div>
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photographs supply information without having a language of their own. Photographs quote rather than translate from reality.</span></div>
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and Sol Worth, an expert of visual communication arrives at a compromise between the two points.</span></div>
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Pictures are not a language in the verbal sense. Pictures have no lexicon nor syntax in a formal grammarian's sense. But they do have form, structure, convention and rules.</span></div>
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<span style="font-size: medium;"><span><span style="color: #e06666;">H</span></span>owever, the semiotic approach to visual communication stresses the idea that images are a collection of signs, which are linked together according to some grammatical rules. Both the visual communicator and the viewer need to understand this grammar so that they would be able to communicate various layers of meanings. In such a paradigm the role of observer cannot be a detached and indifferent one. On the contrary, the observer must engage in visual communication and participate fully in the realization of meanings. On the other side, the role of the designer is not just to offer a visual message about a particular issue but rather to identify and call out issues and concerns that confronts the viewers' humanity and integrity.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaU9EeA4JbZJM0kJVdRb3J2KEOsP36hNSRnIGFbe0-QlKe5zPQpGMZac9_FC-8cDyUwPvTQoQiJf-h-D37LRIy_7n_3E4Jn6zJYwz5BkX_D7SP4P6Sopde8HJo794Ra0-dKDcd3tuL7QM/s1600/Morteza+Momayez%252C+Mythological+Antic+IV%252C+1961.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaU9EeA4JbZJM0kJVdRb3J2KEOsP36hNSRnIGFbe0-QlKe5zPQpGMZac9_FC-8cDyUwPvTQoQiJf-h-D37LRIy_7n_3E4Jn6zJYwz5BkX_D7SP4P6Sopde8HJo794Ra0-dKDcd3tuL7QM/s400/Morteza+Momayez%252C+Mythological+Antic+IV%252C+1961.jpg" style="border: none; position: relative;" width="400" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Morteza Momayez, Mythological Antic, V 1961</span></td></tr>
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<span style="font-size: medium;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Three" style="color: #7f8866; text-decoration: none;"><span style="color: #993300;"></span></a>Why do we need to know about history of visual communication?</span></div>
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<span style="font-size: medium;"><span style="color: red;">I</span>n the modern era there has been an anticipation throughout the world that various art universities would introduce communication design history as an independent academic discipline. Today, communication design courses, except for a few places such as the Jan Van Eyck Akademie in the Netherlands; which offers some post graduate theory and criticism of art and design, are being neglected in most art schools throughout the world.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTiXNdAY615zVp6WbkapYsc2JumyuUTfweBRBe8Stt4GWJdtvjh6nIMmwm4oRz6S96L-6Z8-CFN-QaY81nqWL_qUhxNj0ZRT6TdlCkcVihCeF3ujgeOrwcB24cyLzCHq9dKLj3fl5O6C0/s1600/Capture+31.JPG" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTiXNdAY615zVp6WbkapYsc2JumyuUTfweBRBe8Stt4GWJdtvjh6nIMmwm4oRz6S96L-6Z8-CFN-QaY81nqWL_qUhxNj0ZRT6TdlCkcVihCeF3ujgeOrwcB24cyLzCHq9dKLj3fl5O6C0/s640/Capture+31.JPG" style="border: none; position: relative;" width="468" /></span></a></td></tr>
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Guity Novin, Celebrating People's Uprising in Tunisia, Egypt, Libya, Yemen , Jordan, and Algeria, 2011</span></div>
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<span style="color: #e06666;">I</span>n contrast to visual communication design, the history of art in general was established in the early 20th century as a full-fledged academic discipline and as a subject for study with a broad appeal to general public. Although from time to time some analytical research dealing with various dimensions of communication design history has been presented at academic conferences and some articles incorporating historical analysis have appeared in publications such as Design Issues and Journal of Design History; one cannot escape from the fact that the amount of research on visual communication is still very scant, particularly in comparison to the numerous books produced by scholars working in the fields of art, architecture, or film. This is not surprising since although the history of graphic design, as these notes attempt to show, goes to the prehistorical time, and incorporates a wide range of activities<b>, </b>its academic recognition is relatively a new phenomenon.<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipIRSJx93klE3ifdHOqLFcbBqSewtek7ZC8Sl5Qot1f-37J5ThJ4qMOjvK8Gpee-TrhZVHUmEzXkF7eFvu9Mfkf2URTBdF_kJCitI1VRGfpbspFya3fL5PrjZHdNGY5ZPSvL22GHJ5zwY/s1600/festival.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipIRSJx93klE3ifdHOqLFcbBqSewtek7ZC8Sl5Qot1f-37J5ThJ4qMOjvK8Gpee-TrhZVHUmEzXkF7eFvu9Mfkf2URTBdF_kJCitI1VRGfpbspFya3fL5PrjZHdNGY5ZPSvL22GHJ5zwY/s640/festival.jpg" style="border: none; position: relative;" width="364" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Guity Novin, Poster and Catalog for First Tehran International Film Festival, April 16-25, 1972.</span></td></tr>
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<span style="font-size: medium;"><span><span style="color: #e06666;">B</span></span>ut, why do we need to study the history of visual communication design? One may argue that such a study would be essential for a philosophical grounding of the practitioners, and would allow them to approach their projects with a richer socio-ethical perspective, make it possible for them to arrive at a more informed decisions, and would allow for incorporation of various critically important human dimensions. In short, the inspiration of an informed designer would result in a more authentic creation that would communicate human values, avoid insensitivity to the state of human drama, and would minimize the occurrence of avoidable mistakes. As Andrew Blauvelt, editor of the three “critical histories” issues of Visible Language, has argued:<br />
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The notion of design as a field of study without practical application is unlikely and undesirable. After all, it is the practice of graphic design — no matter how wanting or limiting — that provides the basis for a theory of graphic design. [. . .] The calls for graphic design to be a liberal art — a quest for academic legitimacy — need to be supplanted by strategies which foster “critical making,” teaching when, how, and why to question things.</span></blockquote>
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<tr><td class="tr-caption"><span style="font-size: medium;">Guity Novin, Negin Magazine Cover, 1971</span></td></tr>
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<span style="font-size: medium;"><span><span style="color: red;">T</span></span>he evolution, success, and usefulness of contemporary design-practices, including the professionalism of the field, as Deitmar Winkler argues are tightly linked to the thorough grounding of design practitioners in the understanding of human factors, namely the knowledge of the complex interrelationships between psychological and social behaviors of individuals and groups, their ethnic histories and social organizational systems, and the cultural values, which are expressed through their religions, laws, music, literature, etiquettes, customs, languages, metaphors and artifacts, and which either hinder or facilitate interpersonal and intercultural communication. A history of graphic design cannot ignore those human factors, but unfortunately, almost all the extant histories always do ignore them. Not only the present state of design education, as Winkler contends, is still vocational – technical and not intellectually mature – a direct continuation of the Bauhaus-spawned design guild training and anti-intellectualism, but more so is its history, which is really a vocational and technical history.<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh97ElQmMqzn_Wg9zPhBKREzQFu5h9n1GxN3KIjGIohBsY1qqHYDy_5h-lDy4-qYkRiU0yjyzif9gXfhf7ssVdje66it4MQgm-PoosxhhojCltOEScMgP6EwOZJYFL-ZivDFs9W4-FhSEo/s1600/logos.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh97ElQmMqzn_Wg9zPhBKREzQFu5h9n1GxN3KIjGIohBsY1qqHYDy_5h-lDy4-qYkRiU0yjyzif9gXfhf7ssVdje66it4MQgm-PoosxhhojCltOEScMgP6EwOZJYFL-ZivDFs9W4-FhSEo/s640/logos.jpg" style="border: none; position: relative;" width="472" /></span></a></td></tr>
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<span style="font-size: medium;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Four" style="color: #7f8866; text-decoration: none;"><span style="color: #993300;"></span></a>What is wrong with the the existing historical treatments of visual communication?</span></div>
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<span style="font-size: medium;"><span style="color: #e06666;">U</span>nfortunately, the existing literature on the history of graphic design does not deal with the history of cultural interpretations, instead they usually present a sideshow parade of “great” historical moments. However, as Umberto Eco has argued "A democratic civilization will save itself only if it makes the language of the image into a stimulus for critical reflection -not an invitation for hypnosis." I believe that a socio-cultural history of visual design goes a long way to satisfy Eco's profound demand, and can achieve this goal by starting from a historical understanding of the social grammar of visual communication. As Susan Midalia has argued visual images, like all representations, " are never innocent or neutral reflections of reality... they re-present for us, that is, they offer not a mirror of the world but an interpretation of it. " Kress and Hodge have presented the following outline of a Social Semiotic theory of communication:</span></div>
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We see communication essentially as a process, not as a disembodied set of meanings or texts. Meaning is produced and reproduced under specific social conditions, through specific material forms and agencies. It exists in relation to concrete subjects and objects, and is inexplicable except in terms of this set of relationships. Society is typically constituted by structures and relations of power, exercised or resisted; it is characterized by conflict as well as cohesion, so that the structures of meaning at all levels, from dominant ideological forms to local acts of meaning will show traces of contradiction, ambiguity, polysemy in various proportions, by various means. So for us, texts and contexts, agents and objects of meaning, social structures and forces and their complex interrelationships together constitute the minimal and irreducible object of semiotic analysis (1988:viii).</span></div>
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<span><span style="color: red;">T</span></span>his paradigm has constituted the foundation of the approach taken by Kress and van Leeuwen in their works on the grammar of visual communication. Such insights are of critical importance for a historical analysis of the ways that ideology is projected through different visual and verbal modes. In this regard, Baldwin's suggestion that design history should adopt a “history-less history,” which reflects on history as a series of causal relationships with special emphasis on the systems of production and consumption of design is a valuable suggestion. A history characterized by a long canonical list of heroic white- male designers, with its emphasis on facts, and dates is not an informative history of socio-political, and cultural values and practitioners of visual communication find this kind of history totally off-putting and irrelevant to their studio practices.</span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi10rsJ0vc7bYWrFisAKiN-rm42DPyl6BOJ71qEWeNX0VIoFtOORdhQwgAzOQV5GG1HvE2QzOffadeIARoDT2GvCoDW1MS4I5eZNBiJWjrxEQZMYwPOCTtDksj5Z1uL56rOAHb9Ce1JNPw/s1600/Rumi.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi10rsJ0vc7bYWrFisAKiN-rm42DPyl6BOJ71qEWeNX0VIoFtOORdhQwgAzOQV5GG1HvE2QzOffadeIARoDT2GvCoDW1MS4I5eZNBiJWjrxEQZMYwPOCTtDksj5Z1uL56rOAHb9Ce1JNPw/s640/Rumi.jpg" style="border: none; position: relative;" width="458" /></span></a></td></tr>
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Guity Novin, Rumi, Poster, 1982</span></div>
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<span style="font-size: medium;"><span style="color: #e06666;">I</span>n general, we must admit that visual communication in the modern world is evermore prevalent, both as a material economic necessity and as a wellspring of philosophical inquiry. With this in mind, it should be noted that with the surge of digital technology there has been a paradigm shift in visual communication and dissemination of information. The fusion of media platforms, such as; Ipod, interactive TV, and social networks have made such communications not only instantaneous in real time, but also ubiquitous. The new technology is changing the usual vocabulary, and creating new meanings, new concepts, and new realities. In this context, we need to reflect on Mitchell's argument that; "Visual culture is not limited to the study of images or media, but extends to everyday practices of seeing and showing, especially those that we take to be immediate and unmediated." In fact, visual culture is a defining characteristic of the postmodern consumers, and this is, of course, important because in today's world the traditional role of mass media has diminished drastically, and they are now consumers that produce through their own websites, blogs, and social networks most of the news, opinion pieces and commentaries with the aid of visual communication. In such a world, what Grazia Neri has written, in <i>Ethics and Photography</i>, is equally poignant with respect to any other mode of visual design. She has argued;</span></div>
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"Each of us reacts to the picture on the basis of our own sensitivity, culture, intelligence, mood and passion. What is more, the interpretation of one and the same photograph will be different at different times. A photograph produced today will offer a different impact tomorrow. Even the place where the photograph is seen can dictate our reactions. A photograph published in a gossip weekly cannot have, <i>a priori</i>, the same impact as a photograph on display in a museum or of another printed in a sophisticated book. The environment where the photograph appears may determine our reading of it."</span></div>
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This is true, of course, of a propaganda poster in the Stalin Russia, a Street Art graffiti in New York, a Rock Painting in Australia, an Aztec codex, or an African pottery -- we need to interpret these visual communications in their socio-cultural contexts. </span></div>
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<span style="font-size: medium;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Five" style="color: #7f8866; text-decoration: none;"><span style="color: #993300;"></span></a>Towards an Understanding of the Grammar of Visual Design</span></div>
<span style="font-size: medium;"><span><span style="color: #e06666;">K</span></span>ress and van Leeuwen in their book, The Grammar of Visual Design have tried to produce a ‘grammar of visual design’ with the aim to present a socially-based theory of visual representation. They employ an analogy with language, noting that others working in visual semiotics before them have tended to concentrate on what could be described as the ‘<i>lexis</i>’ rather than the ‘<i>grammar</i>’ of images. Those concentrated on the <i>lexis</i> have focused on the isolated meaning projected by the individuals, scenes and objects portrayed within images. Whereas a concentration on <i>grammar would </i>be concerned with the connected meanings.</span></div>
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<span style="font-size: medium;"><span><span style="color: #e06666;">I</span></span>n this context "<i>grammar</i>" is not a set of rules for the correct use of language but rather a set of socially constructed resources for the assemblage of meaning. Kress and Van Leeuwen believe that visual design, like language and all semiotic modes, is a social construct, and thus they try to decipher what is encoded in images in order to arrive at coherent, meaningful, and focused messages, in much the same way that discourse analysts examine how words are combined into clauses, sentences and whole texts. In fact, both culture and ideology are important in both the verbal and visual grammars, a point which Kress and van Leeuwen highlight in quoting Halliday’s assertion that;</span></div>
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“grammar goes beyond formal rules of correctness. It is a means of representing patterns of experience … It enables human beings to present a mental picture of reality, to make sense of their experience of what goes on around them and inside them. </span></div>
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<span style="font-size: medium;"><span style="color: #e06666;">T</span>hus a historian of visual design, instead of focusing on the designers, must concentrate on understanding of the visual culture. In such an inquiry, the researcher would focus on the socio-economical effects of design and on day-to-day impact of the visual communication on culture and on political power structure. Unfortunately, in many art schools, the history of visual communication remains essentially an <span id="hotword">dispensable or</span> inconsequential ancillary to the design studio. Although the history courses are offered to enrich the information set of graphic designers, they are mostly seen as irrelevant, due to their lack of any socio-cultural vision and analytical depth. In fact, many of the instructors of the history of graphic design courses are not qualified researchers. They have been assigned to their tasks because the school administrators, in their infallible judgments , have inferred from the fact that somebody is already a visual art practitioner, therefore must be able to teach the history of his/her practice. Even in many of the European, and American art schools the visual design history is often taught by part-time instructors on hourly contracts, and many graphic designers see no relevance in design history for the practical side of their profession. Moreover, many instructors themselves are unaware of the socio-cultural significance of their tasks, and quite frequently undermine the importance of having a historical background as a prerequisite for studio works. For instance, Louis Danziger, has described his design history teaching, as neither academic nor scholarly , but something which is primarily concerned with helping students to enhance their performance as designers. He has asserted that practitioners cannot be good historians because their experience “inevitably introduces biases,” and they “cannot be objective.”<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHyCi4qxVuKr_AbtonIoRKn5ty8p49EhEW0-4i4oMzuot6eqzAly9FqQYqfDFaL3FljXYHmuZ0Up3abaohauGyQ7eaoG6CxrexJ-kV6f3xNWsf69xLcYNweYU5cgehrbSVZZHJNvmA7-8/s1600/Jazz.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHyCi4qxVuKr_AbtonIoRKn5ty8p49EhEW0-4i4oMzuot6eqzAly9FqQYqfDFaL3FljXYHmuZ0Up3abaohauGyQ7eaoG6CxrexJ-kV6f3xNWsf69xLcYNweYU5cgehrbSVZZHJNvmA7-8/s640/Jazz.jpg" style="border: none; position: relative;" width="432" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-family: "times new roman"; font-size: medium;">Guity Novin, Charles Mingus Poster, 2009</span></td></tr>
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<span style="font-size: medium;"><a href="http://www.blogger.com/blogger.g?blogID=6727023006027071783" name="Six" style="color: #7f8866; text-decoration: none;"><span style="color: #993300;"></span></a>The Conflict Between Advertising and Graphic Art</span></div>
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<span style="font-family: "times new roman"; font-size: medium;"><span style="color: red;">I</span>n modern times, advertising is the most prominent conduit for the creation of graphic design. The transmission of commercial messages are enormously sophisticated and articulated through various studies incorporating such dimensions as psychological, demographic , economical, and ethnological issues, among others. Such communications are in relation to multinational corporations, global mass-media networks and a host of the alphabetic soups of international entities, such as the IMF, OECD, APAC, OPEC, EU, NAFTA, NATO and so on. The medium and the message both transcend frontiers and cultural divides. However, as John Berger in Ways of Seeing has argued:</span></div>
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... although every image embodies a way of seeing, our perception or appreciation of an image depends also upon our own way of seeing. . . when an image is presented as a work of art, the way people look at it is affected by a whole series of learnt assumptions about art . . .Many of these assumptions no longer accord with the world as it is. (The world-as-it-is is more than pure objective fact, it includes consciousness.)</span></div>
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<span style="font-size: medium;"><span style="color: red;">I</span>t is clear that advertising tries to introduce new assumptions about the world that are in conflict with its reality. According to Berger:<br />
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We only see what we look at. To look is an act of choice. As a result of this act, what we see is brought within our reach-though not necessarily within arm’s reach. To touch something is to situate oneself in relation to it.</span></blockquote>
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Publicity turns consumption into a substitute for democracy. The choice of what one eats (or wears or drives) takes the place of significant political choice. Publicity helps to mask and compensate for all that is undemocratic within society. And it also masks what is happening in the rest of the world.</span></div>
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<span style="font-size: medium;"><span><span style="color: red;">A</span></span>dvertising in modern times have become more and more centralized, globalized, generalized and, therefore, standardized — like the economic forces that produce it, and the products it deals with. Graphic design, on the other hand, as practiced by artists, continues to be created and to structure itself in a humanistic manner , which is in direct correlation with the specific social fabrics of different societies around the world. It is this humanism that provides the possibility for the development of graphic communications across the world in the future.In summary, there is a fundamental difference between commercial advertising and graphic art in today's world.<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGqF7LYnExuvQfb_1MjS0pPW5VpoL2vxa-LI1z8Abhy4RTCNR08a-fS64l371-pKYAjokqL8w6bCdEGeSKweHYMumPJX-I6X3734NN-kNojEhqEHdjt3iixv25vZIcNUcCB37f8lki4d36/s1600/282576_256939870986997_100000129589211_1219406_1122970_n.jpg" style="color: #7f8866; margin-left: auto; margin-right: auto; text-decoration: none;"><span style="font-size: medium;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGqF7LYnExuvQfb_1MjS0pPW5VpoL2vxa-LI1z8Abhy4RTCNR08a-fS64l371-pKYAjokqL8w6bCdEGeSKweHYMumPJX-I6X3734NN-kNojEhqEHdjt3iixv25vZIcNUcCB37f8lki4d36/s640/282576_256939870986997_100000129589211_1219406_1122970_n.jpg" style="border: none; position: relative;" width="408" /></span></a></td></tr>
<tr><td class="tr-caption"><span style="font-size: medium;">Guity Novin, Life, 2011</span></td></tr>
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<span style="font-size: medium; font-weight: bold;"><b><b><b><br /><br /><span><span style="color: #e06666;">T</span></span></b></b></b><span style="font-weight: normal;">he rich variety and presence of multimodal texts, as Sharon Goodman has reminded us, are now a familiar feature in newspapers that contain photographs, diagrams and changes of typeface, and even in company letterheads that are carefully designed, with their choice of graphics and color of the paper to craft the company’s image. We now take it for granted that an electronic text, such as a page on the web, will use more than one of the language modes. In fact, in today's market place graphic designers are doing much more than the visual engineering of most printed matter, as they are engaged in a host of related activities that in part include; strategy and consulting, information and experience design, branding and broadcast design, and road- signage systems. Visual communicators are expected not only to acquire a certain classic set of skills including; drawing, photography, composition and typography -- the design and structural characteristics of letterforms, but also an ability to work with software programs such as Photoshops, Gimps, and so on. In doing all these tasks, it should not be forgotten that a graphic designer is an artist, and as an artist can act as a social critic, a historian, or a creator of pure beauty so long as he/she is honest and believes in the integrity of his/her creation; and businesses that respect the artistic integrity of their graphic designers are those that will thrive in the longer run. </span></span></div>
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<b><b><b><b><br /></b></b></b><b><b><b><b><span><span style="color: red;"><b><span><a href="http://guity-novin.blogspot.com/2010/02/history-of-graphic-design-books.html" style="color: #7f8866; text-decoration: none;">Go to the next chapter; Chapter 3 - A Symbiotic Relationship : Books</a></span></b></span></span></b></b></b></b></b></div>
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<span style="font-weight: bold;">References</span><b><b><b><b><b><br /></b></b></b></b></b><br />
<ol style="color: #444444;">
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: x-small;"> ''The Cave of Lascaux'', by Mario Ruspoli, Harry N. Abrams (May 1, 19</span></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: x-small;">Chauvet, Jean-Marie; Eliette Brunel Deschamps, Christian Hillaire (1996). ''Dawn of Art: The Chauvet Cave''. Paul G. Bahn (Foreword), Jean Clottes (Epilogue). New York: Harry N. Abrams. ISBN 0810932326</span> <span style="font-size: x-small;">87), ISBN 0810912678, ISBN 978-0810912670</span></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: x-small;"> Rock Shelters of Bhimbetka, publisher;World Heritage Site. <a href="http://whc.unesco.org/pg.cfm?cid=31&id_site=925" rel="nofollow" style="color: #7f8866; text-decoration: none;" target="_blank">http://whc.unesco.org/pg.c<wbr></wbr>fm?cid=31&id_site=925</a></span></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: x-small;">''The Encyclopedia Britannica'': Aboriginal Rock Art, Ubirr Art Site, Kakadu National Park, Australia,</span> <small><a href="http://www.britannica.com/EBchecked/topic/309883/Kakadu-National-Park" rel="nofollow" style="color: #7f8866; text-decoration: none;" target="_blank"></a></small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small><a href="http://www.britannica.com/EBchecked/topic/309883/Kakadu-National-Park" rel="nofollow" style="color: #7f8866; text-decoration: none;" target="_blank"> </a></small><span style="font-size: x-small;">Berger, John. (1987) Ways of Seeing, Penguin: Harmondsworth</span></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: x-small;">Bernard, Pierre ( 1997) The Social Role of the Graphic Designer, Essays on Design I: AGI’s Designers of Influence, London</span></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: x-small;">Department of Arts of Africa, Oceania, and the Americas. "African Rock Art: Tassili-n-Ajjer (?8000 B.C.–?) ". In Heilbrunn Timeline of Art History. New York: <a href="http://www.metmuseum.org/toah/hd/tass/hd_tass.htm" style="color: #7f8866; text-decoration: none;">The Metropolitan Museum of Art</a>, 2000–. (October 2000)</span></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-family: "times new roman";"><small>Hadingham, Evan, Secrets of the Ice Age: The World of the Cave Artists, (Walker and Company: New York, 1979) </small></span></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Ucko, Peter J. and Rosenfeld, Andrew, Paleolithic Cave Art, (McGraw-Hill Book Company: New York, 1967.)</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Visible Language, special issues: “New Perspectives: Critical Histories of Graphic Design,” Andrew Blauvelt, guest ed. 28:3 (1994), 28:4 (1994), 29:1 (1995).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Kress, G. and Hodg R., Social Semiotics, Polity; illustrated edition edition, 1988</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Andrew Blauvelt, “Designer Finds History, Publishes Book,” Design Observer (2010).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small> Victor Margolin, The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy 1917-1946 (Chicago and London: University of Chicago Press, 1997), </small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>P. Yenawine (1997) Thoughts on visual literacy, in J Flood, SB Heath, and D Lapp (Eds) Handbook of research on teaching literacy through the communicative and visual arts.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Deborah Rothschild, Ellen Lupton and Darra Goldstein, Graphic Design in the Mechanical Age: Selections from the Merrill C. Berman Collection (New Haven and London: Yale University Press, 1998),</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Midalia, Susan (1999) “Textualising Gender” in Interpretations, 32(1), 27-32.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Goodman, S., 1996, “Visual English” in Goodman, S. and Graddol, D. (eds), Redesigning English: new text, new identities, Routledge, London. </small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Martha Scotford, Cipe Pineles: A Life of Design (New York: W.W. Norton, 1999).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Michel Wlassikoff, The Story of Graphic Design in France (Corte Madera: Gingko Press, 2005),</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Stanislaus von Moos, Mara Campana and Giampiero Bosoni, Max Huber (London and New York: Phaidon Press, 2006), </small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Richard Hollis, Swiss Graphic Design: The Origins and Growth of an International Style (London: Laurence King Publishing, 2006),</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Kerry William Purcell, Josef Müller-Brockmann (London and New York: Phaidon Press, 2006), </small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>R. Roger Remington and Robert S.P. Fripp, Design and Science: The Life and Work of Will Burtin (Aldershot: Lund Humphries, 2007), The New Design Observer</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Laetitia Wolff, Massin (London and New York: Phaidon Press, 2007), </small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Steven Heller, Iron Fists: Branding the 20th-Century Totalitarian State (London and New York: Phaidon Press, 2008).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small> <span class="observauthor">Rick Poynor, Out of the Studio: Graphic Design History and Visual Studies, </span>2001.10.11</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Mitchell, “Showing Seeing: A Critique of Visual Culture” in The Visual Culture Reader, Nicholas Mirzoeff ed. (London and New York: Routledge, 2nd ed. 2002)</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Block Editorial Board and Sally Stafford, The Block Reader in Visual Culture (London and New York: Routledge, 1996)</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>John A. Walker and Sarah Chaplin, Visual Culture: An Introduction (Manchester: Manchester University Press, 1997)</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Malcolm Barnard, Approaches to Understanding Visual Culture (Basingstoke: Palgrave, 2001)</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>James Elkins, Visual Studies: A Skeptical Introduction (New York and London: Routledge, 2003).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Andrew Blauvelt, “Notes in the Margin,” Eye 6:22 (1996): 57.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Gunnar Swanson, “Graphic Design Education as a Liberal Art: Design and Knowledge in the University and the ‘Real World’” in The Education of a Graphic Designer, Steven Heller ed. (New York: Allworth Press, 2005)</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Guy Julier and Viviana Narotzky, “The Redundancy of Design History” (Leeds Metropolitan University, 1998).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Jonathan Baldwin, “Abandoning History,” A Word in Your Ear (2005). Baldwin delivered a paper on this theme at New Views: Repositioning Graphic Design History (London College of Communication, 27-29 October 2005).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Philip B. Meggs, A History of Graphic Design (New York: John Wiley, 3rd ed. 1998, 4th ed. 2005).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Prasad Boradkar, “From Form to Context: Teaching a Different Type of Design History” in The Education of a Graphic Designer, </small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Victor Margolin, “Narrative Problems of Graphic Design History,” Visible Language 28:3 (1994): 233-43.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Robin Kinross, “Design History: No Critical Dimension,” AIGA Journal of Graphic Design 11:1 (1993): 7.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Malcolm Barnard, Design and Visual Culture: An Introduction (Basingstoke: Macmillan Press, 1998).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Malcolm Barnard, Graphic Design as Communication (London and New York: Routledge, 2005).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small> Nicholas Mirzoeff ed., The Visual Culture Reader (London and New York: Routledge, 2nd ed. 2002).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Martin Jay, “Introduction to Show and Tell,” Journal of Visual Culture, “The Current State of Visual Studies” 4:2 (2005).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Margaret Dikovitskaya, Visual Culture: The Study of the Visual after the Cultural Turn (Cambridge and London: MIT Press, 2005): 1.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Martin Jay (interview) in Visual Culture: The Study of the Visual after the Cultural Turn, 206.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small> Rick Poynor, Obey the Giant: Life in the Image World (Basel: Birkhäuser, 2007) </small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Rick Poynor, Designing Pornotopia: Travels in Visual Culture (New York: Princeton Architectural Press, 2006).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Martin Jay, “That Visual Turn: The Advent of Visual Culture,” Journal of Visual Culture 1:1 (2002): 87-92.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Nicholas Mirzoeff, An Introduction to Visual Culture (London and New York: Routledge, 1999): 6.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small> Guy Julier, “From Visual Culture to Design Culture,” Design Issues 22:1 (2006): 76..</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small> Irit Rogoff, “Studying Visual Culture” in The Visual Culture Reader, 27.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small> Dikovitskaya, Visual Culture: The Study of the Visual after the Cultural Turn, 4.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Roxane Jubert, Typography and Graphic Design: From Antiquity to the Present (Paris: Flammarion, English ed. 2006)</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Stephen J. Eskilson, Graphic Design: A New History (New Haven: Yale University Press, 2007)</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Grazia Neri, Ethics and Photography, <a href="http://digitaljournalist.org/issue0101/neri.htm" style="color: #7f8866; text-decoration: none;">The Digital Journalist</a>,</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Johanna Drucker and Emily McVarish, Graphic Design History: A Critical Guide (Upper Saddle River, NJ: Pearson Prentice Hall, 2008)</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Patrick Cramsie, The Story of Graphic Design (New York: Abrams, 2010).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Alice Twemlow and Lorraine Wild, “A New Graphic Design History?” Design Observer (2007)</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Denise Gonzales Crisp and Rick Poynor, “A Critical View of Graphic Design History,” Design Observer (2008).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Jonathan Harris, The New Art History: A Critical Introduction (London and New York: Routledge, 2001).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Jean-François Lyotard, The Paradox on the Graphic Artist, in: Jean-François Lyotard, Postmodern Fables, Minnesota 1997, pp. 33–48 (originally published in French as Moralités postmodernes, Editions Galilée, Paris 1993, translated by Georges Van Den Abbeele.)</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Andrew Blauvelt, “Modernism in the Fly-Over Zone,” Design Observer (2007).</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Gayatri Spivak quoted by Rogoff, The Visual Culture Reader, 26.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Rogoff, The Visual Culture Reader, 33.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Johanna Drucker, “Who’s Afraid of Visual Culture,” Art Journal 58:4 (1999): 36-47.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Mirzoeff (interview) in Visual Culture: The Study of the Visual after the Cultural Turn, 232.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Mirzoeff, An Introduction to Visual Culture (1999), 14.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Mitchell (interview) in Visual Culture: The Study of the Visual after the Cultural Turn, 256.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Mitchell, 2002, Showing seeing: A critique of visual culture. Journal of Visual Culture, page 70</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><small>Mirzoeff and Mitchell in Visual Culture: The Study of the Visual after the Cultural Turn, 227-31, 243, 255-7.</small></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: x-small;">Hodge, Susie, Ancient Egyptian Art, Heinemann/Raintree, 2006 Iversen,</span></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: x-small;">Erik, Canon and Proportion in Egyptian Art, Aris Phillips Ltd, 1975</span></li>
<li style="margin: 0px 0px 0.25em; padding: 0px;"><span style="font-size: x-small;">Robins, Gay, The art of ancient Egypt, Harvard University Press, 2008</span></li>
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-30488435210949545442016-01-31T19:01:00.004-08:002021-09-16T12:23:45.532-07:00Chapter 87: Art in Alchemy: Visual Communication of Symbols<div dir="ltr" style="text-align: left;" trbidi="on">
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<div dir="ltr" style="text-align: left;" trbidi="on"><div dir="ltr" trbidi="on"><span style="color: #990000; font-size: large;">U</span><span style="font-size: medium;">ntil the 1980s, alchemists were considered pseudo-scientists, and their efforts to transmute base metals into gold were described as futile. However, at the end of the 20th century, by deciphering the complicated alchemical texts, some researchers came to believe that the alchemists had in fact made a significant contribution to the development of science.</span></div><div dir="ltr" trbidi="on"><span style="font-size: medium;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: medium;">Alchemical texts have been obscured, by secrecy, as alchemists deliberately described their experiences in metaphorical terms derived from mythology and history. For example, the text that describes a "cold dragon" that "goes in and out of caves" was the code for saltpeter (potassium nitrate) - a crystalline substance found on cave walls that tastes cool on the tongue.</span></div><div dir="ltr" trbidi="on"><span style="font-size: medium;"><br /></span></div><div dir="ltr" trbidi="on"><span style="font-size: medium;"><div dir="ltr" trbidi="on">Lawrence Principe, a chemist and historian of science at Johns Hopkins University, concocted some obscure texts of 17th-century lab notebooks to piece together a recipe for growing a "philosophers tree". Supposedly, this tree was a precursor to the more famous and elusive <i>Philosopher's Stone</i>, which is said to be able to transmute metals into gold.</div><div dir="ltr" trbidi="on"><br /></div><div dir="ltr" trbidi="on">By mixing specially prepared mercury and gold in a buttery form at the bottom of a vial and burying the sealed vial in a heated sand bath in his laboratory, Principe discovered that the vial was filled with "a. sparkling and fully formed golden tree ". The mixture of metals had grown upward to form a coral-like structure or the branching canopy of a tree without the leaves. This was part of a growing evidence that alchemists seem to have performed legitimate experiments, manipulated and analyzed the material world in interesting ways, and reported genuine results.</div></span></div><div dir="ltr" trbidi="on"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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Alchemical image of the Divine Sophia as a Tree of Learning and source of the Elixir of Life. As such, she was known to alchemists as Sapientia, Lady Wisdom, Lady Nature, Alkimia. The multi-walled enclosure around her may suggest the multi-banded cosmos of the archons. Metaphorically, it represents the alcove of learning, then the exoteric, mesoteric, and esoteric chambers of divine instruction. From many 20th century discoveries of Sassanian silver vessels that are now placed in various museums, we can identify this goddess as Ardvi Sura Anahita, from the pantheon of the ancient Iranian religion of Mitra. She was a mother and fertility goddess, who as the goddess of the water of life, presenting all living beings to drink the life-giving water of the <i>haoma, </i>the Elixir of Life, which flowed forth from the tree of life. </blockquote>
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According to Jacques Duchesne-Guillemin,, in his<i> La Religion de l'Iran Ancien, Les Anciens Religions Orientales III</i>r:"The haoma is not only a plant and a liquor, it is also a god: for him are sacrifices made, and certain parts of the sacrificial victim were reserved for him. Being a god, one kills him by pressing him. The brahmanas say the same thing of Soma. " </blockquote>
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We can also see the image of Anahita, on the stone relief at Taq-i Bustan, giving the princely diadem to King Pirooz I. As well, on the stone relief at Naqsh-i Rustam, where Anahita presents King Narse with the <i>Farreh-Izadi</i>, the divine symbol of his sovereign power on the occasion of his investiture. </blockquote>
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<span style="color: #660000;">T</span></span><span style="font-size: medium;">he work of art in Alchemy literature, using wide-ranging symbolism, methaphorical concepts, and surreal legends to express the association of chemical and physical concepts with esoteric and mystic ones constitutes a fascinating genre of visual communication design</span>.
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At its core exhibiting a very fine balance between metaphysical aspects of life and reality of the chemical processes, which not only invites viewers to explore spiritual processes, but also suggests , most often fraudulent and sometimes genuine, efforts to resolve some actual scientific challenges to transmute a base metal into gold or to find a substance that could eradicate death and provide immortality.</span><br />
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<span style="color: #660000; font-size: x-large;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixfnC6YVNHxnE9nX8knWuqS2D8CeYTF6OmzcEON3SB3XjxpCuS3oFPla9Hxx79JMqMpE92Wz-wbai6zYg5vgVErzRAe6GLTKA256A5VhZKWUNwE8kHdv-ofMjNGHuAoRR_WyHo6TPdmXo/s1600/guity.jpg" style="font-size: medium; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixfnC6YVNHxnE9nX8knWuqS2D8CeYTF6OmzcEON3SB3XjxpCuS3oFPla9Hxx79JMqMpE92Wz-wbai6zYg5vgVErzRAe6GLTKA256A5VhZKWUNwE8kHdv-ofMjNGHuAoRR_WyHo6TPdmXo/s640/guity.jpg" width="640" /></a></span><br />
<span style="color: #660000;"><br /><span style="font-size: large;">M</span></span><span style="font-size: medium;">any Europeans consider the Persian prophet Zoraster as the "inventor" of both magic and astrology. However, in the Hellenic heritage, Zoaraster was the "prophet and founder of the religion of the Iranian peoples" (e.g. Plutarch Isis and Osiris 46-7, Diogenes Laertius 1.6-9 and Agathias 2.23-5), "the rest was mostly fantasy." He was assumed of belonging to a deeply- ancient past, six or seven millennia BC, and was presented as a sovereign of Bactria, or a cobbler (or a teacher) living on the shores of Babylon. Similar to the ancient Rig Veda that contains hundreds of verses concerning soma, how to press and sieve plants, how to store it and drink it, in order to release its exhilarating and intoxicating effect, Zoroasterin literature is partial to huoma, one of the two trees in the original garden of paradise, a tree with the gift of immortality.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRY0mUK_vHcwuvsa4PGyCE7jLynNSZL9MXRT4z1NW1yXU8wZQX16vK1l2io_U1MfuIEd10E6o5aEEMvT4Qy-0dwxPTt5Cg3mwLs3lpczkM5DIg1h_DD2RQZHzFLvvmiXKAdPe068g8zak/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRY0mUK_vHcwuvsa4PGyCE7jLynNSZL9MXRT4z1NW1yXU8wZQX16vK1l2io_U1MfuIEd10E6o5aEEMvT4Qy-0dwxPTt5Cg3mwLs3lpczkM5DIg1h_DD2RQZHzFLvvmiXKAdPe068g8zak/s400/guity.jpg" width="335" /></a></td></tr>
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Zoroaster, riding on the back of a fire-breathing salamander, with three roses in his hand representing body, soul and spirit. 18th century alchemical manuscript - Clavis Artis. Biblioteca dell’Accademia Nazionale dei Lincei, Roma, vol. 1.</blockquote>
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<span style="color: #660000; font-size: x-large;">D</span><span style="font-size: medium;">eriving from the alchemical practice and its symbolism, underpinned by an extensive literature rooted in four papyrus rolls of the Asteroskopita (or Apotelesmatika) dealing with astrology or one lost papytus roll of <i> Peri lithon timion </i> (On Virtue of Stones) among other of alleged books of Zoroaster, including his lost works that appear in many fragments in the works of others, that circulated the Mediterranean world (from the 3rd century BC), he was perceived as the founder the magi and of their magic arts. As well, Zoroaster's patron King Hystaspes and his disciple Ostanes who was described by the 4th century BC Hermodorus (apud Diogenes Laertius Prooemium ) as being a magus in the long line of magi descending from Zoroaster, were considered as practitioner of “magic” – Greek <i>magikos</i>. Pliny the Elder named Zoroaster as the inventor of magic, but that Ostanes was the first writer of it (Natural History 30.2.3, the 1st-century). "This Ostanes," so Pliny reports, was a Persian magus, who had accompanied Xerxes in his invasion of Greece, and who had then introduced <i> magicis</i> the “ the most fraudulent of the arts, ” to that country.</span><br />
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According to Pliny, Ostanes ‘ introduction of the “monstrous craft” to the Greeks gave those people not only a “lust” ( <i>aviditatem</i>) for magic, but downright “madness” (<i>rabiem </i>), and many of their philosophers, such as Pythagoras, Empedocles, Democritus, and Plato traveled abroad to study it and then returned to teach it. (xxx.2.8-10). Pliny also transmits Ostanes’ definition of magic:</span><br />
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“As Ostanes said, there are several different kinds of it: he professes to divine (<i> divina promittit</i>) from water, globes, air, stars, lamps, basins, and axis, and by many other methods. And besides to converse with ghosts and those in the underworld” (XXX.2.8.-10). </span></blockquote><span style="font-size: medium;">
By the end of 1st century AD Ostanes is cited as an authority on alchemy, necromancy, divination, and on the mystical properties of plants and stones. Both his legend and literary output attributed to him increased with time, and by the 4th century he had become one of the great authorities in alchemy.
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<span style="color: #660000; font-size: x-large;">T</span><span style="font-size: medium;">he 18th century occultist Francis Barrett wrote of the influence of Zoroaster on the great and noble art of alchemy, in the clearest of terms:
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Alchymy, the grand touchstone of natural wisdom, is of divine origin: it was brought down from Heaven by the Angel Uriel. Zoroaster, the first philosopher by fire, made pure gold from all seven metals; he brought the sun ten times brighter from the bed of Saturn, and fixed it with the moon, who thereby copulating, begot numerous offspring of an immortal nature, a pure living spiritual sun, burning in the refulgency of its own divine light, a seed of sublime and fiery nature, a vigorous progenitor. </span></blockquote>
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This Zoroaster was the father of alchymy, illumined divinely from above; he knew every thing, yet seemed to know nothing; his precepts of art were left in hieroglyphics, yet in such sort that none but the favorites of Heaven ever reaped benefit thereby. He was the first who engraved the pure Cabala in most pure gold, and when he died, resigned it to his Father who liveth eternally, and yet begot him not: that Father gives it to his sons, who follow the precepts of Wisdom with vigilance, ingenuity, and industry, and with a pure, chaste, and free mind. — Francis Barrett, The Magus, (1801)</span></blockquote>
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<span style="color: #660000; font-size: x-large;">F</span>rom a transcendent aspect of alchemy, the "philosopher's stone", represents the most palpable image for an inner potential of the mind to advance from the limitation of a state of unawareness and naïveté (symbolized by the base metals) to a state of awareness and perfection (symbolized by gold). In this interpretation, mystical development, the transmutation of metals, and the refinement and enlightenment of the soul were understood as the ultimate purpose of a life worth living.<br />
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Alchemists employed an extensive assortment of mysterious substances which are known to modern scientists for their chemical qualities, including cinnabar (mercuric sulphide), <i>spiritus fumans</i> (satanic chloride), <i>saccharum saturni </i>(sugar of Saturn or lead acetate), <i>sal ammoniac</i> (ammonium chloride), oil of vitriol (sulphuric acid), <i>aqua regia</i> (nitric acid and hydrochloric acid) and <i>aqua fortis</i> (nitric acid). Trying to retain secrecy for various reasons, they worked under the cover of many cryptic and sophisticated procedural protocols, and a system of mysterious symbols as are shown in the following chart.
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<span style="color: #660000; font-size: x-large;">A</span><span style="font-size: medium;">ccording to Carl Jung the philosophical tree of the Arab alchemists, producing Elixir, was related to the Haoma tree that grows in the cosmic ocean of the Zoroastrian creation myth.
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We may note the curious fact that a lizard is concealed in the tree: “The evil spirit has formed therein, among those which enter as opposites, a lizard as an opponent in that deep water, so that it may injure the Haoma ,” the plant of immortality. In alchemy , the <i>spiritus mercurii</i> that lives in the tree is represented as a serpent, salamander, or <i>Melusina</i>. — Jung, Psychology and Alchemy</span></blockquote>
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Salamander sporting in the flames, from a 14th century manuscript in the Bodleian Library. This fourteenth century illustration from a book of alchemy shows an intoxicated man on <i>Amanita muscaria</i> mushrooms. He holds one mushroom in one hand while dancing with the other hand pushing over his forehead representing his state of ecstasy. Behind him a tree of knowledge can be seen with a spotted mushroom at the top. A salamander or lizard floats upward parallel to the Amanita tree. Next to it another salamander roasts upon the fire in much the same way as the philosopher in the Book of Lambspring roasts a salamander on a fork in a fire. The salamander is an intriguing symbol in alchemy illustrated in many famous alchemical texts including the Book of Lambspring.</div>
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<span style="color: #660000; font-size: x-large;">T</span><span style="font-size: medium;">he concept of Transmutation of Metals in alchemy stems from the Geber (Jabir ibn Hayyan) theories, an 8th century Islamic alchemist, born in Tus, Iran. Assuming that every metal was a combination of the Aristotelian four elements each consisting of four properties, two of them interior and two exterior, Geber hypothesized that the transmutation of one metal into another could be effected by the rearrangement of its basic properties. Given that according to the Aristotle theory fire was both hot and dry, earth cold and dry, water cold and moist, and air hot and moist the transmutation would be mediated by a substance, elixir in Arabic, in the form of a dry powder, made from the "philosopher's stone". The stone was believed to have been composed of a substance called <i>carmot</i>.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkq_OMvwrCVRGf-VKmvadM3BekcBCisLhiyrZBv5zHuzS9xOWNrAKynKX2tNQ1tKtgUtJXZ2M4Xyxm9OqEIm-NtYCP46nItLQiEongyjAcGWRfIdrshKX27A5AfHzMEcp8R9cYeTrAHDE/s1600/a.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkq_OMvwrCVRGf-VKmvadM3BekcBCisLhiyrZBv5zHuzS9xOWNrAKynKX2tNQ1tKtgUtJXZ2M4Xyxm9OqEIm-NtYCP46nItLQiEongyjAcGWRfIdrshKX27A5AfHzMEcp8R9cYeTrAHDE/s400/a.jpg" width="317" /></a></td></tr>
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<span style="font-size: small;">The alchemist Jabir ibn Hayyan, from a 15th century European portrait of Geber, Codici Ashburnhamiani 1166, Biblioteca Medicea Laurenziana, Florence</span></blockquote>
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<span style="color: #660000; font-size: x-large;">G</span><span style="font-size: medium;">eber's theory and the concept of the philosopher's stone may have been inspired by the knowledge that metals like gold and silver could be hidden in alloys and ores, from which they could be recovered by the appropriate chemical treatment. Geber himself is believed to be the inventor of aqua regia, a mixture of muriatic and nitric acids, which is one of the few substances that can dissolve gold (and is still often used for gold recovery and purification)
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This engraving - one of a series of twelve 17th-century pictorial "keys" of the alchemist - contains symbols that refer to stages in the alchemical process. The sun and moon are the male and female elements of alchemy respectively; the two roses, red and white, symbolize the Red King and White Queen. Between them is the symbol of Mercury, the transforming agent of the alchemical process, which is released from the materia prima, transformed and brought to perfection through the alchemist's operations. Fire, an external force in alchemy, is here shown burning in a wooden brazier; alchemical texts often refer to a cool fire, which heats the contents of the alchemist's vessel gently, like a chicken incubating her eggs. The lion and snake are both symbols of raw, unrefined matter.</blockquote>
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<span style="color: #660000; font-size: x-large;">T</span><span style="font-size: medium;">he Philosopher's Stone, the White Stone by the River, the Sword in the Stone, all refer to a legendary substance, that was supposed to transform base metals into gold. It was sometimes believed to be an elixir of life, useful for rejuvenation and possibly for achieving immortality. For a long time, it was the most sought-after goal in Western alchemy. In the view of spiritual alchemy, making the philosopher's stone would bring enlightenment upon the maker and conclude the Great Work. It is also known by several other names, such as 'materia prima.'
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<tr><td>Byrhtferth's Diagram, on folio 7v of St. John’s College, Oxford MS 17 <br />
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This complex diagram entitled <i>De concordia mensium atque elementorum</i> "On the concord of the months and the elements" (also known as the "Diagram of the Physical and Physiological Fours") describes the interrelationship of the Aristotelian four elements of the universe. Byrhtferth, an Anglo-Saxon monk at Ramsey Abbey, studied under Abbo of Fleury during his stay there. 'Byrhtferth's diagram' is an illustration for his treatise on the computation of the date of Easter and other astrological and natural science topics. The contents of the diagram are summarised succinctly by Byrhtferth himself :
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<i>Hanc figuram edidit Bryhtferð [sic] monachus Ramesiensis cñnobii de concordia mensium atque elementorum.
Retinet haec figura .xii. signa et duo solstitia atque bina equinoctia et bis bina tempora anni; in qua descripta sunt .iiii. nomina elementorum et duodenorum uentorum onomata atque .iiii. ñtates hominum. Sunt insimul coniuncta bis binñ litterñ nominis protoplastis Adñ</i>. </blockquote>
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Bryhtferth [sic], a monk of the abbey of Ramsey, composed this diagram on the concord of the months and the elements.
This figure contains the twelve signs and the two solstices and the two equinoxes and the twice two seasons of the year; and in it are described the four names of the elements and the names of the twelve winds and the four ages of man. At the same time are added the twice two letters of the name of the first man, Adam.</blockquote>
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<tr><td>The Mistress of the Inner World- Hieronymus Reussner Pandora Basel - Jehan Perréal ~1582<br />
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<span style="color: #660000; font-size: x-large;">o</span><span style="font-size: medium;">ne of the clearest <span style="text-align: center;">symbolical </span>representation of the alchemist's theory is <i>The Mistress of the Inner World- Hieronymus Reussner Pandora</i> manuscript. Like many other alchemical books, there is not much information survived about its author. We know that it is edited by a physician named, Hieronymus Reusner, and published in Basel in 1582. According to Reusner the book is written by a Franciscan friar with the pseudonym Epimetheus. The book title translates: to Pandora, That Is, the Noblest Gift of God, for it was Epimetheus, the brother of Prometheus, who accepted Pandora as a gift from Zeus.</span></div>
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The woodcuts in Pandora are drawn from the earliest alchemical manuscript written in German, which was composed between 1414 and 1419, and almost certainly encode an actual sequence of chemical processes. The distilling apparatus the queen stands on links the image to laboratory practice. The picture shows the following stages, (A): The tree comes from the seed of the man and woman. Whereas the seed has wasted in the earth, so that it shoots forth, from it there will be a tree of indescribable fruit, of diverse effects. (B): Sun (gold), (C): Moon (silver), (D): The birds are the seed of the Sun and fly across the mountains of the Moon into the height of heaven and pluck out their feathers and come naked to the mountain again and die there of white death (sublimation and condensation), (E): The birds are the seed of the Moon and fly across the mountains of their father and mother up to the height of heaven, and take up the appearance of the Sun, and by this means they become bright and fall away to the mountains again, and die there of a black death. (F): The distilatory of the Sun, (G): The distilatory of the Moon.</span></div>
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<span style="color: #660000; font-size: large;">Clavis Artis</span>
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<span style="color: #660000; font-size: x-large;">C</span>lavis Artis is the title of a manuscript of alchemy published in Germany in the late seventeenth or early eighteenth century attributed to Zoroaster (Zarathustra).</div>
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The work, in three volumes of medium format, uses a German Gothic cursive font and is accompanied by numerous illustrations in watercolor, which depict various symbolic images rlated to alchemy. There are also some pen sketches depicting laboratory instruments. Only few copies of the manuscript are located in various libraries, of which just two are illustrated.<br />
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<tr><td class="tr-caption" style="text-align: center;"><blockquote class="tr_bq" style="text-align: left;">
<span face=""calibri" , sans-serif" style="font-size: small; line-height: 107%;">Clavis Artis, attributed to
Zoroaster. Biblioteca dell’Accademia Nazionale dei Lincei, Roma. the 18th
century manuscript on alchemy</span></blockquote>
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<tr><td class="tr-caption" style="text-align: center;"><blockquote class="tr_bq" style="text-align: left;">
<span style="font-size: small;">Alchemy: Zoroaster Clavis Artis, MS. Verginelli-Rota, Biblioteca dell'Accademia Nazionale dei Lincei, Roma, 1738</span></blockquote>
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Alchemy: Zoroaster Clavis Artis, MS. Verginelli-Rota, Biblioteca dell'Accademia Nazionale dei Lincei, Roma, 1738. </blockquote>
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<span style="color: #660000; font-size: x-large;">T</span>he best known copy is the Library of the National Academy of the Lincei in Rome, where it is listed as MS. Verginelli-Rota 15, 16, 17. Another copy is in Trieste at the Public Library Attilio Hortis, which is cataloged as MS-2-27. A different version, in a single volume and without illustrations, is located at the Bavarian State Library, of Monaco of Bavaria. Unfortunately, another copy of the manuscript at the Duchess Anna Amalia Bibliothek, in Weimar, was burnt in the 2004 fire that hit the German library. Sine the second half of the 1980s, after some of the <span style="text-align: center;">Clavis Artis </span>images appeared in books and alchemy websites, they have become subject of various studies by many graphic designers.<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Zoroaster Clavis Artis, c. 1738, Ms-2-27, f. 98, Biblioteca Civica Hortis, Trieste.</span></td></tr>
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<span style="color: #660000; font-size: x-large;"> P</span>rior to their recent rediscovery, virtually no information about these copies were available and as a result there is a lack of much information about the author and the origin of the manuscript. References to the Rosae et Aurea Crucis seem to indicate a connection to Order of the Golden and Rosy Cross, or Rosicrucians (Orden des Gold- und Rosenkreutz). The first mention of this order may be traced to the early the 18th century, when Samuel Richter in his <i>nomen mysticum Sincerus Renatus </i> published The True and Complete Preparation of the Philosopher’s Stone of the Brotherhood from the Order of the Golden and Rosy Cross.<br />
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It is not yet clear that the Order which operates on lodge system and whose emblem is cross with a single rose in the center, was a product of Richter's imagination or if there actually existed a historical group. But it is clear that its anti‐papal tone had gradually ceased during the 17th century, and it focused more and more on the laboratory alchemy. It is probable that the text of Clavis Artis is actually the translation or adaptation of a more ancient manuscript of Islamic origin by an alchemist and Rosicrucian, with the images that are of more recent origin.<br />
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<i>DAT ROSA MEL APIBUS</i> "The Rose Gives The Bees Honey", engraved by Johann Theodore De Bry,</td></tr>
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From the title page of Robert Fludd's <i style="font-size: 12.8px;">Summum Bonum</i><span style="font-size: 12.8px;">, published at Frankfurt in 1629, has become well known as a Rosicrucian symbol. It has a seven fold symmetry, seven layers of petals and its stem is formed in the shape of a cross. The engraver, Matthieu Merian, had used a similar grouping of symbols fourteen years earlier in an emblem book.</span></div>
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This exact metaphor of the honey bee as the alchemist and the hive as the alchemical retort seems to have entered the symbolic vocabulary of the sixteenth and seventeenth centuries through a rediscovered and influential work of the third century Neoplatonist Porphyry, <i>De Antro Nympharum</i> (On the Cave of the Nymphs). In this short essay, Porphyry examined several verses from the thirteenth book of Homer's Odyssey and showed how they were to be interpreted as an allegory of the immortal soul's passage through mortality and on to liberation. The bees and hive are among the objects encountered in this "cave of generation. </span><br />
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<span style="font-size: small;">The alchemical King and Queen, Rex and Regina, standing under the dual eternal principals represented by sun and moon, join in the holy wedding, the <i>hierosgamos</i>. Sol (the sun: the masculine principle) Luna (the moon: the feminine principle) Mercurius (Hermes, Mercury: the chief agent of the process) Lady Alchymia (Anima Mercurii: the spirit of alchemy and its guiding presence and initiator).</span></blockquote>
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<span style="color: #660000; font-size: x-large;">T</span>he 'secret fire' was the secret of alchemy. It was a fire 'which does not burn'. It was also a a 'water', but one which 'does not wet the hands'. It was the 'treasure hard to attain' which had to be extracted from the 'Prime Matter'; and yet it, itself, was the agent of extraction. Often it was called 'our Mercury' or Mercurius, a personification that indicated the quicksilver which run like water. Mercurius was the essence of alchemy, invisible, unchanging, yet never the same. It was also identified with Hermes Trismegistus , the legendary founder of Hermetic philosophy and author of the Emerald Tablet.</div>
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Woodcut of hermaphrodite from Barthelemy Aneau, Picta Poesis, 1552 </div>
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On the top of the image two Pelicans nourishing their young ones with blood from their own breasts, a symbol both of the alchemical stage of 'cibation', or the nourishing of the Philosopher's Stone born of the chemical wedding. </blockquote>
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The Ouroboros– a serpent biting its own tail – is a Greek word meaning 'tail devourer,' and is one of the oldest mystical symbols in the world. It can be perceived as enveloping itself, where the past (the tail) appears to disappear but really moves into an inner domain or reality, vanishing from view but still existing.
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<span style="color: #660000; font-size: x-large;">T</span>ypically a chemical process begins with an Ourobouros whose ‘poison’ separates the Prime Matter into two primordial principles , ‘our sulphor’ and ‘our mercury’ , male and female, King and Queen, which are rejoined and again separated in the course of many distilatory ‘circulations’. The Raven’s Head appears, signalling the conjunction that is death and putrefaction, a sinking down into the ‘black blacker than black’ of the Nigredo, As the watery ‘body’ of the united King-Queen is further heated, its airy ‘soul’ is seen to ascend to the top of the vessel, or ‘heaven’ whence it condenses and returns as a ‘dew’ to consumate the marriage of the Above and the Below. Months, even years, of circulations might be needed to vleanse and purify ‘our body’ before the sudden iridescence of the Peacock’s Tail heralds the soul’s readiness to raise it up in Whiteness, Luna rising in cold glory out of Sol’s grave.
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In alchemy, the king is often a symbol for the Philosopher’s Stone itself, which will undergo transmutation to become the Red King reborn . Hidden within the ailing degenerate king are seeds of the transcendent Red King, the fiery masculine element, symbolic of a mixture of spirit and soul; yet in order to bring them to union he must undergo dissolution and darkness. A new order will grow into the emptiness left by uprooting the old corruption.
As the watery ‘body’ of the united King-Queen is further heated, its airy ‘soul’ is seen to ascend to the top of the vessel, or ‘heaven’ whence it condenses and returns as a ‘dew’ to consumate the marriage of the Above and the Below. Months, even years, of circulations might be needed to cleanse and purify ‘our body’ before the sudden iridescence of the Peacock’s Tail heralds the soul’s readiness to raise it up in Whiteness, Luna rising in cold glory out of Sol’s grave. </blockquote>
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The famous alchemical work <i>Rosarium Philosophorum</i>features contains 20 woodcut illustrations. The above illustration, “Of Our Mercury which is the Green Lion Devouring the Sun” depicts one of the classic symbols of alchemy. As with most of the striking 'surreal' images it has a bewildering range of possible meanings. The text of the book reads:
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“I am the true green and Golden Lion without cares,</div>
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In me all the secrets of the Philosophers are hidden.”</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzLR-zXYddRk8Rh0uv3RYxMHxtIoqye5iBh0GZqPEe_-xX8D23nRwitjmN0_kZmm7QERs9xp4N8rK10RwwYFrgCo8aujajk_6M_qdLs6TG0S8g9i_MUrUMSLm93UmmQanvQO7xIH0bwDA/s1600/a.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="659" data-original-width="1215" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzLR-zXYddRk8Rh0uv3RYxMHxtIoqye5iBh0GZqPEe_-xX8D23nRwitjmN0_kZmm7QERs9xp4N8rK10RwwYFrgCo8aujajk_6M_qdLs6TG0S8g9i_MUrUMSLm93UmmQanvQO7xIH0bwDA/s640/a.jpg" width="640" /></a></div>
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<span style="color: #660000; font-size: x-large;">I</span>n some medieval alchemical texts, gold is certainly consumed by mercury to form an amalgam on which further work is carried out. So if the green lion is a mercury compound then it can surely consume gold. If it is sulphuric acid, it cannot, but what it could do is react with other metals present and form strange compounds.
Thus essentially the gold/sun is being dissolved/purified in some powerful solvent/green lion in order to release the seed from which pure gold may be grown. Some alchemical recipes could produce a mixture of nitric and sulphuric acid, and the Compound of Compounds, or at least the late/ post medieval version of it, had a recipe that produced sulphuric and nitric acid mixture and then if Ammonium Chloride was added to give Chlorine ions in solution, it certainly dissolved gold.
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In Bibliotheca chemica : a catalogue of the alchemical, chemical and pharmaceutical books published in London in 1906, John Ferguson, a Scottish chemist and bibliographer argued that it is likely that Hermann Fichtuld the founder of the Order of the Golden and Rosy Cross was right in believing that the author of Clavis Artis is Abrahami Eleazaris. However, he is a fictitious author of an ancient work on alchemy published in Leipsic in 1760, bearing the title "R. Abrahami Eleazaris Uraltes Chymisches Werk." The real author seems to have been Julius Gervasius of Schwarzburg, whose name is given as the editor on the title-page of the first part.Nevertheless, the image of a man in the vestments of a rabbi who is engraved on the cover page of the book of Abraham Eleazar is very similar to that of Zoroaster. There are also some other similarities among the illustrations of the two books.
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<tr><td>Clavis Artis, Ms-2-27, Trieste, Biblioteca Hortis, vol. 2, p. 24.</td></tr>
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<tr><td>Clavis Artis, attributed to Zoroaster. Biblioteca dell’Accademia Nazionale dei Lincei, Roma. the 18th century manuscript on alchemy</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Clavis Artis, 18th century</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Clavis Artis, 18th century</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Clavis Artis, 18th century</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Clavis Artis, 18th century</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Clavis Artis, 18th century</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Clavis Artis, 18th century</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Clavis Artis, 18th century</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoV6mq8XHgflzWQji34yihGgbl0MegP54MKYpN9gS38lfgM-1M_fsVz3FRv3R78Ob15V5FRuCmD5tSJrgL9IcGjN6UGrb7UImd67XV4mVb1TV46XCB1kNXXF9ht1rifGXs7i7uAC_PiX0/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoV6mq8XHgflzWQji34yihGgbl0MegP54MKYpN9gS38lfgM-1M_fsVz3FRv3R78Ob15V5FRuCmD5tSJrgL9IcGjN6UGrb7UImd67XV4mVb1TV46XCB1kNXXF9ht1rifGXs7i7uAC_PiX0/s400/guity.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;"><span style="font-size: small;">Clavis Artis, 18th century</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBjV2er6Q-tGFxa1ltVBjXa7pwxWiV_F6svSpm-DYfLjcj2rEgsLlbP91zah3P9HXDHQ53zMEP_Z4Pe4nln6JRTOZnADzzGFXiPO-rKuIs-_kuSHw2vL2worhs8lpE6aexPH-r3WtOn6Y/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBjV2er6Q-tGFxa1ltVBjXa7pwxWiV_F6svSpm-DYfLjcj2rEgsLlbP91zah3P9HXDHQ53zMEP_Z4Pe4nln6JRTOZnADzzGFXiPO-rKuIs-_kuSHw2vL2worhs8lpE6aexPH-r3WtOn6Y/s640/guity.jpg" width="504" /></a></td></tr>
<tr><td><div style="text-align: left;">
The Clavis Inferni, a ‘grimoire’ or book of spells, 18th century, Germany. The sword and branch refer to God’s twinned powers of destruction and peace. A Latin text below reads “Qui facis mirabilia magna solus finis coronat opus,” roughly “You who alone doeth great wonders: the end shall crown the work.” Books like this flourished throughout the Enlightenment.</div>
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Dragon devouring a lizard, from Cyprianus. Ink and watercolour showing a red-winged dragon wearing a gold crown and devouring a lizard. Between the two figures is a snake entwined around a cross with a skull and crossbones at its base. From Cyprianus, 18th century. Cyprianus is also known as the Black Book, and is the textbook of the Black School at Wittenburg, the book from which a witch or sorceror gets his spells.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTlFbU4gLPnfSKlM8NajgBkWQekL6GodRIKCF9Rm3xY8OzOU6a2FPv2DgzPR2XUshSzScHUM6b0B0CvB5nGSYxAC3n5aGZWbsgoREsc8R93Rth50-U6a0Wg7QMEPiC_pZ3iMYzdxmHGXM/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTlFbU4gLPnfSKlM8NajgBkWQekL6GodRIKCF9Rm3xY8OzOU6a2FPv2DgzPR2XUshSzScHUM6b0B0CvB5nGSYxAC3n5aGZWbsgoREsc8R93Rth50-U6a0Wg7QMEPiC_pZ3iMYzdxmHGXM/s640/guity.jpg" width="442" /></a></td></tr>
<tr><td>Alchemy Dragon by George Ripley, 15th century.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoZflyeWk2Nhx_LTYYSy47sOjiPmmApcbZwEjmjiRB-qh3dh2NaNKI5Qcc3IITj3ZzKEerHrNbEIdWE-Yex78u_SP2LAnwv3u0J9mWkm6Npgq_pJZqAWS3Rc0dwvj6AqwauU6mJYRbR4Q/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoZflyeWk2Nhx_LTYYSy47sOjiPmmApcbZwEjmjiRB-qh3dh2NaNKI5Qcc3IITj3ZzKEerHrNbEIdWE-Yex78u_SP2LAnwv3u0J9mWkm6Npgq_pJZqAWS3Rc0dwvj6AqwauU6mJYRbR4Q/s400/guity.jpg" width="288" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Whee! Bavarian State Library, BSB Clm 30150 Konrad Kyeser, Bellifortis. c.1402-1405.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhne9se-d53HKEPDWqJzSuHqlCh0O7mRbxCEMH3Pqu0tyrEo3SamFYQ8AAZtddOCK5rODWEVqnHigk_Vy-JGT4zLwlcRWi5VGPoP4KtzxoUlCqAMDjgWm3C-JOQX8_h3djAEGnRPxO8fAw/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhne9se-d53HKEPDWqJzSuHqlCh0O7mRbxCEMH3Pqu0tyrEo3SamFYQ8AAZtddOCK5rODWEVqnHigk_Vy-JGT4zLwlcRWi5VGPoP4KtzxoUlCqAMDjgWm3C-JOQX8_h3djAEGnRPxO8fAw/s640/guity.jpg" width="444" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span face=""helvetica neue" , "helvetica" , "ヒラギノ角ゴ pro w3" , "hiragino kaku gothic pro" , , "meiryo" , "ms pゴシック" , "arial" , sans-serif" style="background-color: white; color: #444444; font-size: 15px; line-height: 18px;">The Tree of Good and Evil Knowledge, from Secret Symbols of the Rosicrucians, by J. D. U. Eckhardt, 1788</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwh9N-Kt2lXTI61ROv9EpxmpYEXFNzedBT6-BeQsqTEdEDIxtTIgU71GWN7eudEB1rVBg8fnsslqng40B6jYXqr8JS8DLQVcudruQpgxdHiOQLAtUkTz7XDCs_OCcWFpGF17IORx1P5fw/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwh9N-Kt2lXTI61ROv9EpxmpYEXFNzedBT6-BeQsqTEdEDIxtTIgU71GWN7eudEB1rVBg8fnsslqng40B6jYXqr8JS8DLQVcudruQpgxdHiOQLAtUkTz7XDCs_OCcWFpGF17IORx1P5fw/s640/guity.jpg" width="314" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="text-align: left;">
<span face=""helvetica neue" , "helvetica" , "ヒラギノ角ゴ pro w3" , "hiragino kaku gothic pro" , , "meiryo" , "ms pゴシック" , "arial" , sans-serif" style="background-color: white; color: #444444; font-size: 15px; line-height: 18px;">Alchimie -</span><span face=""helvetica neue" , "helvetica" , "ヒラギノ角ゴ pro w3" , "hiragino kaku gothic pro" , , "meiryo" , "ms pゴシック" , "arial" , sans-serif" style="background-color: white; color: #333333; font-size: 13px; line-height: 17px;">Hermes from a copy of the Splendor Solis</span><span face=""helvetica neue" , "helvetica" , "ヒラギノ角ゴ pro w3" , "hiragino kaku gothic pro" , , "meiryo" , "ms pゴシック" , "arial" , sans-serif" style="background-color: white; color: #444444; font-size: 15px; line-height: 18px;"> Hermès Trismégiste, le "trois fois grand", symbolise l'Esprit du monde. Il est ici représenté sous un aspect composite, avec un corps humain & une tête en forme d'astre solaire, tenant un caducée dans la main droite, et portant des bottes ailées. Il repose sur une sphère d'où jaillissent quatre colonnes de feu produisant de la fumée.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg1mSD0987cWauDT5kiAU6-wd9HMjXoExF6oaU0DiLzim7j846rkMkiq-Y2nsjbR2fGNjUBIB59Q8hXHj8_hhhCZbBWoTTYr_UUo7Rx0EF8xsq6osoO6Lnazr2pdv8n4QxUSBTDFDTsYo/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg1mSD0987cWauDT5kiAU6-wd9HMjXoExF6oaU0DiLzim7j846rkMkiq-Y2nsjbR2fGNjUBIB59Q8hXHj8_hhhCZbBWoTTYr_UUo7Rx0EF8xsq6osoO6Lnazr2pdv8n4QxUSBTDFDTsYo/s400/guity.jpg" width="287" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span face=""helvetica neue" , "helvetica" , "ヒラギノ角ゴ pro w3" , "hiragino kaku gothic pro" , , "meiryo" , "ms pゴシック" , "arial" , sans-serif" style="background-color: white; color: #333333; font-size: 13px; line-height: 17px;">Alchemy, Le livre de la sainte trinité, ca. 1400</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVgK_KYbR-6NqAu2VbemwKsgpSLloC7WqRSHQ46EI8XPZFeDpKc31PCVDHUQp3gzPyyJdKfWrNAwyUzKEl3aHvGdxV6ZN2kXi9evNks6YKy2iD1lWQE0La8OM6L-UkR79EmFD4DEfLi94/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVgK_KYbR-6NqAu2VbemwKsgpSLloC7WqRSHQ46EI8XPZFeDpKc31PCVDHUQp3gzPyyJdKfWrNAwyUzKEl3aHvGdxV6ZN2kXi9evNks6YKy2iD1lWQE0La8OM6L-UkR79EmFD4DEfLi94/s400/guity.jpg" width="290" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span face=""helvetica neue" , "helvetica" , "ヒラギノ角ゴ pro w3" , "hiragino kaku gothic pro" , , "meiryo" , "ms pゴシック" , "arial" , sans-serif" style="background-color: white; color: #444444; font-size: 15px; line-height: 18px;">Le livre de la sainte trinité -- The hermaphroditic Christ-stone from the early 15th c. Book of the Holy Trinity [Buch der Heiligen Dreifaltigkeit]</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHTPukbOX7ECwWGq6eZHr9HF4TXqyhMxvNRH33tLbiOk8pdsHcYOrYyl2lfA4uAk1oVVLJvY5T_P7xCdMuDGtpZZ3umXOJLdxBis4dGRED5T9kcBeBAdK0ivnyY0FqAvywypuPIrswKUQ/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHTPukbOX7ECwWGq6eZHr9HF4TXqyhMxvNRH33tLbiOk8pdsHcYOrYyl2lfA4uAk1oVVLJvY5T_P7xCdMuDGtpZZ3umXOJLdxBis4dGRED5T9kcBeBAdK0ivnyY0FqAvywypuPIrswKUQ/s400/guity.jpg" width="256" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span face=""helvetica neue" , "helvetica" , "ヒラギノ角ゴ pro w3" , "hiragino kaku gothic pro" , , "meiryo" , "ms pゴシック" , "arial" , sans-serif" style="background-color: white; color: #333333; font-size: 13px; line-height: 17px;">Alchemy, Le livre de la sainte trinité, ca. 1400</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0uXnU2q0QZoQJNKkjO4coHiwt09FMFgRljpAHsdzeCjAyLBYtpMjmY1zm4EMdBHl_RMYY3bSuOI955ZDswJ2cO81_pV22PiSn61GwW9u5FnYJV0KC3JrmeMx2POY4pxBmxTbnFEkHXDA/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0uXnU2q0QZoQJNKkjO4coHiwt09FMFgRljpAHsdzeCjAyLBYtpMjmY1zm4EMdBHl_RMYY3bSuOI955ZDswJ2cO81_pV22PiSn61GwW9u5FnYJV0KC3JrmeMx2POY4pxBmxTbnFEkHXDA/s640/guity.jpg" width="264" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">Alchemical scroll, England, s. XVI</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2_gAIiczcpgfCgqRyPqBC9-kuApY8-5L9geK1Ey5q0wADWQ_ITLtTGs3s42VWHrGfuHZftSW_HOGmgACF5IQUTKNfd-ESd0x33kPIhGqfANigh0_D5xlplqhDRGTy16k5YeAsQal-xuI/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2_gAIiczcpgfCgqRyPqBC9-kuApY8-5L9geK1Ey5q0wADWQ_ITLtTGs3s42VWHrGfuHZftSW_HOGmgACF5IQUTKNfd-ESd0x33kPIhGqfANigh0_D5xlplqhDRGTy16k5YeAsQal-xuI/s400/guity.jpg" width="187" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span face=""helvetica neue" , "helvetica" , "ヒラギノ角ゴ pro w3" , "hiragino kaku gothic pro" , , "meiryo" , "ms pゴシック" , "arial" , sans-serif" style="background-color: white; color: #444444; font-size: 15px; line-height: 18px;">Species: Barocus - Armorial ( 15th century) .</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK03FnYJ2kdkM_Sm4KjYzgOsQzUjnBt0JrRyYy38R48f1HzlAmkv5MMYeHf5TV_PM23HQLLpYUMBvAorzoKrdsSy1yYBUiImDPeoamdvk3ah_JutVMf3zjFdTR-FcoNPEOJTFDMRwyz8M/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiK03FnYJ2kdkM_Sm4KjYzgOsQzUjnBt0JrRyYy38R48f1HzlAmkv5MMYeHf5TV_PM23HQLLpYUMBvAorzoKrdsSy1yYBUiImDPeoamdvk3ah_JutVMf3zjFdTR-FcoNPEOJTFDMRwyz8M/s320/guity.jpg" width="317" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Zoroaster with two demons (Miniature from Pseudo-Aristotle Secretum Secretorum), 1425</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjj17VvkEI6p2Ys1IRjctVS_8RFgxANdu-aSJhTOxR-N6fN3_tbcgG3KpM8gHkbaKr7UrErKWesDuTqSM0lv4BvW9Fl3CKFPm-2n3HzY9fMi5_og4EHsJNHDaM6odlERgrYnW4C9dSW5k/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjj17VvkEI6p2Ys1IRjctVS_8RFgxANdu-aSJhTOxR-N6fN3_tbcgG3KpM8gHkbaKr7UrErKWesDuTqSM0lv4BvW9Fl3CKFPm-2n3HzY9fMi5_og4EHsJNHDaM6odlERgrYnW4C9dSW5k/s640/guity.jpg" width="492" /></a> </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">Chemical and pharmaceutical processes from an Islamic manuscript in the Freer Gallery in Washington</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4r2odR1BX-hQXswbyVo-LYWDkPhVS5hQCbJ7auUNBwM9ZAvaRj1cIlolsPVphAW70s-lwQHXq7lRINVhXnXtdqVEt2MYuPdZ9GdwLWd3xlPWWcsvefRVa1-kkYDJUje-twYGjMCANlCo/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4r2odR1BX-hQXswbyVo-LYWDkPhVS5hQCbJ7auUNBwM9ZAvaRj1cIlolsPVphAW70s-lwQHXq7lRINVhXnXtdqVEt2MYuPdZ9GdwLWd3xlPWWcsvefRVa1-kkYDJUje-twYGjMCANlCo/s640/guity.jpg" width="498" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">Chemical and pharmaceutical processes from an Islamic manuscript in the Freer Gallery in Washington</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHhqznrQvWdAyKBRjFhrqwK4tHiVCCxtKCEyQmbrpGU6SLiV5aJfz31GCmuQbG4-I-qJfDBiqQAYxbvmAfnYmHVTAj4Ufufqp38YR0jjC3jqg3mFHPj5b4vhFNAYNc1FQP4E7tQdULW-0/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHhqznrQvWdAyKBRjFhrqwK4tHiVCCxtKCEyQmbrpGU6SLiV5aJfz31GCmuQbG4-I-qJfDBiqQAYxbvmAfnYmHVTAj4Ufufqp38YR0jjC3jqg3mFHPj5b4vhFNAYNc1FQP4E7tQdULW-0/s640/guity.jpg" width="418" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">Alchemical symbols in Kitab al-Aqalim by Abu 'l-Qasim al-'Iraqi inspired by Egyptian hieroglyphs in British Library in London, MS Add 25724</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuwmysB7BlVGzYoFkCDrzwATCnjQbcQF7eGpErtQQfWkeCdEXFACG-pNpbmB7r0UsBVoeEiJoLcJBtL5g-5fc_RiY_7aT2CU3PhGwquDeI008AeZhNjxhml4C7cEZBbnqINX_cmJxNE5A/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuwmysB7BlVGzYoFkCDrzwATCnjQbcQF7eGpErtQQfWkeCdEXFACG-pNpbmB7r0UsBVoeEiJoLcJBtL5g-5fc_RiY_7aT2CU3PhGwquDeI008AeZhNjxhml4C7cEZBbnqINX_cmJxNE5A/s640/guity.jpg" width="416" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: start;">Symbols in medieval Arabic alchemy inspired by Egyptian hieroglyphs: Kitab al-Aqalim by Abu ‘l-Qasim al-‘Iraqi in British Library, MS Add 25724.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZuxtrhS0P9YMLsJSJb0kwqHAeya4kaq3JEgn2CrVb-dLO7xnfd0puOJZyUdfuholyANhTmnrZHEfxYYBJRp2OfNYlfsOTlHPXU0HwxmLzpYooVpL0LkNTu4aS0-Y1qQwFnYkIGU5BddU/s1600/guity.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZuxtrhS0P9YMLsJSJb0kwqHAeya4kaq3JEgn2CrVb-dLO7xnfd0puOJZyUdfuholyANhTmnrZHEfxYYBJRp2OfNYlfsOTlHPXU0HwxmLzpYooVpL0LkNTu4aS0-Y1qQwFnYkIGU5BddU/s640/guity.jpg" width="450" /></a></td></tr>
<tr><td>Catalogus Stellarum Fixarum, Codex DA 11.13. Persian manuscript illumination of Leviathan or Cetus Illustration from a copy of Al-Sufi's The Book of Fixed Stars. 15th Century.</td></tr>
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com1tag:blogger.com,1999:blog-6727023006027071783.post-78762906802211235862015-10-16T16:55:00.001-07:002015-10-24T23:04:34.397-07:00Chapter 86: A History of German Expressionist Movie Posters and Afterward.<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="text-align: left;">The liberal atmosphere of the Weimar republic that emerged after the horrors of the first world war gave birth to a powerful German cinema. Expressionists, defying the reality portrayed by the representational art, tried to capture the essence (Das Wesen) of the reality.They argued passionately in the avant-garde periodicals, such as Der Sturm, about the aesthetics and social mission of art in a world that they saw corrupt and shallow to the extreme.</span><br />
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Adopting the expressionism Nietzschean perspective that had emerged across Germany as a reaction to a widespread anxiety rooted in tragic human actions in an incongruous modern world with its loss of authenticity and ennoblement, film-makers' created tales of madness and terror that reflected a variety of forebodings and yearnings associated with a logocentric culture. Nietzsche's Overman symbolizing the authentic human being who enhances his own <i>Will to Power</i> by a process of self-creating, which involves the founding of new values and standards -- "Man is nothing but that which he makes of himself" --served as the underlying framework. <br />
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The profound philosophical underpinning of expressionist themes of the Weimar era films can be understood in Martin Heidegger’s exposition of <i>Dasein</i> (Being), particularly as 'being-towards-death'. The contemporary society as alienating and isolating were juxtaposed beside the horror of an imminent disaster to signify the concept of 'being-in-the-world', as a situation where the individual finds itself “in a world to which it must orient itself, and from which it can never escape or separate itself”. Heidegger’s view that human Being is <i>a priori</i> in a world with others; represented by the signifier of 'Being-with-others' in an intersubjective and constitutive form motivated the importance of the expressionists' narratives. These entail how the protagonist’s liaison with others in a shallow and inauthentic society constitutes its Being and determines its 'being-towards-death', as is surrounded by the anxiety of annihilation narrated in Wiemar films. This was the genesis of horror film genre.<br />
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<tr><td>The Survivors by Käthe Kollwitz,<br />
The Survivors was used for a Peace Congress held in The Hague, The Netherlands in 1922. An accompanying text stated: Do not teach the children to glorify war and war heroes. Teach them to despise war.</td></tr>
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<tr><td>Memorial sheet for Karl Liebknecht - Gedenkblatt für Karl Liebknecht (1919)<br />
Käthe Kollwitz (1867-1945)
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In an attempt to realize <i>Erneuerung des Menschen</i>, a new form of liberty and liberation for the humanity, expressionists cultivated <i>Nacktkultur</i> --an attitude toward the body unprecedented in its modernity, intensity, and complexity. They studied nudity as the unconcealed essence of primal emotion, and to grasp the innermost sense of Being motivated them to explore the deep metaphysical significance of intricacies of the body language, its poses, and corporal gestures.
As Wolfgang Graeser stated in his book Körpersinn (1927)<br />
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"The dark, chaotic side of Western technocracy has damned the body, branded it with hell and sin. But in the luminous side, the body stands anew in unconcealed clarity. Exposed and naked is our thinking. Now we comprehend the body, uncaged and without veiling insinuations. Radiant bronze skin mirrors the light of the Olympian sun with the same pure sobriety as the sparkling pistons of clearly formed machines"</blockquote>
Expressionists explored the tension between Spirit and modernity, a complex relationship because of their view of relating Spirit with reason and consciousness.
In his Theory of Expression, <i>Ausdruckskunde und Gestaltungskraft </i>(1913), Ludwig Klages asked how is it possible for human beings to comprehend, and to interpret, the manifestation of the soul? For this to be possible the authentic protagonist could not allow its Soul (<i>seeles</i>) to be subjugated by the logocentric Spirit (<i>Geist</i>). The Soul has natural affinity with the Body (<i>Leib</i>) and its sexuality, whereas the Spirit tries to break them apart. In this breakup, the Spirit conspires with Consciousness and Reason, and eventually would be governed by them. This reifies and debases the human authentic experience. Eventually, in an inauthentic culture, or in a Klageite "logocentric culture", the Logos may dominate the whole of the human experience.<br />
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The expressionist attitude toward the Spirit dominated world and body may be observed in such scenes as the dance sequence of the Metropolis of Fritz Lang, where a captivated group of modern elite observers are entranced in lust by the semi-naked body of the dancer. This Wiemar attitude is more clearly expressed in Wilhelm Prager and Nicholas Kaufmann’s <i>Wege zu Kraft und Schönheit -Ein Film über moderne Körperkultur</i> (1925), where Goethe’s admiration for the Greeks; who revered the naked body and associated it with athleticism, is contrasted against the German petite-bourgeoisie’s grotesque taste, their shallow attitude and morbid lifestyle. This is particularly evident in the film's Venus episode where the contemporary viewers of the statue are shown oblivious to her grace and instead spoil her beauty by gawking stares at her nudity. The film then reveals the essence of the lifeless marble statue by transforming it into a live human being. In the words of Max Osborne a contemporary critic:
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The presence of nude bodies in the film … has nothing to do with tawdriness. Far from being treated as something secondary, the problem is taken up with great seriousness… Eroticism in its ancient sense rises up out the murky waters of the darker urges that have pulled down this godly element of our lives, sullied it and made it unrecognizable. Eros emerges as a thing apart from sex, and hence becomes the foundation for a more highly evolved free morality.</blockquote>
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Nietzsche called the ultimate constituent of the world <i>Will to Power</i> and Heidegger defined it as” as “the essence of power itself. It consists in power’s overpowering, that is, its self-enhancement to the highest possible degree." The link between art and truth is embodied in Overman, revealing the essence of will to power. For Heidegger art is a transfiguration, which " creates possibilities for the self-surpassing of life at any given point of limitation. Self-surpassing "is fundamental in understanding will." For, will is command, and "commanding is the fundamental mood of being superior," not merely to others but "always beforehand superior with regard to oneself."<br />
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In the April 1923 issue of <i>Das Kunstblatt,</i> Carl Einstein wrote "We are tired of [all the colorful stuff of] of Gauguin and van Gogh. Enough of the Dionysian decorators ... Perhaps we save the frames for their asset value."<br />
He wrote:
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The transvaluation [of rational man] had already begun with Nietzsche, who had insisted on the primary influence of the drives, compared to which the role of reason would rather be that of a life-inhibiting force. This transvaluation was in turn powerfully promoted by Freud, who rediscovered in the dream and the unconscious the life of the drives, the forces that oppose the rational.</blockquote>
German Expressionism exaggerated the grim reality of the uninspiring life in a longing for a more heroic and more meaningful one. Decadence, murder, depression, the loss of innocence were used as material during the post-war years of 1919 – 1929 to revolt against the modern society that was ruled by flaccid, rationalistic, and inhumane technological advances, jingoistic chauvinism, and colonialist capitalism. As Andrew Pulver of Guardian has noted:<br />
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With its angled, distorted set designs, tortured eye-rolling, and layers of dreams and visions, The Cabinet of Dr Caligari (1920) is generally acknowledged as a landmark of international cinema, not just Germany's own. Two years later came an equally groundbreaking film, Nosferatu – an unauthorised adaptation of Bram Stoker's novel Dracula that enshrined some of the creepiest cinema images ever recorded.</blockquote>
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The poster designers for these films, such as the prolific Josef Fenneker, Boris Bilinsky, Emmerich Weninger, and others were also intrigued by the promise of expressionism in its struggle against a logocentric culture.In 1926, expressionist set designer Hermann Warm stated that "the film image must become graphic art." Indeed, almost all individual shots in these movies follow a sophisticated graphic design grammar. According to the expressionist actor Conrad Veidt, who played Cesare in the Cabinet of Doctor Caligari "If the decor has been conceived as having the same spiritual state as that which governs the character's mentality, the actor will find in that decor a valuable aid in composing and living his part. He will blend himself into the represented milieu, and both of them will move in the same rhythm." Although, German graphic designers largely abandoned the Expressionism in the post war era, nevertheless, one still may detect its traces in the works of designers like Fischer-Nosbisch, Hans Hillmann,Jan Lencia, and Tostmann Werbetechnik as well as others.</div>
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<tr><td>Das Cabinet des Dr. Caligari (1920), Directed by Robert Wiene<br />
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The Cabinet of Dr. Caligari is considered a landmark in silent film history and may be the most influential German expressionist film of all times, famous for its exceptional, wildly distorted stage designs. </div>
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<tr><td>Das Cabinet des Dr. Caligari, 1920 </td></tr>
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<tr><td>Das Cabinet des Dr. Caligari, 1920</td></tr>
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<tr><td>F.W. Murnau adaptation of Bram Stoker’s Dracula (1922)<br />
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Murnau (and cinematographer Fritz Wagner’s) “haunting images” — in Orlok’s castle, at sea on the “death ship” (Orlok’s presence on board causes a rat-infested plague), and in the streets of Hutter’s hometown, were manifestation of expressionism at its best. </div>
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<tr><td>Der unsichtbare Dieb, (1920). Directed by Siegbert Goldschmidt</td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigcG9PFW2AkNXoNT4X5rm8oJh_J6jDc9VqKP8L6ORlBo-Mm0NYlWWvtStO_L7Abvinq1NdiMYLlcAJ4fmBGnsG_43lFpgjczd6fT5qwhhKHWlNer3cNr37H-rKp6Yezy4bSF6HELI1jKk/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigcG9PFW2AkNXoNT4X5rm8oJh_J6jDc9VqKP8L6ORlBo-Mm0NYlWWvtStO_L7Abvinq1NdiMYLlcAJ4fmBGnsG_43lFpgjczd6fT5qwhhKHWlNer3cNr37H-rKp6Yezy4bSF6HELI1jKk/s640/b.jpg" width="440" /></a></td></tr>
<tr><td>Sumurun (1920), Directed by Ernst Lubitsch.<br />
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Henrik Galeen's the Student of Prague, co-directed by Paul Wegener and Stellan Rye in 1913 and scripted by Hanns Heinz Ewers, is inspired by a story by Edgar Allan Poe and Alfred de Musset. The main character Balduin (Conrad Veidt) is a poor student, who after falling in love with a girl of good fortune, sells his reflection to the magician Scapinelli (Werner Krauss) in order to become rich. But the reflection steps out of the mirror and take on a life of its own. The doppelgänger continues to haunt Balduin until the latter destroys the mirror whence it originated; freeing himself of his darker side but inadvertently destroying himself in process. According to Siegfried Kracauer the film was heralding the division of German society between the middle and ruling class.<br />
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Balduin has determined the value of the girl, creating a meaning for his life, along what Nietzsche has proclaimed in <i>Thus Spake Zarathrustra</i> that<br />
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‘Only man placed value in things to preserve himself - he alone created a meaning for things, a human meaning. Therefore he calls himself “man” which means “the esteemer” ... without esteeming the nut of existence would be hollow.’ </blockquote>
But this leads to nihilism since “his moral interpretation of the world” as Nietzsche explains in his<i> Will to Power</i> “no longer has any sanction after it has tried to escape into some beyond” and now “Everything lacks meaning”’. The nihilism has reduced Being to Nothing. There can be no meaning of Being any longer; Being is what has been forever destroyed; Being is now absurd, it is meaningless. And as Nietzsche states in his <i>Twilight of the Idols </i> <br />
<blockquote>
'There are absolutely no moral facts. What moral and religious judgments have in common is the belief in things that are not real. Morality is just an interpretation of certain phenomena or (more accurately) a misinterpretation.’ </blockquote>
However, Heidegger has argued that nihilism is humanity’s doppelgänger. Nihilism “unfolds itself between Being and the essence of Nothingness (<i>Wesen des Nichts</i>). The essence of Nothingness is the doppelgänger of being and has to be distinguished from the nihilistic Nothingness (<i>nichtiges Nichts</i>). Thus, the absence of Being is only self-concealment of Being. Being cannot be annihilated by the Nothingness of nihilism, since a self-concealed Being is potentially there to become unconcealed in the form of Overman.
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A Nietzschean philosophical perspective underpins the symbolism of Dr. Arnold Fanck's <i>Der Heilige Berg</i>, (The Holy Mountain-1926). In fact, Fanck who was in a one-sided love with Riefenstahl gave her a surprise visit during her three month hospitalization, due to a knee surgery, and handed her a film script inscribed with the words “The Holy Mountain: Written for the Dancer Leni Riefenstahl.” Fanck also presented her with some editions of Nietzsche.
Holly Mountain appears to keep an eye on Nietzsche's <i>Die Götzendämmerung</i> (Twilight of the Idols) (1889) message. Nietzsche who was alarmed by a disintegration of the natural virtues of Western civilization argued for a gallant sensitivity toward heroic styles of life that he felt was corrupted and undermined by the incessant debates of traditional moral philosophy. Mankind by trying vainly to protect themselves from unfortunate circumstances destroy their natural human desires. In <i>Jenseits von Gut und Böse: Vorspiel einer Philosophie der Zukunft</i>(Beyond Good and Evil: Prelude to a Philosophy of the Future) he wrote:
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Let us acknowledge unprejudicedly how every higher civilization hitherto has ORIGINATED! Men with a still natural nature, (…), still in possession of unbroken strength of will and desire for power, threw themselves upon weaker, more moral, more peaceful races (…) in which the final vital force was flickering out in brilliant fireworks of wit and depravity. At the commencement, the noble caste was always the barbarian caste: their superiority did not consist first of all in their physical, but in their psychical power--they were more COMPLETE men (which at every point also implies the same as "more complete beasts"). </blockquote>
Nietzsche believed, in an authentic noble life death is not to be feared, since it represents nothing more significant than the fitting conclusion of a life devoted to personal gain.
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Thus, Fanck's Holy Mountain begins with the following notice:
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The well-known sportsmen who participated in the making of The Holy Mountain ask the audience not to mistake their performances for trick photography. All shots taken outdoors were actually made in the mountains, in the most beautiful parts of the Alps, over the course of one and a half years. The big ski race is performed by German, Norwegian, and Austrian master skiers. The screenplay to this motion picture was inspired by actual events that occurred during a twenty-year period in the life of the great mountains.”
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In trying to be authentic actors performed their own stunts many of whom were not professional actors and they were often credited on screen by their real names and by their actual occupations.
The Nietzschian symbolism of the mountain is explained by the 1920s writings of the Italian philosopher Julius Evola who had served as an artillery officer in the World War I. According to him:
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In the struggle against mountains, action is finally free from all machines, and from everything that detracts from man’s direct and absolute relationship with things. Up close to the sky and to crevasses (…) it is possible to reawaken (through what may at first appear to be the mere employment of the body) the symbol of overcoming, a truly spiritual and virile light, and make contact with a primordial forces locked within the body’s limbs. (…) In life- as has been pointed out, since Nietzsche, by Simmel- humans have a strange and almost incredible power to reach certain existential peak at which “living more” (<i>mehr leben</i>), or the highest intensity of life, is transformed into “more than living” (<i>mehr als leben</i>). As these peaks, just as heat transforms into light, life becomes free of itself; not in the sense of the death of individuality or some kind of mystical shipwreck , but in the sense of a transcendent affirmation of life, in which anxiety , endless craving, yearning and worrying, the quest for religious faith, human support and goals, all give way to a dominating state of calm. There is something greater than life, within life itself, and not outside of it. This heroic experience is valuable and good in itself, whereas ordinary life is only driven by interests, external things, and human convictions.</blockquote>
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<tr><td>Hamlet, silent, 1921<br />
This gender-busting film, starred by Danish actress Asta Nielsen as the prince. The “Art-Film” on the poster was Nielsen's own production company.</td></tr>
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Lang returned to a familiar expressionist Nietzschean theme of the desire for a new society, a new values, and new man in <i>Die Nibelungen</i>: Siegfried (1922-24) and <i>Die Nibelungen: Kriemhilds Rache</i> (Kriemhild’s Revenge, 1923-24) . A revolutionary Wagnerian mythical romance and compositional masterpiece in a massive retelling of the<i> Nordic Nibelungen saga</i>, complete with studio-constructed mountains, forests, and a full-scale fire-breathing dragon. Siegfried, in George Bernard Shaw's words represented;<br />
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the ideal of Bakoonin (sic), a revolutionary friend of Wagner that is an anticipation of the "overman" of Nietzsche. He is enormously strong, full of life and fun, dangerous and destructive to what he dislikes, and affectionate to what he likes; so that it is fortunate that his likes and dislikes are sane and healthy.</blockquote>
In Rings Wagner has disguised his revolutionary ideas under the cover of Nordic myths and legends to spread his revolutionary message. Mikhail Bakunin was a Russian revolutionary and political philosopher interested in socialist theories, who was expelled by Marx from the anarchist movement. He spent the last period of his life in Bern, Switzerland rather close to Nietzsche and Wagner during the time that the two often spent time together in Lucerne and Tribschen. A prince who spent most of his considerable wealth on his anarchist causes, Bakunin believed the society’s establishment served only to oppress the masses that it pretend to serve and that the laws imposed by government should be overturned.
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Both Bakunin and Wagner were participant in the Dresden insurrection, where Bakunin was arrested and sentenced to death. However, he was banished to Austria, instead and yet sentenced to death a second time. The Russian government demanded his return, thus preventing the carrying out of his sentences. After spending six years in the Peter and Paul Fortress as a prisoner without any trial, he was exiled to Siberia.
Bakunin frequently told Wagner of his desire to see Paris burn to the ground, annihilating a tyrannical, exploitative government and liberating the world so that society could start again. An idea that became the highlight of Wagner's Ring. It is certain that Wagner confided the insight about Siegfried being an anarchist revolutionary hero directly to Nietzsche.
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The Nietzschean notion of the individual creative impulse struggling for expression was largely influenced by Wagner and is a central feature of Expressionist art.
‘The young artists of this movement,’ writes Seth Taylor, ‘saw in Nietzsche’s antipolitical philosophy the material to combat the militarism, authoritarianism, and illiberalism of German society which Nietzsche is usually creditied with engendering’
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According to Fritz Lang his Mabuse was the prototype of "the period after the First World War" which "was for Germany a period of deepest despair, of hysteria, cynicism, unrestrained vice. The most dreadful poverty existed side by side with immense new wealth. Berlin coined the word <i>Raffke, </i>, or ‘profiteer’ from <i> Zusammenraffen des Gelds</i> [raking in money. “
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Written by Fritz Lang, Totentanz is a lost film in which a beautiful dancer's sexual allure is used by an evil cripple to entice men to their deaths. Falling in love with one of the potential victims, she is told by the cripple that he will set her free if her lover, actually a murderer himself, survives and escapes a bizarre labyrinthe which runs beneath the cripple's house". </div>
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Fritz Lang was born on December 1890 in Vienna. He grew up in that city's <i>fin de siècle</i> era, and affected by its intellectual and artistic heritage throughout his life. The son of a well-to-do construction magnate Anton Lang and his fervently Catholic (and formerly Jewish) wife Paula , Fritz attended the <i>technische Hochschule</i> before World War I. He also studied Friedrich Nietzsche and Sigmund Freud’s theories, gleaning from them ideas about an authentic <i> übermenschen</i> and unconscious drives which would animate his films. Lang observed in an extended interview with Peter Bogdanovich, that the characters like Mabuse, Siegfried or the Master of Metropolis in his German period focused on Nietzschean Overman.
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<span style="background-color: white; font-family: Calibri; line-height: 20.3636px;"><span style="color: #e06666; font-size: x-large;">Josef Fenneker</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtU9Kg1qKNLAhzKQytbo9XHihbTq5jtIGnNoIcZwQg0DqDYC7xQ7Zi_76WE3gooEJ4iLvh4_-g3c4feP33_8q5ep7eA1SqOEplEJzyQHJVe5iCABAduIsP9jax-rLgu9_W3eDnPH0_Ezo/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtU9Kg1qKNLAhzKQytbo9XHihbTq5jtIGnNoIcZwQg0DqDYC7xQ7Zi_76WE3gooEJ4iLvh4_-g3c4feP33_8q5ep7eA1SqOEplEJzyQHJVe5iCABAduIsP9jax-rLgu9_W3eDnPH0_Ezo/s640/b.jpg" width="640" /></a></td></tr>
<tr><td>Die Intriguen der Madame de la Pommeraye, (1922), directed by Fritz Wendhausen</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh7kXpLa1hKYIiLfmjK6a0wyAbDEuGIb3lcOnqTCrFIyb3B2UYvrqjcq4S5gsg2Lonb2UYMItg4qshH3YT7tuQ2H2HKDQ596tFyHTCWRPl9yomy1IcLREgFzNjNHeSx0t-dkwlIewlbtU/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh7kXpLa1hKYIiLfmjK6a0wyAbDEuGIb3lcOnqTCrFIyb3B2UYvrqjcq4S5gsg2Lonb2UYMItg4qshH3YT7tuQ2H2HKDQ596tFyHTCWRPl9yomy1IcLREgFzNjNHeSx0t-dkwlIewlbtU/s640/b.jpg" width="640" /></a></td></tr>
<tr><td>The Kreutzer Sonata, (1922), Directed by Friedrich Zelnik<br />
<div style="text-align: left;">
Josef Fenneker was one of the most important printmakers of German Expressionism. He started designing film posters in 1918, working for various Berlin filmmakers. At the age of 30 years Fenneker had already created a total of more than 250 posters.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp_QmauNXCAxrKjt5IHPwPgb8FIYL0OLtNdNLqeA0AXLrJ8YEz86-C166DBwzGmAJXclVZBbjBNJcmzi5UFPvA85PfscuL-v5xRr2AwradYiAz4ydL4qKi-6AfXRy4Kld47dg-bhptFMA/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp_QmauNXCAxrKjt5IHPwPgb8FIYL0OLtNdNLqeA0AXLrJ8YEz86-C166DBwzGmAJXclVZBbjBNJcmzi5UFPvA85PfscuL-v5xRr2AwradYiAz4ydL4qKi-6AfXRy4Kld47dg-bhptFMA/s640/b.jpg" width="450" /></a></td></tr>
<tr><td>“Die Prostitution”, Marmorhaus<br />
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<div style="text-align: left;">
Fenneker, “became the eye of the cultural and political hurricane that was Weimar Germany”. A painter, graphic designer, and stage designer, he worked in a “mixed style, strongly tinged with expressionist characteristics”, and there is the foreboding of gathering storms and imminent, though decadent, doom in almost all his work.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibO1MeW4zU23_g9s0P5WnrrrwHShZwsuDagcCjwmGfF-6LI_8lZqL5dc4YGQ2MH6Y0pPjCqh-Ni9JiKfnJ5RO9kCiyaR3FLap-lxKYGznxuDLClukrZ4a27SGbQ4tQHXEGvs8VYSRAAEw/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibO1MeW4zU23_g9s0P5WnrrrwHShZwsuDagcCjwmGfF-6LI_8lZqL5dc4YGQ2MH6Y0pPjCqh-Ni9JiKfnJ5RO9kCiyaR3FLap-lxKYGznxuDLClukrZ4a27SGbQ4tQHXEGvs8VYSRAAEw/s640/b.jpg" width="640" /></a></td></tr>
<tr><td><br />
<div style="text-align: left;">
Born in 1895, the son of a grocer, little of Josef Fenneker’s early life in Bocholt is known. Perhaps inspired by his uncle Anton Marx, a church painter and architect, Fenneker studied at the Arts and Crafts schools in Munster, Dusseldorf and Munich, and became one of Emil Orlik’s master-class students at the school of the Berlin Arts and Crafts Museum.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUIj2KEG1ihRl1kFocb8HtYqM_N4UYaHhOmPyx5Y07MF8jp89epvxlSknJQuQHUarkAoz6LQkhXgJQjY7oOUH1Iua0OXB35oGaxE46bFfVMKO5zVvrIsv3wRYl2TpQug6UgIwcbPnV6uE/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="484" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUIj2KEG1ihRl1kFocb8HtYqM_N4UYaHhOmPyx5Y07MF8jp89epvxlSknJQuQHUarkAoz6LQkhXgJQjY7oOUH1Iua0OXB35oGaxE46bFfVMKO5zVvrIsv3wRYl2TpQug6UgIwcbPnV6uE/s640/b.jpg" width="640" /></a></td></tr>
<tr><td><div style="text-align: left;">
<div style="text-align: center;">
Der Teufel und die Circe, Marmorhaus</div>
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First employed by Berlin theaters – most notably the Marmorhaus, the “paramount movie palace of Germany” – Fenneker designed numerous film posters, between 1919 and 1924. A “ combination of Radio City Music Hall and Graumans Chinese Theater”, any film premiering there gained “instant prestige”. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL7OfP85jstmp5CohRHLo087n4syAcOQksmbmOc0GtRtybEPOcZkeUwqjLj6SkejOJuGPrEBYUvimaWP0heKDUi400970qiWS9BIzw-qGfn7HuM0X9ixA82KP7b-Q5pkEY5AwnyIKWNFM/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="474" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL7OfP85jstmp5CohRHLo087n4syAcOQksmbmOc0GtRtybEPOcZkeUwqjLj6SkejOJuGPrEBYUvimaWP0heKDUi400970qiWS9BIzw-qGfn7HuM0X9ixA82KP7b-Q5pkEY5AwnyIKWNFM/s640/b.jpg" width="640" /></a></td></tr>
<tr><td>Film poster for “Der Januskopf<br />
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Fenneker was not just another movie poster designer, but THE movie posterist of his day, in whose hands the “art of the film poster arguably reached its zenith,” and in the postwar years he became “one of the most sought after designers of film posters. “ Fenneker went on to create stage designs for theater and illustrations for such magazines as Simplicissimus and Jugend.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM57Ofo9gYRufSlh3NBvUn2Bczf1JGxlF_gigPDoAR-5gDJgy_c7uvXA2131m7wcZwoxve0ME2wneBi7_3xw3MYespDhl0d_KS7CSf6-go_XLhrqWbKyKQRramBUCxR-0rC8NT4VYJ4mg/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM57Ofo9gYRufSlh3NBvUn2Bczf1JGxlF_gigPDoAR-5gDJgy_c7uvXA2131m7wcZwoxve0ME2wneBi7_3xw3MYespDhl0d_KS7CSf6-go_XLhrqWbKyKQRramBUCxR-0rC8NT4VYJ4mg/s640/b.jpg" width="410" /></a></td></tr>
<tr><td>Das Frauenhaus von Brescia, Marmorhaus<br />
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Josef Fenneker died in Frankfurt in January1956 of heart failure. In the obituaries of the regional and national press, he was noted as one of the most important and most original German set designers of the 1920s and 1930s. More than 300 works have been preserved from his vast oeuvre by the Deutsche Kinemathek in Berlin, several more of which can be seen below the cut.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWWWPE0xKSR9_GvROxlDIdl_FcLxzJBimHDWSR2DehtpJNU8iBXLigPoQ2nHOJJDvU14a7VchdF-GgvJhNiv-4AW1UIHuUY4vTyyeWqPKnivM9tUyDONwd-5L9Gwd2drxn-icTpLROsHo/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWWWPE0xKSR9_GvROxlDIdl_FcLxzJBimHDWSR2DehtpJNU8iBXLigPoQ2nHOJJDvU14a7VchdF-GgvJhNiv-4AW1UIHuUY4vTyyeWqPKnivM9tUyDONwd-5L9Gwd2drxn-icTpLROsHo/s640/b.jpg" width="394" /></a></td></tr>
<tr><td>Film poster for “Carmen”</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjizigxgwYH6CUIkLAPUca-jJ3oldWhZz5eaKBLNGMWjvh26Cv7ImB5crrIn7fFRyr9OMl6UlXsPMPoPY8IKDEbqQwspmArzBnup14eBCFJWVpt4XpnY7ZGncpn1AvAwAr6bB3i49jHYjM/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjizigxgwYH6CUIkLAPUca-jJ3oldWhZz5eaKBLNGMWjvh26Cv7ImB5crrIn7fFRyr9OMl6UlXsPMPoPY8IKDEbqQwspmArzBnup14eBCFJWVpt4XpnY7ZGncpn1AvAwAr6bB3i49jHYjM/s640/b.jpg" width="640" /></a></td></tr>
<tr><td>Die Tragödie eines Groben (The Tragedy of a Great Man, the story of Rembrandt van Rijn)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuds7NdDWHqgrrX2ma5cdKWjC80d-EZHIgDRAe3LUISSa8iBMjzblCnRZreRVOnO5wyTNl6Zn6TPTfhOpqgYkJzFqWbNwgmCE7jWGwfjjTcjH0FwW0QI6v2dW2euAB9zWJPdiwsXE9fWw/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuds7NdDWHqgrrX2ma5cdKWjC80d-EZHIgDRAe3LUISSa8iBMjzblCnRZreRVOnO5wyTNl6Zn6TPTfhOpqgYkJzFqWbNwgmCE7jWGwfjjTcjH0FwW0QI6v2dW2euAB9zWJPdiwsXE9fWw/s640/b.jpg" width="440" /></a></td></tr>
<tr><td>Die Büchse der Pandora, 1929, Directed by G. W. Pabst</td></tr>
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<span style="color: #990000; font-size: large;">Boris Bilinsky</span><span style="color: orange; font-size: x-large;"> </span><br />
<span style="color: orange; font-size: x-large;"><br /></span>
Boris Konstantinovitch Bilinsky (1900-1948) was a Russian officer’s son who emigrated to Germany in 1920 where he worked in theater before traveling to Paris in 1923 and studying painting under fellow Russian emigré Léon Bakst. After meeting the actor Ivan Mosjoukine he started to work in the cinema as a set and costume designer and poster artist.<br />
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In 1924 he designed the extravagant costumes for Jean Epstein’s Le Lion des Mogols which made his name. His poster for that film also won the gold medal at the 1925 Paris International Exhibition of Decorative Arts.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPS8gWgcHYVKUrp5H2f2D4uIVj9pRoJC8xBcFzAET_HCLg33f7Nt10xF3NoBe2PbHZL4vmOQWrmApmEXpc5OwOTyO6g8BP30kTBCwWIGXt-CfhwMk52Fl1x6FZ2N4JjZ8i-0luA4XObhY/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="435" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPS8gWgcHYVKUrp5H2f2D4uIVj9pRoJC8xBcFzAET_HCLg33f7Nt10xF3NoBe2PbHZL4vmOQWrmApmEXpc5OwOTyO6g8BP30kTBCwWIGXt-CfhwMk52Fl1x6FZ2N4JjZ8i-0luA4XObhY/s640/b.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="color: #999999; font-family: sans-serif; font-size: 12px; line-height: 15px; text-align: start;"></span><em style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; color: #999999; font-family: sans-serif; font-size: 12px; line-height: 15px; margin: 0px; outline: 0px; padding: 0px; text-align: start; vertical-align: baseline;">Die Brüder Schellenberg</em><span style="color: #999999; font-family: sans-serif; font-size: 12px; line-height: 15px; text-align: start;">, Germany, 1926),</span><span style="font-size: small;">Boris Bilinsky</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpNY9V6bEB8m6DSJf4SrneSFn6dfDdJxuXKmrEKkxSKYE4BqIsnXbBw0k7fI-9Z8GSPezRraWHryagt0j5Tixyl7Wm-DwJPmMrHyTOJh71oTGpRqwEzAWhC02jczIl1mGrR2_1oUZ82uo/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpNY9V6bEB8m6DSJf4SrneSFn6dfDdJxuXKmrEKkxSKYE4BqIsnXbBw0k7fI-9Z8GSPezRraWHryagt0j5Tixyl7Wm-DwJPmMrHyTOJh71oTGpRqwEzAWhC02jczIl1mGrR2_1oUZ82uo/s640/b.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Blitzzug der Liebe (Johannes Guter, Germany, 1925) , <span style="font-size: small;">Boris Bilinsky</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibVW1E31FLQ6ofuKl1CIbIcAU-3YPWEGriqE-HMSOT0tt0lQVeUBP0cxzNQTSoR8_SlOGAZ-jkJ2-qs2wQIG5pJN3-AaOYkuLxR0iUgSoaHUtF3j8ZZA0A6NW0_fC375anCcc-98LPEQw/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="470" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibVW1E31FLQ6ofuKl1CIbIcAU-3YPWEGriqE-HMSOT0tt0lQVeUBP0cxzNQTSoR8_SlOGAZ-jkJ2-qs2wQIG5pJN3-AaOYkuLxR0iUgSoaHUtF3j8ZZA0A6NW0_fC375anCcc-98LPEQw/s640/b.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: left;">In 1927, by then a prolific cinema poster artist, Bilinsky was commissioned by the French distribution company L’Alliance Cinématographique Européenne (ACE) to design posters and publicity material for the French release of Fritz Lang’s Metropolis.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQP_Yg1CCB9f93hpBwpieFSjp8tQQIvlRyhGKmGBxeWNf5NvtM3aIBfRcUla-WYN3El_EwohHxqlBDRrdiYEhog3TVxC0ucQpbA_mOTdaKRfVJrTtXTqys_WLYQSNM30VgZZgw0GP2o-A/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQP_Yg1CCB9f93hpBwpieFSjp8tQQIvlRyhGKmGBxeWNf5NvtM3aIBfRcUla-WYN3El_EwohHxqlBDRrdiYEhog3TVxC0ucQpbA_mOTdaKRfVJrTtXTqys_WLYQSNM30VgZZgw0GP2o-A/s640/b.jpg" width="476" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In 1928<span style="font-size: small; text-align: left;">Bilinsky</span>was recognized in the magazine l’Affiche de cinéma as “ one of the best” and in 1931 was called “the most famous poster designer for cinema” by Lucie Derain in Arts et Métiers Graphiques. In May 1928 he founded his own film advertising company under the name Alboris although in the 1930s he concentrated his own work more on set and costume design for Russian opera and ballet.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIeVk1HM2cZBAeBbqjydk_ydwy-yWv49ZTXjisHXvLqgftqkVrdyRtFQvDL8cJQvQPDKTW1m9ZDnfPclr5r1NsaPatk0TAlvSCUS2JWtepKrjQcsDOeSdJXgqUDG-F1p-yNU2VqEX3Kow/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIeVk1HM2cZBAeBbqjydk_ydwy-yWv49ZTXjisHXvLqgftqkVrdyRtFQvDL8cJQvQPDKTW1m9ZDnfPclr5r1NsaPatk0TAlvSCUS2JWtepKrjQcsDOeSdJXgqUDG-F1p-yNU2VqEX3Kow/s640/b.jpg" width="486" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Feu Mathias Pascal (Marcel L’Herbier, France, 1926), <span style="font-size: small;">Boris Bilinsky</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaIngCnWaz8wunCJhtRjJ1Rdxj4xrOF6Z8_coRwTd14GLLZlrqUdj2hvxeFVLGCTtARV23WYajXVJEQqOa5f9c1L1jQ06IAtDa6grxFgaz41c8CW0pDhUi128u4NVlqGjTfSPNpEZMnKE/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaIngCnWaz8wunCJhtRjJ1Rdxj4xrOF6Z8_coRwTd14GLLZlrqUdj2hvxeFVLGCTtARV23WYajXVJEQqOa5f9c1L1jQ06IAtDa6grxFgaz41c8CW0pDhUi128u4NVlqGjTfSPNpEZMnKE/s640/b.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Feu Mathias Pascal (Marcel L’Herbier, France, 1926), </span><span style="font-size: small;">Boris Bilinsky</span></td></tr>
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<span style="color: #e69138; font-size: large;">Heinz Schulz-Neudamm</span><br />
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<span style="font-size: 12.8px;">Heinz Schulz-Neudamm (1899 -1969) was born in Neudamm, district Königsberg Neumark, as Paul Heinz Otto Schulz. He worked until 1940’s in Berlin, adding Neudamm, his birthplace, to his name to be known as Schulz-Neudamm. He designed numerous posters but mainly for German release of American movies, such as Anna Karenina (1935, with Greta Garbo) and Mutiny on the Bounty (1935, with Charles Laughton and Clark Gable). He died in Wiesbaden.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQmndbV3GJtHBXZwSYU_RAwmqsMzKhIN-Coh-6vRR5m4SJCnz6lSZ8nFCTqmu1t7ZUsPt5HOIIfS_FtoRkRiqJ4BqKuH7TLrWEr_hj9wvaKE6fCzF1Xp_dVhirDIlCRMb7uG-v1IKdKY4/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQmndbV3GJtHBXZwSYU_RAwmqsMzKhIN-Coh-6vRR5m4SJCnz6lSZ8nFCTqmu1t7ZUsPt5HOIIfS_FtoRkRiqJ4BqKuH7TLrWEr_hj9wvaKE6fCzF1Xp_dVhirDIlCRMb7uG-v1IKdKY4/s640/b.jpg" width="418" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tagebuch einer Verlorenen-<span style="font-size: 12.8px;">Diary of a Lost Girl </span><span style="font-size: 12.8px;">(1929) silent , Georg Wilhelm Pabst,</span><span style="font-size: 12.8px;">Designed by Heinz Schulz Neudamm</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirOO4cC0ge4AqseEMLg5Nmvn09_RUZG_lsecUhqjkRhpp2atjD8O0vvbmWww3YlqbMrXUK6rvT9FVl_gglgykvFzKBCqUUXZoDtseUNwN00_wM9LFs8gY7g99KkRpjIxg5kW28hcng4Rw/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirOO4cC0ge4AqseEMLg5Nmvn09_RUZG_lsecUhqjkRhpp2atjD8O0vvbmWww3YlqbMrXUK6rvT9FVl_gglgykvFzKBCqUUXZoDtseUNwN00_wM9LFs8gY7g99KkRpjIxg5kW28hcng4Rw/s640/b.jpg" width="440" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">Underworld 1927, by Josef Von, Designed by Heinz Schulz Neudamm<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj82Z3FhfAq9oIqKcVJMUhZZJK0HuqmXEIfvxbTyeLiP5ax_bzeL_ZvEDAgK71pAZI2_nMr0k47z0wqHuJ_FNu_10xx_syFxD2diahdXhZRF-qX5eDXR692EoqoHQlB0IiemcQGGkQOwRI/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj82Z3FhfAq9oIqKcVJMUhZZJK0HuqmXEIfvxbTyeLiP5ax_bzeL_ZvEDAgK71pAZI2_nMr0k47z0wqHuJ_FNu_10xx_syFxD2diahdXhZRF-qX5eDXR692EoqoHQlB0IiemcQGGkQOwRI/s640/b.jpg" width="294" /></a></td></tr>
<tr><td>M, (1933), directed by Fritz Lang - Perhaps designed by Heinz Schulz-Neudamm<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkVtjhnZ5tTCvR2QOiLZ8z4H6_9WuoufXuzwUype3CzJp5HdbsMS3vZpSI_paoKCRuxdHtypSFARPbeBDGjZiincyJRhjCButTbUQHPpUqoeRpohEY3SQhyvcmc0qoTIncX3J0lgpMBD0/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkVtjhnZ5tTCvR2QOiLZ8z4H6_9WuoufXuzwUype3CzJp5HdbsMS3vZpSI_paoKCRuxdHtypSFARPbeBDGjZiincyJRhjCButTbUQHPpUqoeRpohEY3SQhyvcmc0qoTIncX3J0lgpMBD0/s640/b.jpg" width="448" /></a></td></tr>
<tr><td>Anna Karenina (1935), by Heinz Schulz-Neudamm<br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQM8bfdr8-pxifq7S4JGnVW-_om3i-qTJ9Aqh03N2fRc0lE2z5mhTeFiR74-CLUe5Fhy8CfWEYyJ2j_zDCQQ6TnzMxEOczc4OFDD4RrnxX1kOZkF67nmruobNSQweLbGuJTjIdRiCBqok/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQM8bfdr8-pxifq7S4JGnVW-_om3i-qTJ9Aqh03N2fRc0lE2z5mhTeFiR74-CLUe5Fhy8CfWEYyJ2j_zDCQQ6TnzMxEOczc4OFDD4RrnxX1kOZkF67nmruobNSQweLbGuJTjIdRiCBqok/s640/b.jpg" width="454" /></a></td></tr>
<tr><td>Ninotoschka, MGM, (1939) Heinz Schulz-Neudamm, <br />
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNamGwBLYYFIKkfZql-rkgwPSU8dL-bgPmPo83mcME9z1VajLol63Oxz3jEDZgk0vTm-DSR6dRJdAjB2FVxioeyh9ceb3GiGH3Pd0Ka8lU-Oii-dhtZrpLlR_U8TgLui23OXgE5T2JgVg/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNamGwBLYYFIKkfZql-rkgwPSU8dL-bgPmPo83mcME9z1VajLol63Oxz3jEDZgk0vTm-DSR6dRJdAjB2FVxioeyh9ceb3GiGH3Pd0Ka8lU-Oii-dhtZrpLlR_U8TgLui23OXgE5T2JgVg/s640/b.jpg" width="434" /></a><br />
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<tr><td>Faust – Eine deutsche Volkssage, silent, 1926, designed by engraver Karl Michel<br />
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Faust was produced by UFA, and directed by F. W. Murnau, starring Gösta Ekman in the title role.The above poster was the winning entry in a 1926 poster design competition. A contemporary report in the journal Reichsfilmblatt says that<br />
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“the money prizes for the best designs were rather low, which is one reason why the majority of our great and best poster artists honored the event with their absence. The first prize was 2,000 marks...Poster designs that find favor in the eyes of large industrial enterprises often bring as much as 20,000 marks.”<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ6t7tEujXcheoEPgXPOyiCR7qFltQNf2e67lfzbmPV89hXnsnZGAU3TCPchW2wSk7odRAB9WO_UJMa1S9t8DadcpTUDuYZffrNFc41KfYQxe-GFgmnZhsJKmftFiIe5lz0boajbQwsNA/s1600/b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ6t7tEujXcheoEPgXPOyiCR7qFltQNf2e67lfzbmPV89hXnsnZGAU3TCPchW2wSk7odRAB9WO_UJMa1S9t8DadcpTUDuYZffrNFc41KfYQxe-GFgmnZhsJKmftFiIe5lz0boajbQwsNA/s640/b.jpg" width="432" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZODWDZRdHdQKci8nU7FVn706wta8GLRe5PQB1dQWrR_VDoejffPWHjEJWQOraDGY9UCcbZRORvzi3trJUFXVk6RK1oRbfz2rRHO9JQCEGX9oPxfGhuogpfUpERGjtQhNCHvSJT2j7YQI/s1600/b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZODWDZRdHdQKci8nU7FVn706wta8GLRe5PQB1dQWrR_VDoejffPWHjEJWQOraDGY9UCcbZRORvzi3trJUFXVk6RK1oRbfz2rRHO9JQCEGX9oPxfGhuogpfUpERGjtQhNCHvSJT2j7YQI/s640/b.jpg" width="456" /></a></div>
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In F. W. Murnau's Faust (1926), Mephisto (Emil Jannings) bestows youth on Faust (Gösta Ekman) by capturing his aged countenance in a small mirror. At the end of the film, Mephisto smashes the mirror and Faust is once again deprived of his youth. In this context, the mirror becomes a transitional object connecting the old Faust with the young Faust. By destroying the mirror, the two identities are permanently separated. This act of destroying/liberating a secondary aspect of one's personality is a recurring Nietzschian theme in expressionism movies.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8MqQvqMyZ_K_KbEhmTba7kCuZ-G2bkyN_TEwU7p2fTWj6Y0LgSXLmjrebmvmbJlcvbKW20al_FuAnc293EJWkPZQYx-bW8II07d9yWlHAXbU1jLFaVxgCUgNb5n2FMq7nmGHObCqUVok/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8MqQvqMyZ_K_KbEhmTba7kCuZ-G2bkyN_TEwU7p2fTWj6Y0LgSXLmjrebmvmbJlcvbKW20al_FuAnc293EJWkPZQYx-bW8II07d9yWlHAXbU1jLFaVxgCUgNb5n2FMq7nmGHObCqUVok/s640/b.jpg" width="416" /></a></td></tr>
<tr><td>Der blaue Engel (1930), directed by Josef von Sternberg and starring Emil Jannings and Marlene Dietrich
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The Blue Angel presents the tragic transformation of a man from a respectable professor to a cabaret clown, and his descent into madness. The film is considered to be the first major German sound film, and brought Dietrich international fame.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj31e5Zn_k0aEzGhyNc1ZOb8ecYdRGdXH0hS3KA4_HBOJKgVmk6DezMZGQNBY1-YJA-E3zj1-dEg6_qURFAWfu0yDXqDao6-X89k9oVG7NhJFvwX6I_UjR1_S_uRBLMahsTdDcic4b-6Gg/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj31e5Zn_k0aEzGhyNc1ZOb8ecYdRGdXH0hS3KA4_HBOJKgVmk6DezMZGQNBY1-YJA-E3zj1-dEg6_qURFAWfu0yDXqDao6-X89k9oVG7NhJFvwX6I_UjR1_S_uRBLMahsTdDcic4b-6Gg/s640/b.jpg" width="238" /></a></td></tr>
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Mädchen in Uniform, Leontine Sagan (1931) , designed by Austrian artist Emmerich Weninger [1907-77] </div>
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The film eludes classification as either a product of the Weimar Republic or of the fascist state which was yet to come. Leontine Sagan, one of the first women directors in Germany, brought new and interesting cinematic strategies to her production of this film: somewhat surprisingly, many of these elements are those which, decades later, would come to be classified as typical "feminist" filmmaking techniques. It narrates the story of an emotionally unstable girl (Hertha Thiele) who is matriculated into the institution, dominated by a sense of enclosure within militaristic protocols. It explores idleness and intimacy among the girls, who seek gratification for a variety of impulses in an even greater variety of ways: pin-up photos of movie stars, love notes from other girls, officially sanctioned bullying, and perceived favoritism from the headmistress.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBv2jc_qzV-exN3G-wu3wlMgZzbnVoJPLkAVUIVzNsBdc2iYPFFwJ6XdiJnYGHIyPDG32dg0Zyj8KJXpr6NZzPN0qATcI8PXqzlZruQ_0D4hN8UKua6n34Cdw6yE2N2mKmYZWiZZYsPKw/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBv2jc_qzV-exN3G-wu3wlMgZzbnVoJPLkAVUIVzNsBdc2iYPFFwJ6XdiJnYGHIyPDG32dg0Zyj8KJXpr6NZzPN0qATcI8PXqzlZruQ_0D4hN8UKua6n34Cdw6yE2N2mKmYZWiZZYsPKw/s640/b.jpg" width="320" /></a></td></tr>
<tr><td>Das Testament des Dr. Mabuse (1933), Fritz Lang</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLU53fkZuExqf0rnh41ZA_wGA13tHmJLblgUym9xBruwMhue1c5-pAemgnofTQYCUa6HmUdgHS3_S7haPjSrVfxlp_w6g3wN74Xz4ZplPZgct0JK-EWjjT4H5sVNAdlyi0ev3zS1aHDYA/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLU53fkZuExqf0rnh41ZA_wGA13tHmJLblgUym9xBruwMhue1c5-pAemgnofTQYCUa6HmUdgHS3_S7haPjSrVfxlp_w6g3wN74Xz4ZplPZgct0JK-EWjjT4H5sVNAdlyi0ev3zS1aHDYA/s640/b.jpg" width="526" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“Alexander Nevski” – Designed by Jan Lenica, Atlas Film</td></tr>
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<span style="color: #ea9999; font-size: large;">Dorothea Fischer Nosbisch </span><br />
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Dorothea Fischer Nosbisch (1921- 2009) was born in Bad Kreuznach. At the age of fifteen, Dorothea began her studies at the Städelschule in Frankfurt, where she met her future husband Fritz Fischer, with whom she founded a studio community in 1945, where together with designers like Heinz Edelmann, Karl Oskar Blase, Bele Bachem, Isolde Monson-Baumgart and Jan Lenica developed and implemented new concepts, and established the idea of der Designgruppe in 1958.<br />
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She worked mainly for Atlas film. Among her best known movie posters are The Silence (1964), The Blue Angel (1964), High noon (1959), Dear John (1965) and 7-year Itch (1966). In 1967 she separated from Fritz Fischer. She also worked as an art teacher in Frankfurt as well as a freelance artist. She died in Darmstadt.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZfUrMfmg83EpqXOn882WW767NFgX7eS9rfZby6QzFRPmAJgCKvuOWEtJJKeTVTou6DRnF_oYUl0NTvZR5DnRHaXHeHGxWo7MI-ItZngXg2sjZR1fZHLHd4Fsz3pA3UeV2lJe6Kd0iaZY/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZfUrMfmg83EpqXOn882WW767NFgX7eS9rfZby6QzFRPmAJgCKvuOWEtJJKeTVTou6DRnF_oYUl0NTvZR5DnRHaXHeHGxWo7MI-ItZngXg2sjZR1fZHLHd4Fsz3pA3UeV2lJe6Kd0iaZY/s640/b.jpg" width="490" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“The Job” – Designed by Fischer-Nosbisch, Atlas Film</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">“Arsenic and Old Lace” – Designed by Fischer-Nosbisch, Atlas Film</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOMXsTQ7niMFRCDezz2Qa_lxmeUXStP9h8vKprGmMP5k4LQfAU0J6Y561IJnQlUV8B6T0B0adkD9yNbwaKRkZppNz-Fnrrp24rkOWYQaLnAE36sa617m71rzpYZTDSvA1yPhyphenhyphenh4j85XNo/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOMXsTQ7niMFRCDezz2Qa_lxmeUXStP9h8vKprGmMP5k4LQfAU0J6Y561IJnQlUV8B6T0B0adkD9yNbwaKRkZppNz-Fnrrp24rkOWYQaLnAE36sa617m71rzpYZTDSvA1yPhyphenhyphenh4j85XNo/s640/b.jpg" width="462" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“The Silence” – Designed by Fischer-Nosbisch, Atlas Film</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCF2mFzoXkCDvvb1UqWCYBPp6O9Xz3Me3iiBhF_7uDuM52yXTkcrSmz4e3PmrR1XPzhuf1nahYYyFyq_V7uPSJg5bHR24vXDeftbBn1Mc-3zXb6eL4TbGvSvxGtl2Fx-llMod_1s-r6uk/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCF2mFzoXkCDvvb1UqWCYBPp6O9Xz3Me3iiBhF_7uDuM52yXTkcrSmz4e3PmrR1XPzhuf1nahYYyFyq_V7uPSJg5bHR24vXDeftbBn1Mc-3zXb6eL4TbGvSvxGtl2Fx-llMod_1s-r6uk/s640/b.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“Black Tights” – Designed by Fischer-Nosbisch, Atlas Film</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiziJu00czIqG8uK88AAsoaO9VZNpI667ytX1Z-3lxdXuOKIsENnghQBaT0LOMVfpWU21HFs_KnuqnCLPX7LyxnqF6pBWtMiABLz0DAz8t8crdzoE8rHWSVa4rtN-iJ95bffSmK39pMEDI/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiziJu00czIqG8uK88AAsoaO9VZNpI667ytX1Z-3lxdXuOKIsENnghQBaT0LOMVfpWU21HFs_KnuqnCLPX7LyxnqF6pBWtMiABLz0DAz8t8crdzoE8rHWSVa4rtN-iJ95bffSmK39pMEDI/s640/b.jpg" width="454" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“The Blue Angel” – Designed by Fischer-Nosbisch, Atlas Film</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK9-OMdcZfwlrg-WzMJdmrHh4iCD5nga1pBaNyg3-oIaNCOAzArujN09xQ1aKxDzaRfhRgHmO-JoDpHmTvr1KWb10OHSvEAILIS1tl8plK9w5cSF2IItaKY7tew4TtHjud30vnfIIsE10/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK9-OMdcZfwlrg-WzMJdmrHh4iCD5nga1pBaNyg3-oIaNCOAzArujN09xQ1aKxDzaRfhRgHmO-JoDpHmTvr1KWb10OHSvEAILIS1tl8plK9w5cSF2IItaKY7tew4TtHjud30vnfIIsE10/s640/b.jpg" width="454" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“The Seven Year Itch” – Designed by Fischer-Nosbisch, Atlas Film</td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHX6gx6BY1ec-hrzA1akJSnPQErLgGJw_sH2nnWHKFqK_iJJYrTH-WMZn73VF1zEcfPaow9otuxpiNBouGmjAyJ8lLPyVTM4yX7Bp6heL6YuNoLAXkcG5hqULONgw1iGthLk353_59iUI/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHX6gx6BY1ec-hrzA1akJSnPQErLgGJw_sH2nnWHKFqK_iJJYrTH-WMZn73VF1zEcfPaow9otuxpiNBouGmjAyJ8lLPyVTM4yX7Bp6heL6YuNoLAXkcG5hqULONgw1iGthLk353_59iUI/s640/b.jpg" width="470" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“Jour de Fete” – Designed by Fischer-Nosbisch, Atlas Film</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbwg0scI_1KCKI3U9Z8Muir37gWI5qu6s05hLpGi4ou-AroO0zbcGpGtNCYqm5eFMUNw1ZXeKSgo_7WVgBBQV00I8lIbWwRfzZNaOFa1O3GoXck28Kppq6kduXD9pV10Oh4WuNML6V9oc/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbwg0scI_1KCKI3U9Z8Muir37gWI5qu6s05hLpGi4ou-AroO0zbcGpGtNCYqm5eFMUNw1ZXeKSgo_7WVgBBQV00I8lIbWwRfzZNaOFa1O3GoXck28Kppq6kduXD9pV10Oh4WuNML6V9oc/s640/b.jpg" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“Smiles of a Summer Night” – Designed bty Fischer-Nosbisch, Atlas Film</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJWVP2eTxBvYzKN4yxyzeVSAK9lHlEr0i0caXknQfHD1OlsvPsLas3MwEChiL1eCE4bX3zMBHD_uoRRRHwtVvIyZUhoFYfxw0F6g2asMj8zAkvorAd7dya6aIALHaLOSyM2XzTaRGQp-g/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJWVP2eTxBvYzKN4yxyzeVSAK9lHlEr0i0caXknQfHD1OlsvPsLas3MwEChiL1eCE4bX3zMBHD_uoRRRHwtVvIyZUhoFYfxw0F6g2asMj8zAkvorAd7dya6aIALHaLOSyM2XzTaRGQp-g/s640/b.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“Battling Butler” – Designed by Hans Michel, Atlas Film</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC5dW1aLARXoJFql3vZDTHmyfCf0PzaAOVJV5i2O7bMJFOaDpM9o5SaIeR4K-HAhzht_GOM68x0ksCWai6siuMMYA42lLHCe_xFQ7C-aYr1K7kcTI5-IJGPFCQDmdWgkZ9fryRYw4XG0c/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC5dW1aLARXoJFql3vZDTHmyfCf0PzaAOVJV5i2O7bMJFOaDpM9o5SaIeR4K-HAhzht_GOM68x0ksCWai6siuMMYA42lLHCe_xFQ7C-aYr1K7kcTI5-IJGPFCQDmdWgkZ9fryRYw4XG0c/s640/b.jpg" width="446" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“The Gold Rush” – Designed by Rambow and Lienemeyer, Atlas Film</td></tr>
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<span style="color: #990000; font-size: large;">Ferry Ahrlé </span><br />
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Born in 1924 in Frankfurt, Ferry Ahrlé grew up in Berlin. He studied at the Academy of Fine Arts while studying acting with the later actor Albin Skoda. He designed the set for the film "Berliner Ballade" and for the literary cabaret "The Porcupines". In mid-1950s Ahrlé reside in Frankfurt, where he designed movie posters for Federico Fellini, Ingmar Bergman, Luis Buñuel, François Truffaut and Roman Polanski.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmrRQVpSBjbgakBFSXf6ClAlMeMj4YnO_RRCsWzHkHs5wVwwo_tyuGVeR_ZWEY-2S84FwEfFpff8Gh2ss47xD2yOBEuf6UcHYG8TF8wEimUwj3etYbYrnqlTSjJ91T6aIqKJ0fXiOQR6g/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmrRQVpSBjbgakBFSXf6ClAlMeMj4YnO_RRCsWzHkHs5wVwwo_tyuGVeR_ZWEY-2S84FwEfFpff8Gh2ss47xD2yOBEuf6UcHYG8TF8wEimUwj3etYbYrnqlTSjJ91T6aIqKJ0fXiOQR6g/s640/b.jpg" width="454" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Das Siebente Siegel, Ingmar Bergmann (1957), <span style="font-size: 12.8px;">Designed by Ferry Ahrlé,</span><span style="font-size: 12.8px;"> </span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiZnk0Zkt-uNOus3rGTMvyw-UgmSjRaP7K3B3jAaoKA4a7AmbUxx6F7Q0PQvQghB3VGQRcBYP6oDIkeoIjtbhvv9i6f5_gcxeBxRauCtyBaA6tGY1nk2faGUE5wN0VZf9edYMgN3eq77k/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiZnk0Zkt-uNOus3rGTMvyw-UgmSjRaP7K3B3jAaoKA4a7AmbUxx6F7Q0PQvQghB3VGQRcBYP6oDIkeoIjtbhvv9i6f5_gcxeBxRauCtyBaA6tGY1nk2faGUE5wN0VZf9edYMgN3eq77k/s640/b.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“Wild Strawberries” – Designed by Ferry Ahrlé, Constantin Film</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiSv3v9ktGPmf3evKpB5GgRu_xJ-2jPcbHfaR8WCr_qIs1rcpItue2ojy0_ptPtTiCioNk-ob1guluvodKofIZ8hZTqcOJmlDDoNVdUSlWkqRUQcQqVafeaGxmkRcgrMtkS3ihywvO56k/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiSv3v9ktGPmf3evKpB5GgRu_xJ-2jPcbHfaR8WCr_qIs1rcpItue2ojy0_ptPtTiCioNk-ob1guluvodKofIZ8hZTqcOJmlDDoNVdUSlWkqRUQcQqVafeaGxmkRcgrMtkS3ihywvO56k/s640/b.jpg" width="452" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">François Truffaut's "Jules and Jim", 1961, <span style="font-size: 12.8px;"> Designed by Ferry Ahrlé</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguRxKkxgmDMUbW8f41AvWJ7npZdq9Ge9aUuYVHrvVpDxj1E5pj_xpyYh6Ljf6GEU_m-JmR5ArUtbfL5pXrTaK24Ois-jpY-xcKEZ-CooFJotLVa4NCOPIpzL4tac3lbUwbCBKdAyrW_3o/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguRxKkxgmDMUbW8f41AvWJ7npZdq9Ge9aUuYVHrvVpDxj1E5pj_xpyYh6Ljf6GEU_m-JmR5ArUtbfL5pXrTaK24Ois-jpY-xcKEZ-CooFJotLVa4NCOPIpzL4tac3lbUwbCBKdAyrW_3o/s640/b.jpg" width="446" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #f3f3f3; color: #666666; font-family: tahoma, arial, sans-serif; font-size: 12.8px; line-height: 13px;">Mutter Johanna von den Engeln, Regie: Jerzy Kawalerowicz, Constantin-Film (1964), </span><span style="font-size: 12.8px;">Designed by Ferry Ahrlé</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkpMiptTa5FB7mx6Hi-jhyphenhyphen64CoZhEKIgSCF2-HoWX5ZtbjyF-VAzg-OYpnf7YEhUEHELvcrYLjaxns2ydCqA556d7Esak53j61DgWKfX_QSoeanuta437-CHTDN-ImX2-cxIaHrH1xLY8/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkpMiptTa5FB7mx6Hi-jhyphenhyphen64CoZhEKIgSCF2-HoWX5ZtbjyF-VAzg-OYpnf7YEhUEHELvcrYLjaxns2ydCqA556d7Esak53j61DgWKfX_QSoeanuta437-CHTDN-ImX2-cxIaHrH1xLY8/s640/b.jpg" width="454" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #f3f3f3; color: #666666; font-family: tahoma, arial, sans-serif; font-size: 12.8px; line-height: 13px;">Die Tote von Beverly Hills, Regie: Michael Pfleghar, Constantin-Film (1964), </span><span style="font-size: 12.8px;">Designed by Ferry Ahrlé</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9gQ0YeFeNZ5Yx3aQ9Cxj8rMIzmOz5gTi7gdz8gzyaXWX5HhvhAVOxEQzmtX3zlDuCp-Ev21YjVgUQIOL82-Aln8s9Iu_BzTIsDt1Mj2HH-fwEhGrPQZ0GD2J76rQcNUgw6nX-LHRVHEs/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9gQ0YeFeNZ5Yx3aQ9Cxj8rMIzmOz5gTi7gdz8gzyaXWX5HhvhAVOxEQzmtX3zlDuCp-Ev21YjVgUQIOL82-Aln8s9Iu_BzTIsDt1Mj2HH-fwEhGrPQZ0GD2J76rQcNUgw6nX-LHRVHEs/s640/b.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fünfzig Stufen zur Gerechtigkeit, Regie: Anselmo Duarte, Constantin-Film (1962), <span style="font-size: 12.8px;">Designed by Ferry Ahrlé</span></td></tr>
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<span style="text-align: center;"><span style="color: #990000; font-size: large;">Heinz Edelmann</span></span><br />
<span style="text-align: center;"><span style="color: #990000; font-size: large;"><br /></span></span>
<span style="font-size: 12.8px; text-align: center;">Heinz Edelmann (1934- 2009) </span><span style="font-size: 12.8px; text-align: center;">was born in Czechoslovakia, and from 1953 to 1958 studied and then worked at Düsseldorf Academy of Fine Arts with a keen interest in print making. In 1958 he became a freelance graphic designer and by the time he was 30, he was among the most promising designers in Europe. He did innovative work for the avant-garde German magazine Twen, including drawings on the horrors of war. He made Yellow Submarine the first full-length feature cartoon in the UK since Animal Farm (1954). In 1970, Edelmann moved to Amsterdam and designed posters for plays, films and book jackets. Later he moved to Stuttgart, and worked as a professor at the Stuttgart Academy of Fine Arts.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFedAycfV3k7fCDGM5YrZThImBokSchV6pkklX33h-dAifCESl4RO4AgUR1ZuqqRqRuIWo2mCcyug2Jh8WQJKeiLhkxEzauedhFmOWWH4qqLpH7SblsVlDK611kBeQhyphenhyphenC0BOpMGtfRfTU/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFedAycfV3k7fCDGM5YrZThImBokSchV6pkklX33h-dAifCESl4RO4AgUR1ZuqqRqRuIWo2mCcyug2Jh8WQJKeiLhkxEzauedhFmOWWH4qqLpH7SblsVlDK611kBeQhyphenhyphenC0BOpMGtfRfTU/s640/b.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Secrets of Women (Ingmar Bergman, Sweden, 1952), Designed by Heinz Edelmann</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkEtkU4_EfT3TIa9qKylN0-UTi8PokIRe13s567VSLCa-vTpd-bUXcC0-tPC-syfhjtqzzqj61qGzlWaSMRdOgGN7mFyqskYUA8iTJ7E_DAvztiy4beG1BCNW9hQGjCYgjk_mYrAEGv8w/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkEtkU4_EfT3TIa9qKylN0-UTi8PokIRe13s567VSLCa-vTpd-bUXcC0-tPC-syfhjtqzzqj61qGzlWaSMRdOgGN7mFyqskYUA8iTJ7E_DAvztiy4beG1BCNW9hQGjCYgjk_mYrAEGv8w/s640/b.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“Hold the Bomb a Minute, Darling” – Designed by Heinz Edelmann, Atlas Film</td></tr>
</tbody></table>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj25eXZmkjuF8DC0tVT1PWNe1h0yWzlXR9h0ZeARaCaiWL7HCl8B1R0k8EXGEb8TeJTWP8G_KpZM7NS3PsFKSYppm13oHtRFap4k50U9Hgam6N8-qoJOzYAkovoX6KLco9BfXuGDzZ6ZA/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj25eXZmkjuF8DC0tVT1PWNe1h0yWzlXR9h0ZeARaCaiWL7HCl8B1R0k8EXGEb8TeJTWP8G_KpZM7NS3PsFKSYppm13oHtRFap4k50U9Hgam6N8-qoJOzYAkovoX6KLco9BfXuGDzZ6ZA/s640/b.jpg" width="462" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“Too Bad She’s Bad” – Designed by Heinz Edelmann, Atlas Film</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieMMIRNechgMlV1NobMxPBnrVlWWrouPLXscjrM4YD_NRo2VyOdDujijs8dBTiiJV2uEwR7a5b7It8qMlCUT0AtESsv_HNqZInDK_4MAaQVN6Eg_LGfLIlJ0aTJrvWYxIzS8C85gKMLGc/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieMMIRNechgMlV1NobMxPBnrVlWWrouPLXscjrM4YD_NRo2VyOdDujijs8dBTiiJV2uEwR7a5b7It8qMlCUT0AtESsv_HNqZInDK_4MAaQVN6Eg_LGfLIlJ0aTJrvWYxIzS8C85gKMLGc/s640/b.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“Ladykillers” – Designed by Heinz Edelmann, Atlas Film</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw5Bpbx3O8Fy20xjLoOmJL2aswrbKSkBLzeFZ_0Sm_pnJfZw_a-7rOCpBgsF182TmjMNDYDiZfhvfO7GCYN3pkmLfynIfB24ommL3pSpDS3UsgEEFvfjI7Fy-MWfZCoBJfsOc6TxLvzQw/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw5Bpbx3O8Fy20xjLoOmJL2aswrbKSkBLzeFZ_0Sm_pnJfZw_a-7rOCpBgsF182TmjMNDYDiZfhvfO7GCYN3pkmLfynIfB24ommL3pSpDS3UsgEEFvfjI7Fy-MWfZCoBJfsOc6TxLvzQw/s640/b.jpg" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“Le Petit Soldat” – Designed by Jan Lencia, Atlas Film</td></tr>
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<span style="text-align: center;"><span style="color: #990000; font-size: large;">Tostmann Werbetechnik </span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_0juTI5VFe4G7nywhI9TpxvwaORLLbBTLfXiXx9i-eeLK1hL4VZw4J6n9dQH4p2RNxfPVjbMjAjLM3SXE4adYOO_StatLv6xaBddQ5qPRcYQHCmXVhuPKe7JLeZNrUoEIFGqA9GZ8Wo/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT_0juTI5VFe4G7nywhI9TpxvwaORLLbBTLfXiXx9i-eeLK1hL4VZw4J6n9dQH4p2RNxfPVjbMjAjLM3SXE4adYOO_StatLv6xaBddQ5qPRcYQHCmXVhuPKe7JLeZNrUoEIFGqA9GZ8Wo/s640/b.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Das siebente Siegel, Tostmann Werbetechnik (1957)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsYPvabeZQr8bh28TZhq78I5HcOUnInJswfipZ4L6lNvoRuwupqUGQpunOU6gUIJuECXcYww97C7joCfw3Gpx4a4N__8RiygvmbimefJor44C5LhSTZ8Q6LuKAGXdaiiCMjTq6-4eDqO0/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsYPvabeZQr8bh28TZhq78I5HcOUnInJswfipZ4L6lNvoRuwupqUGQpunOU6gUIJuECXcYww97C7joCfw3Gpx4a4N__8RiygvmbimefJor44C5LhSTZ8Q6LuKAGXdaiiCMjTq6-4eDqO0/s640/b.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“Last Year in Marienbad” – Designed by Tostmann Werbetechnik, Constantin Film</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdpXhUfrffTW0jnlhbxfd_8UqGtJuBxDZfm2sCjxoze0Znh83JdayA8Tlmei__-Y_Q-KsnN_VnHcE11jIpNdoM4X6mzV1Jv05OWhjBJq-WmVeomcmP34fAD3xNJhYCizH8zGc_TJvQ9hc/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdpXhUfrffTW0jnlhbxfd_8UqGtJuBxDZfm2sCjxoze0Znh83JdayA8Tlmei__-Y_Q-KsnN_VnHcE11jIpNdoM4X6mzV1Jv05OWhjBJq-WmVeomcmP34fAD3xNJhYCizH8zGc_TJvQ9hc/s640/b.jpg" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Viridiana ,Tostmann Werbetechnik (1962)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh91O_gq6E0jEIi3Pt3dECpvv0NR3euYV2872HMwY1YjK3Uumhr02q3VtQ5RwA9BPwdkVFaoEqtW-taj0n0rVWbgT-lQdadZYuyY83_MwLyvZ6Aj0BHZ3aXul-KMKax4t3MDjmmshKnlL0/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh91O_gq6E0jEIi3Pt3dECpvv0NR3euYV2872HMwY1YjK3Uumhr02q3VtQ5RwA9BPwdkVFaoEqtW-taj0n0rVWbgT-lQdadZYuyY83_MwLyvZ6Aj0BHZ3aXul-KMKax4t3MDjmmshKnlL0/s640/b.jpg" width="454" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Die unsichtbaren Krallen des Dr. Mabuse, Tostmann Werbetechnik (1962)</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNxRW0AYXtyPOZYZCvPatNYsYeDUQkHeb9zZ2xl-jod7L-H1DP5TIUodEXa9xK0TmPG08yILW_3OoJgWJIUwzBKtfjFUQ-1qYa-Yu1k6R6ub_vBxtjJU0BcgBhGQFoJAqSiwh89pYHUOI/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNxRW0AYXtyPOZYZCvPatNYsYeDUQkHeb9zZ2xl-jod7L-H1DP5TIUodEXa9xK0TmPG08yILW_3OoJgWJIUwzBKtfjFUQ-1qYa-Yu1k6R6ub_vBxtjJU0BcgBhGQFoJAqSiwh89pYHUOI/s640/b.jpg" width="470" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“Last Year in Marienbad” – Designed by Tostmann Werbetechnik, Constantin Film</td></tr>
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<span style="text-align: center;"><span style="color: #990000; font-size: large;">Hans Hillmann</span></span><br />
One of the most important Modernist German graphic artists, Hans Hillmann (1924-2014) was born and died in Frankfurt. Hillmann studied at Kassel in die Schule für Handwerk und Kunst over the 1948-49 and was admitted at that city's die Werkakademie under Hans Leistikow in 1949, <br />
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After 1952, Hillmann only worked as a freelance graphic designer, first in Kassel, and later in Frankfurt. In 1959 he was appointed professor at <i>die Staatliche Hochschule für Bildende Künste - </i>the State Academy of Fine Arts in Kassel . In 1962 Hillmann won the Toulouse-Lautrec award of excellence at the International Poster Exhibition in Paris.<br />
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He was known as graphic designers of future generations through his work as a graphic and a professor at the <i>der Hochschule für Bildende Künste/Universität Kassel</i>. He designed 130 film posters between 1953 and 1974, including designs for landmark films such as Akira Kurosawa’s The Seven Samurai and Robert Bresson’s Pickpocket.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoMFtAXqa1lcynTQnkOkTL_qUoceBEjO3w0LF5nrzqc_n_o2sdZ-dzicsiMvwzB9T6CkH3csgb_i1hwv9QdWwbtfLp0UMrOZeMx_J2TI-r5zV1OpvhrxqT5E6XgthZVYDk-q-HLcB8s-U/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoMFtAXqa1lcynTQnkOkTL_qUoceBEjO3w0LF5nrzqc_n_o2sdZ-dzicsiMvwzB9T6CkH3csgb_i1hwv9QdWwbtfLp0UMrOZeMx_J2TI-r5zV1OpvhrxqT5E6XgthZVYDk-q-HLcB8s-U/s640/b.jpg" width="452" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> Die Dreigroschenoper by Bertolt Brecht, 1957. Hans Hillmann, Neue Filmkunst</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4n1b1VYNny5TNE8mAI_xuWDrmm4tatBNT5yCXbc-TQRd6IW9OgUnmJELR4r_2EUow4TgcpZU4S23lf0kZN-_7-HI8nxxZoF3nTbeAT187VR25QXGAWj7mxsj2aKuoraRGhSk6wwOV4Q0/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4n1b1VYNny5TNE8mAI_xuWDrmm4tatBNT5yCXbc-TQRd6IW9OgUnmJELR4r_2EUow4TgcpZU4S23lf0kZN-_7-HI8nxxZoF3nTbeAT187VR25QXGAWj7mxsj2aKuoraRGhSk6wwOV4Q0/s640/b.jpg" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Criminal Life of Archibaldo de la Cruz, 1955, Luis Buñuel, Designed by Hans Hilmann</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi51_FxCpH5vvjM30R3cuOAO8dlEFv8sakpwIYQ2SU6WXwM-4mxtN1pwsUUXq2nIgeUMDYBaqIpfD0kGkwdcQC1tzwV5m96kLVh6zeBOfUKjwc2diHr21ImAlXJfMASZkQ9u7he2lBQYv4/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi51_FxCpH5vvjM30R3cuOAO8dlEFv8sakpwIYQ2SU6WXwM-4mxtN1pwsUUXq2nIgeUMDYBaqIpfD0kGkwdcQC1tzwV5m96kLVh6zeBOfUKjwc2diHr21ImAlXJfMASZkQ9u7he2lBQYv4/s640/b.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">I Vitelloni (Federico Fellini, Italy, 1953). Hans Hillmann 1962</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR8ab7_-qjkt1GzUFjfrlQBkAIbe_FFi8Doxd0zkCmmSQsCuXMsusVD6jJqDZDdH7nFfdHv-6kYToxTFgRtGzTEFrh3Z2tu3bCI4CwXW4jb81reRy8vS4xQqB3bK2r6iap_cjo2-R6mPE/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR8ab7_-qjkt1GzUFjfrlQBkAIbe_FFi8Doxd0zkCmmSQsCuXMsusVD6jJqDZDdH7nFfdHv-6kYToxTFgRtGzTEFrh3Z2tu3bCI4CwXW4jb81reRy8vS4xQqB3bK2r6iap_cjo2-R6mPE/s640/b.jpg" width="466" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Loneliness of the Long Distance Runner, 1962, Tony Richardson. Designed by Hans Hilmann</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlV3Y2O77izd-kFBUZF7FPmmWkSzka9win7IDh2KR5hTrQOUuKleI8nyBvvoF0OEU1u-XR5NYanZuRlAbQA5mxi1UJrgs1AvvS4lnUiAvPqkASPq8b2Yw66enxfJzYGMXd6oGE8UIfIOM/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlV3Y2O77izd-kFBUZF7FPmmWkSzka9win7IDh2KR5hTrQOUuKleI8nyBvvoF0OEU1u-XR5NYanZuRlAbQA5mxi1UJrgs1AvvS4lnUiAvPqkASPq8b2Yw66enxfJzYGMXd6oGE8UIfIOM/s640/b.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Seven Samurai, 1954, Akira Kurosawa, Designed by Hans Hilmann</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWtZZv8amYrhgKOPskEKA981UbrxLtepl92IKYFoSinPN27i-hllugo_ZWmI5epPaQs3jwwAxKLEeOm_GYtUWRWWqmiPqHmH9ZlkyU8eYLrKU9dbwEmh-kD0VFCwyfy2LbFqMcoDPzoiY/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWtZZv8amYrhgKOPskEKA981UbrxLtepl92IKYFoSinPN27i-hllugo_ZWmI5epPaQs3jwwAxKLEeOm_GYtUWRWWqmiPqHmH9ZlkyU8eYLrKU9dbwEmh-kD0VFCwyfy2LbFqMcoDPzoiY/s640/b.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“Belle de Jour” – Designed by Hans Hillmann, Neue Filmkunst</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd68hyz7_p5MutI5cT9inog0R6yganHM-1cakH3sM4r_0qlpadhJqvJwtOaHiDDX9OuUE0YJzwuPhsv3LB5GCMRFfKqPiAeJoVoyKlWtruNoWJl6pg8ZGqgRdyvig_eLhIx0RYcySGRzU/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd68hyz7_p5MutI5cT9inog0R6yganHM-1cakH3sM4r_0qlpadhJqvJwtOaHiDDX9OuUE0YJzwuPhsv3LB5GCMRFfKqPiAeJoVoyKlWtruNoWJl6pg8ZGqgRdyvig_eLhIx0RYcySGRzU/s640/b.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“A Woman is a Woman” – Designed by Hans Hillmann, Neue Filmkunst</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixkuHlc-z6wx3IgMd5VAUEUDwS29k9fZPWl-UfNMztFlF6xLyLMDxVB3vE6rft_SW0ZBvalXtQl85f1kwe_2TmLrySdIWPMzBf0z-QzXZvdAfuCYCx8JbS1MLFVrWYalUkOJFhkEQqDi0/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixkuHlc-z6wx3IgMd5VAUEUDwS29k9fZPWl-UfNMztFlF6xLyLMDxVB3vE6rft_SW0ZBvalXtQl85f1kwe_2TmLrySdIWPMzBf0z-QzXZvdAfuCYCx8JbS1MLFVrWYalUkOJFhkEQqDi0/s1600/b.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><strong style="background: rgb(255, 255, 255); border: 0px; color: #444444; font-family: 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 15px; line-height: 19.0909px; margin: 0px; outline: 0px; padding: 0px; text-align: start; vertical-align: baseline;"><span style="background: transparent; border: 0px; font-size: 13px; line-height: 19px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">“For a Fistful of Dollars” – Hans Hillmann, Constantin Film</span></strong></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC9Tzsd1P-OgmFb1Xrrnq7qDuZRo6pEMAPTdw2pvcY8NnmHzPmgTmkiclNzfc90bP03Jv7qaEE1bRMWI8Gn_p-ZtNd-lm2J4Qj3rS7UnONijaq5HFxmPQDiHZeYCQtp6euQQOP1bxNUF0/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC9Tzsd1P-OgmFb1Xrrnq7qDuZRo6pEMAPTdw2pvcY8NnmHzPmgTmkiclNzfc90bP03Jv7qaEE1bRMWI8Gn_p-ZtNd-lm2J4Qj3rS7UnONijaq5HFxmPQDiHZeYCQtp6euQQOP1bxNUF0/s640/b.jpg" width="448" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">“Breathless” – Designed by Hans Hillmann, Neue Filmkunst</td></tr>
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<span style="color: #990000; font-size: large;">Isolde Monson-Baumgart</span><br />
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Isolde Monson-Baumgart: (1935–2011) was born in in Munich. She studied at <i>der Staatlichen Hochschule für bildende Künste Berlin</i> the National University of Fine Arts in Berlin and then in Kassel under Hans Leistikow and Hans Hillmann. Her major was the graphic design.<br />
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From Kassel she went to Paris around 1959-1963 to study at the famous Atelier 17 of Stanley William Hayter to develop her photographic skills. From 1961 she worked as his assistant. After graduation she worked as a freelance artist and graphic designer in Frankfurt, Paris, and the United States. In the mid-1960s she became a lecturer in printmaking at the American Center in Paris. She also taught at the University of Connecticut, the Merz Akademie in Stuttgart and at the University of Kassel.<br />
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She married the American graphic artist Jim Monson in 1973. She died in Kassel<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8bumqZJ4b5ZjJ2_lThSDiWMbK_wvfocBHMSA76O8j0LabllHmkI7NNMG94v2Quf1GsRqIm7u3xZeS8_0-yPBJsKDt2w5QRX9BdIFumte2YJku1zkE73BXXT1jy_cIxmwdJTj0qqBPhPo/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8bumqZJ4b5ZjJ2_lThSDiWMbK_wvfocBHMSA76O8j0LabllHmkI7NNMG94v2Quf1GsRqIm7u3xZeS8_0-yPBJsKDt2w5QRX9BdIFumte2YJku1zkE73BXXT1jy_cIxmwdJTj0qqBPhPo/s640/b.jpg" width="462" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1962 re-release poster for O.K. Nero (Mario Soldati, Italy, 1951), Designed by Isolde Monson-Baumgart</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUhJncNCTWhQQJJguR6CEn8RNrobM_xHQNgTxsL3JBmSN_hLrfW-IuXYNHJ3eHcGE3vLomvpaP-IpZ0y3X6ien0fNNwqGSTl-2zECyBly2JO-V2jnp-yeOBc8uEDX5Z51KVzV1iDyG90g/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUhJncNCTWhQQJJguR6CEn8RNrobM_xHQNgTxsL3JBmSN_hLrfW-IuXYNHJ3eHcGE3vLomvpaP-IpZ0y3X6ien0fNNwqGSTl-2zECyBly2JO-V2jnp-yeOBc8uEDX5Z51KVzV1iDyG90g/s640/b.jpg" width="454" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1966 re-release poster for Children of Paradise (Marcel Carné, France, 1945), <span style="font-size: 12.8px;"> Designed by Isolde Monson-Baumgart</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDf-C_Q4I2-yavc8qHz2P5vZxY9QPN1dDQlG0xLPaE2OveQCBOMNXNflN4uM_DT41yIKRPNdEcIN0ZLrzpJPNMqH1SEemNXTVyq6wtyOWe4o6aTlN4BpNVomD4XAEatUYRwAVkwScAkR4/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDf-C_Q4I2-yavc8qHz2P5vZxY9QPN1dDQlG0xLPaE2OveQCBOMNXNflN4uM_DT41yIKRPNdEcIN0ZLrzpJPNMqH1SEemNXTVyq6wtyOWe4o6aTlN4BpNVomD4XAEatUYRwAVkwScAkR4/s640/b.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1957 re-release poster for Beauty and the Beast (Jean Cocteau, France, 1946). <span style="font-size: 12.8px;"> </span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSkiqRnymiMdCD1HqRf7eIzq82Rw4tTJYs00JL9kcp7KbpCnx7OZFObf7gOhQf53RunMBontVCtWkwd_WvccrH1aJKtg4tBhcjXb7zbONMpJAI3pwhyphenhyphenkDn1b6hKy8dx_K5Mh2gYdB6djU/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSkiqRnymiMdCD1HqRf7eIzq82Rw4tTJYs00JL9kcp7KbpCnx7OZFObf7gOhQf53RunMBontVCtWkwd_WvccrH1aJKtg4tBhcjXb7zbONMpJAI3pwhyphenhyphenkDn1b6hKy8dx_K5Mh2gYdB6djU/s640/b.jpg" width="450" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1965 poster for David and Lisa (Frank Perry, USA, 1962) ,<span style="font-size: 12.8px;">Designed by Isolde Monson-Baumgart</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpleLThLuKcs3XrehowJJVZjh7lmR0RKG3zTRqPOUPjOE7m6X97_KB2OSQgTkDwHWEJGcKzR3MM-E_j_KQJvaLUd_SYTMwMhjKdYmNGgB1lKy_MGmgIDJMJYWd-juJMSv67MsM7oL0_Zg/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpleLThLuKcs3XrehowJJVZjh7lmR0RKG3zTRqPOUPjOE7m6X97_KB2OSQgTkDwHWEJGcKzR3MM-E_j_KQJvaLUd_SYTMwMhjKdYmNGgB1lKy_MGmgIDJMJYWd-juJMSv67MsM7oL0_Zg/s640/b.jpg" width="464" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">1960 re-release poster for Second Chance (Jean Delannoy, France, 1947), Designed by Isolde Monson-Baumgart,</td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqyEAeUAtrbMbGVNcUrWITj0WlVnEXH3PeRE2OWrpuEYljq-WH0RFGHRQJojYD21ulcnku5QFtf02Z1UbmA9OGxu6LvkgaS9JW3VKbVsSiuUp71eKXz1N52R4d7XmNHtwvlT62gG_e8OI/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqyEAeUAtrbMbGVNcUrWITj0WlVnEXH3PeRE2OWrpuEYljq-WH0RFGHRQJojYD21ulcnku5QFtf02Z1UbmA9OGxu6LvkgaS9JW3VKbVsSiuUp71eKXz1N52R4d7XmNHtwvlT62gG_e8OI/s640/b.jpg" width="490" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">“Ivan the Terrible” – Designed by Isolde Monson-Baumgart, Neue Filmkunst<br />
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</div>Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-39946827072736268352015-10-12T23:25:00.000-07:002015-10-13T16:16:57.566-07:00Chapter 85: Graphic Design in the Lost Civilization of Etruscan <div dir="ltr" style="text-align: left;" trbidi="on">
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Due to the fact that their literature was deliberately destroyed in the first centuries A.D., the origin of Etruscans is a mystery. They arrived in the ninth century BC on the west coast of Italy that is now Tuscany. They resembled the Phoenicians, and perhaps they were sailing in small groups by sea from Asia Minor. Like Phoenicians they were traders and sailors and founded towns along the coast.They spoke a language unlike any other known European tongue, one hard to read and surviving mostly as limited tomb inscriptions. Scholars profess to have lost interest in pursuing the search for origins, perhaps because past efforts have brought nothing but confused and contradictory speculation. <br />
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<tr><td>The "Chimera di Arezzo," a bronze statue in typical Etruscan style</td></tr>
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Apart from being great navigators, Etruscans are, nonetheless, known for having been among the first to make use of metallurgy and to raise it to an art form. They were very skilled in carving ornaments out of gold, silver, and bronze. The ancient Romans called them the Tusci or Etrusci, which later changed into Tuscany and Etruria. The ancient Greek knew them as as Τυρρηνοὶ (Tyrrhēnoi), earlier Tyrsenoi, from which the Romans derived the names Tyrrhēni (Etruscans), Tyrrhēnia (Etruria), and Mare Tyrrhēnum (Tyrrhenian Sea). The Etruscans called themselves Rasenna, which was syncopated to Rasna or Raśna.
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Some Greeks held that the Etruscans were a branch of the Pelasgians, aboriginal inhabitants of the Aegean region, others such as Virgil thought they came from Lydia, a kingdom of western Anatolia. Herodotus also ascribes the origin of the Etruscans to Lydia, and reports that the ancestors of the Etruscans were forced to emigrate from Lydia because of 18 years of hard times. The Lydians built ships and half of the population left under the leadership of Tyrrhenus, the son of the king of Lydia.
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The Pelasgians may have been the Sea People who around 1200 B.C. invaded the Egyptian Empire. The Greek historian, Dionysius of Halicarnassus, in his Early History of Rome dismissed these theories and argued that the Etruscan were the aboriginal inhabitants of their area.
The question became more intriguing when, in the nineteenth century, it was discovered that most of the languages of Europe belonged to one big language family called Indo-European but Etruscan was not one of them.
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<tr><td>Sarcophagus from Cerveteri
520 BC (Etruscan)
Rome, Villa Giulia</td></tr>
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While some 13,000 Etruscan texts exist, most of these are very short, thus almost all the information about their culture is derived from their tombs, as they were obsessed with elaborate burials. The ancient Etruscans prepared extensively for the afterlife, furnishing elegant tombs ordering handsome coffins or sarcophagi, and performing meticulous and sophisticated rituals. Many Etruscan sites, primarily cemeteries and sanctuaries, have been excavated, notably at Veii, Cerveteri, Tarquinia, Vulci, and Vetulonia.<br />
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Numerous Etruscan tomb paintings portray in vivid color many different scenes of life, death, and myth. Their interest in elaborate burials has led researchers to suppose that they may have had an underlying belief, similar to the Egyptians that a part of the soul remained with the body, or at least that the body was important for the afterlife.The passion for performing rituals such as the funereal liturgy of the Phersu and other ceremonial games of skill was very widespread among the Etruscans.<br />
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According to Dr. Annette Rathje of the University of Copenhagen excavations at a site called Murlo, on a hill south of Siena, were turning up increasing evidence of large-scale settlement and monumental art, including bold friezes and some of the earliest architectural terra cottas in Italy.
The ancient city had an impressive acropolis and an enormous building, the largest in Italy before the sixth century B.C., that appears to have consisted of many smaller structures around a courtyard. Statues of gods or dignitaries and mythical beasts adorned the place.
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New research shows Etruscans were a conduit for the introduction of Greek culture and its pantheon of gods to the Romans. The Etruscans developed a version of the Greek alphabet, a step that influenced Roman letters and thereby northern Europe's. They built the first cities in Italy, when the hills of Rome stood barren of promise, and their influence shows up in later Roman works of architecture and engineering.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxiAZaf7loG3AAU9c1C5_oBuT77KB_-I19JW6zDfhgrePf4ZL6nnjXNlUk_f34XESWtZw717I3_ELJNKODWGN9vu9y4mOlX-W_apSZxlLuvvlVTx1VjbZT-h97VI1ZuUbUTKzDd3-IIlI/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxiAZaf7loG3AAU9c1C5_oBuT77KB_-I19JW6zDfhgrePf4ZL6nnjXNlUk_f34XESWtZw717I3_ELJNKODWGN9vu9y4mOlX-W_apSZxlLuvvlVTx1VjbZT-h97VI1ZuUbUTKzDd3-IIlI/s640/a.jpg" width="640" /></a></td></tr>
<tr><td>Romulus and Remus (the mythical founders of Rome) gives an idea of the great skill with which Etruscan artists worked.</td></tr>
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The Etruscan culture developed from a prehistoric civilization known as Villanovan (ca. 900–500 B.C.). By the beginning of the seventh century B.C., the Etruscans occupied the central region of Italy between the Arno and Tiber rivers, and eventually settled as far north as the Po River valley and as far south as Campania. Around 540 BC, the Battle of Alalia led to a new distribution of power in the western Mediterranean Sea. Though the battle had no clear winner, Carthage managed to expand its sphere of influence at the expense of the Greeks, and Etruria saw itself relegated to the northern Tyrrhenian Sea with full ownership of Corsica. From the first half of the 5th century BC, the new international political situation meant the beginning of the Etruscan decline after losing their southern provinces.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh17jQCCfDsdOWjN5NEKOO0DJ1r34AJKb6_eIqRIteseeSagobNPROloFzr9BhDaLMi4V7Kg_w0iq_Jvw41v5blMWE1-NPkAQjf0ju37RwlyaVXboXse8HoDgSGmTM1F40fyPGIPSF9_Hk/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="626" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh17jQCCfDsdOWjN5NEKOO0DJ1r34AJKb6_eIqRIteseeSagobNPROloFzr9BhDaLMi4V7Kg_w0iq_Jvw41v5blMWE1-NPkAQjf0ju37RwlyaVXboXse8HoDgSGmTM1F40fyPGIPSF9_Hk/s640/a.jpg" width="640" /></a></td></tr>
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The parents’ sarcophagus (above, left), carved in a local volcanic stone, shows the more naturalistic character of Etruscan art. The middle-aged man and his wife press close together, their feet poking out beneath the covers. A long relief on the side depicts their wedding procession, with the couple at the center. The son’s sarcophagus (above, right) shows the influence of Greek art and styles in his beard and in his wife’s hairstyle, as well as in their more idealized appearance and pose. The sides of this sarcophagus are carved with less personal scenes, such as Greeks fighting Amazons and horsemen attacking armed men on foot. While some have suggested a Greek artist may have made the sarcophagus for the son and his wife, it is evident that both couples wanted to remain in eternal embrace.</div>
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<span style="font-size: small;">The Sarcophagus of the Spouses </span></div>
<span style="font-size: small;">The Sarcophagus of the Spouses is the name given to this monumental terracotta Etruscan funerary urn, representing two spouses reclining side by side in a typical Etruscan banquet pose. Their ashes or remains were placed in the urn.</span></td></tr>
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In 480 BC, Etruria's ally Carthage was defeated by a coalition of Magna Graecia cities led by Syracuse. A few years later, in 474, Syracuse's tyrant Hiero defeated the Etruscans at the Battle of Cumae. Etruria's influence over the cities of Latium and Campania weakened, and it was taken over by Romans and Samnites. In the 4th century, Etruria saw a Gallic invasion end its influence over the Po valley and the Adriatic coast. Meanwhile, Rome had started annexing Etruscan cities. This led to the loss of the Northern Etruscan provinces. Etruria was conquered by Rome in the 3rd century BC.
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Even after they were subjugated and then annexed by the Roman Republic, the Etruscans and their influence never entirely disappeared. They were assimilated. They lost their language to Latin, and yet their legacy has endured in surprising ways, beyond any part they had in spreading the Greek alphabet.
In fact, Romans owed more than they ever admitted to the Etruscans.
Their achievements in engineering impacted Roman aqueducts and basilicas. The tombs of the emperors Augustus and Hadrian deliberately imitated Etruscan ones from seven centuries before. The artists of the Renaissance also built upon Etruscan foundations, as seen in the palaces of Florence, the sculpture of Pisa and the painting of Siena. Painting frescoes on wet plaster had been an Etruscan talent.
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<blockquote class="tr_bq">
The Tomb of the Leopards is a charming, cosy little room, and the paintings on the walls have not been so very much damaged. All the tombs are ruined to some degree by weather and vulgar vandalism, having been left and neglected like common holes, when they had been broken open again and rifled to the last gasp.
But still the paintings are fresh and alive: the ochre-reds and blacks and blues and blue-greens are curiously alive and harmonious on the creamy yellow walls. Most of the tomb walls have had a thin coat of stucco, but it is of the same paste as the living rock, which is fine and yellow, and weathers to a lovely, creamy gold, a beautiful colour for a background. <i>Etruscan Places
by D. H. Lawrence</i></blockquote>
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The commemoration of an affectionate marriage for eternity reflects a major difference between ancient Greek and Etruscan societies—namely, the more equal participation of women in Etruscan rituals and life. Nevertheless. many Greek and Roman authors including Theopompus of Chios and Plato referred to the Etruscans as immoral. During later Roman times, the word Etruscan was almost synonomous with prostitute, and Livy's histories moralise about the rape of Lucretia, where Roman women are seen as virtuous model wives in comparison to their liberated Etruscan counterparts. According to Timaeus (4th Century BC): "
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Among the Etruscans who had become extravagantly luxurious, it is customary for the slave girls to wait on the men naked...."</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigrVGWqoLNYIMkxYaHnOag8ZtV3CguOCJ0SRoWYShNIvsOq30XuePL5rkcNKAQaplf9oDFfMO4EelwB9NA5kS-UUzsyOGM4qqsTDgDv638G6MVdnXIVlWNyPAY3Y8dFF3QSPGQS0Rbz7g/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigrVGWqoLNYIMkxYaHnOag8ZtV3CguOCJ0SRoWYShNIvsOq30XuePL5rkcNKAQaplf9oDFfMO4EelwB9NA5kS-UUzsyOGM4qqsTDgDv638G6MVdnXIVlWNyPAY3Y8dFF3QSPGQS0Rbz7g/s640/b.jpg" width="640" /></a></td></tr>
<tr><td>The Tomb of The Augurs </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhflGtwYQY6nRkPyYT3eHZNmq0S1zuoM8CIJQ4BW8r6Z3ucsW-ps_DjTtA-0P6M1ZeF4ZBgyHfvXBcGse0IBk-4R4JepQRBBCZXvAefXaLHQCfgiTE8ZhoacFtH5R_6aOZWIukE1s4c3M0/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhflGtwYQY6nRkPyYT3eHZNmq0S1zuoM8CIJQ4BW8r6Z3ucsW-ps_DjTtA-0P6M1ZeF4ZBgyHfvXBcGse0IBk-4R4JepQRBBCZXvAefXaLHQCfgiTE8ZhoacFtH5R_6aOZWIukE1s4c3M0/s640/b.jpg" width="464" /></a></td></tr>
<tr><td> The two characters with their hands extended upwards at each side of the door are generally interpreted as augurs, but others interpret them as relatives of the deceased. The name written on the wall is Apastanasar which contains the root apa (father).</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjORMX1XHIKj20akx4mxlUMopTugtcELMM3TtxD9kUiM6mSNS5EnpzdfT1Q-KjZO_mNzJX8-RMMSOUY71lWPJV7A_fk9HrFIFIcc_6aPDldFWlJ3RtV8JTJPQ2_Z7BFb79Ht6bq4idLuI/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjORMX1XHIKj20akx4mxlUMopTugtcELMM3TtxD9kUiM6mSNS5EnpzdfT1Q-KjZO_mNzJX8-RMMSOUY71lWPJV7A_fk9HrFIFIcc_6aPDldFWlJ3RtV8JTJPQ2_Z7BFb79Ht6bq4idLuI/s640/b.jpg" width="640" /></a></td></tr>
<tr><td>Two wrestlers are depicted, possibly part of the funerary games.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDGtuMqgJHO4VuNdNNE9q3Swo_mOmKm22D0OtQ658xK97vm3pspUAjy8qx76mFsm1s7sZWybv7w6WGs85rssYTSq-f42wKkKPcHsaILne-vOT7z3AflMV4xy76PIrrVrYWQz_C1Yay1Uc/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="386" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDGtuMqgJHO4VuNdNNE9q3Swo_mOmKm22D0OtQ658xK97vm3pspUAjy8qx76mFsm1s7sZWybv7w6WGs85rssYTSq-f42wKkKPcHsaILne-vOT7z3AflMV4xy76PIrrVrYWQz_C1Yay1Uc/s640/b.jpg" width="640" /></a></td></tr>
<tr><td>This scene is also probably part of the funerary games, depicting a masked figure holding a rope in his hand. The rope is attached to the collar of a dog. When the Phersu (masked person) pulls on the rope, a nail on the dog's collar bites into its neck, enraging the animal and causing it to attack a tethered man, possibly a condemned criminal. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitBTEr2N_Xnoo1lxb2QwrJ57ZRm-cQlhnaM1dAZQ9lT5iheWGN0646mVmNMZar03XBWBAWuGdmBT6-8rZRvN_WEDx7FoJNqcjt5L3TJZf43dGAuwCAQKpYfY34n8nYPLvaJdiweL-c5HQ/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="454" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitBTEr2N_Xnoo1lxb2QwrJ57ZRm-cQlhnaM1dAZQ9lT5iheWGN0646mVmNMZar03XBWBAWuGdmBT6-8rZRvN_WEDx7FoJNqcjt5L3TJZf43dGAuwCAQKpYfY34n8nYPLvaJdiweL-c5HQ/s640/b.jpg" width="640" /></a></td></tr>
<tr><td>The Tomb of the Bulls, Tomba dei Tori, Approximately 560 BC<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq07Go_JBUM8oTeLJ3K7EseZ5IGq8QRswwgd5glkDEXD1eqGF0MwD-paQSoiXjhgRNkhRgYpCCTGi2dDs2zzKEJTDaRUGbOo5OhZdJoL4rGlrQsZSs_4tZBjd9n8JjOu2U39cp0_e-cCQ/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq07Go_JBUM8oTeLJ3K7EseZ5IGq8QRswwgd5glkDEXD1eqGF0MwD-paQSoiXjhgRNkhRgYpCCTGi2dDs2zzKEJTDaRUGbOo5OhZdJoL4rGlrQsZSs_4tZBjd9n8JjOu2U39cp0_e-cCQ/s640/b.jpg" width="640" /></a></td></tr>
<tr><td>The frescos on the Tomb of the Bulls are characterized by yet undecipherable fertility symbols. The panel on the left depicts a heterosexual scene while the scene on the right depicts a homosexual one. The bulls have human faces, and some have noted that the bull on the right has an aggressive pose, whereas the bull on the left is serene, perhaps implying a disapproval of homosexuality.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV8dghGd8VASq0ZDn2JC0a9qkerl3fZqJqGUsyUlCsHe-nc3cMaGY8U9xHb8hHIIOxfAhqw3SN4iiNMhFa7dkHrRLO89c3msQamImZMjRXV09lyGW-hab2ejxrGV3DFfClEzmEGmYRvxY/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="444" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV8dghGd8VASq0ZDn2JC0a9qkerl3fZqJqGUsyUlCsHe-nc3cMaGY8U9xHb8hHIIOxfAhqw3SN4iiNMhFa7dkHrRLO89c3msQamImZMjRXV09lyGW-hab2ejxrGV3DFfClEzmEGmYRvxY/s640/b.jpg" width="640" /></a></td></tr>
<tr><td>A dancing woman depicted in a fresco on the Tomb of The Lionesses, Tomba delle Leonesse, around 520 BC</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE_qUa-JZ_vHP-hmYLxEw9cVSJ2urGd30wEM4EUdMZ7ySKAh-eQgowZf5cX2JDjVbeMesWijnebKUsOUuSMvayKTOxpxPFepFGqKyqeHSaoBQBnWuEtQh21C25w1mtnF-4tlOzdIJA8kI/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE_qUa-JZ_vHP-hmYLxEw9cVSJ2urGd30wEM4EUdMZ7ySKAh-eQgowZf5cX2JDjVbeMesWijnebKUsOUuSMvayKTOxpxPFepFGqKyqeHSaoBQBnWuEtQh21C25w1mtnF-4tlOzdIJA8kI/s640/b.jpg" width="640" /></a></td></tr>
<tr><td>The Tomb of The Baron, Tomba del Barone Period, 510-500BC</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJHU0mr6-YctKhMOG3K5Xsz9valzssENw9phYvMF6refY0boMgLIXNIiHptPjH2rCp4lyF-BJixbTccxdjL943Su_MGZQDv4QNmO216Bpl_oOxqCO-Ru9Fe32lwjjr2cStbbgs2lAp21g/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJHU0mr6-YctKhMOG3K5Xsz9valzssENw9phYvMF6refY0boMgLIXNIiHptPjH2rCp4lyF-BJixbTccxdjL943Su_MGZQDv4QNmO216Bpl_oOxqCO-Ru9Fe32lwjjr2cStbbgs2lAp21g/s640/a.jpg" width="640" /></a></td></tr>
<tr><td>A fishing scene on a fresco on the Tomb of Hunting and Fishing, Tomba caccia e Pesca, end of the six century BC</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFn1IWnk82ngcuBqwBavSjqN2XL4RONtSvdX6m_eGjIPchBzUgCm8xo0eIZZw29A3VrZggOkFcNfM5p-9-Ki7SdhGuKwgJZ2c56TJ2SS7EPaAwA5No4xVzRp4Lhxa2l9kafEJLbbEBtz4/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="558" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFn1IWnk82ngcuBqwBavSjqN2XL4RONtSvdX6m_eGjIPchBzUgCm8xo0eIZZw29A3VrZggOkFcNfM5p-9-Ki7SdhGuKwgJZ2c56TJ2SS7EPaAwA5No4xVzRp4Lhxa2l9kafEJLbbEBtz4/s640/b.jpg" width="640" /></a></td></tr>
<tr><td>A typical banquet scene, with two guests on each cline, slaves, an auletos and a cithara player on a fresco on the Tomb of The Ship, Tomba della, Nave, Mid Fifth century BC</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkVskJ6VOLUU0tUO5_VFu6bNfmke3nDKbx4gkzW7ojTvilQSGoTr81VKa1cq9bE180KGgqOH-7mVLizDmLN9wxi8l2WtZbsZsrEErBynPMewaqYjfT1246WzidNq80hULId3ZYyHcMkyE/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkVskJ6VOLUU0tUO5_VFu6bNfmke3nDKbx4gkzW7ojTvilQSGoTr81VKa1cq9bE180KGgqOH-7mVLizDmLN9wxi8l2WtZbsZsrEErBynPMewaqYjfT1246WzidNq80hULId3ZYyHcMkyE/s640/a.jpg" width="640" /></a></td></tr>
<tr><td>An enchanting dancing scene on a fresco on the Tomb of the Triclinium,Tomba del Triclinio Period, 470 BC </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibbEMD7MjqPahTM92F0PsRJQwL93SwYJOpyBLqkJTA09Bduqqz3K2dcpTW4s9cY10uT4vyQDi7Dw_dlsloFYaeLAM71zgxLg_Eqbg80h_o2bhb0qzCV99UKxJ4Hji-Gqkrak3vbO0h5LU/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibbEMD7MjqPahTM92F0PsRJQwL93SwYJOpyBLqkJTA09Bduqqz3K2dcpTW4s9cY10uT4vyQDi7Dw_dlsloFYaeLAM71zgxLg_Eqbg80h_o2bhb0qzCV99UKxJ4Hji-Gqkrak3vbO0h5LU/s640/a.jpg" width="640" /></a></td></tr>
<tr><td>The Tomb of the Shields, Tarquinia, end of the 4th Century BC</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR2lEGWssvamKg1QN1GtFeuW4_YT65VUuvPcK-ZO38UatzSxjPMJRmN-PeT-ZhOLvYom4EZcj2mhJj-k1j6SufN5RamlRp7wyQlubaSDbpfqlxj6xGvuHNHPgZgMsxn9PRnwbv9tWEep8/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR2lEGWssvamKg1QN1GtFeuW4_YT65VUuvPcK-ZO38UatzSxjPMJRmN-PeT-ZhOLvYom4EZcj2mhJj-k1j6SufN5RamlRp7wyQlubaSDbpfqlxj6xGvuHNHPgZgMsxn9PRnwbv9tWEep8/s640/b.jpg" width="470" /></a></td></tr>
<tr><td>Chariot, late 6th century B.C.
Etruscan; From Monteleone, Italy
Bronze<br />
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The main subjects on the three parts of this chariot box perhaps refer to the life of Achilles. In the center, Achilles receives armor from Thetis, his mother. On one side, he engages in combat with another hero, possibly Memnon; on the other side, he appears in a chariot drawn by winged horses. While the style and subject of the reliefs look to Greek art and myth, the treatment of the scenes is thoroughly Etruscan.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyphenhyphenwWuJxXwA2C4-LE_pzQdOMRD8EClAsRdJbsl-I1tfemrmttoTdJfWRHFUct-0Ob4w9ANtbToGo_XjBZR-K4zT7Ov54iF5P0GAEy5SGIdDKEra7gBWyWzn8wEQGpbvnejkG8ySu_wdqw/s1600/c.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyphenhyphenwWuJxXwA2C4-LE_pzQdOMRD8EClAsRdJbsl-I1tfemrmttoTdJfWRHFUct-0Ob4w9ANtbToGo_XjBZR-K4zT7Ov54iF5P0GAEy5SGIdDKEra7gBWyWzn8wEQGpbvnejkG8ySu_wdqw/s640/c.jpg" width="474" /></a></td></tr>
<tr><td>Amphora (Jar) with Lid, 3rd quarter of the 6th century B.C.
Etruscan,
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The Etruscans were interested in sea creatures and birds. On one side the shoulder panel of this jar shows two mermen, on the other two belligerent dogs. Below, six metopes deployed fairly regularly around the circumference contain water birds, each somewhat different.<br />
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This colorful and unusual work represents one enterprising Etruscan artist's response to an originally Greek shape and type of decoration. The form of the amphora, the inclusion of a lid, the two-part handles, the pendant lotus buds in the shoulder panels, the rays at the base of the body, and the echinus foot derive from Athenian prototypes of the mid-sixth century B.C. </div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikR6gLXRqAEhSDBV59YT6GBbKK7svYMxABr7Vg8liNqQt5k1NJwvX6SUC2fLtP7r4jM7kBnwUXwsugMNUu8LyrZFqyDr4fbQnSZSRGzJuKUrTA8nre5ot0fkCzSuiMwDQZlpjAtcgKcEQ/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikR6gLXRqAEhSDBV59YT6GBbKK7svYMxABr7Vg8liNqQt5k1NJwvX6SUC2fLtP7r4jM7kBnwUXwsugMNUu8LyrZFqyDr4fbQnSZSRGzJuKUrTA8nre5ot0fkCzSuiMwDQZlpjAtcgKcEQ/s640/a.jpg" width="608" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 12.8px;">Water Jar Attributed to the Eagle Painter Etruscan, Caere, about 520 B.C. Terracotta<br />
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On this black-figure hydria, the Greek hero Herakles battles the Lernean Hydra while a large crab nips at his foot. His companion Iolaos attacks from the other side, cutting off one of the monster's heads with a harpe or short curved sword. Two sphinxes flank the handle on the back of the vessel, and floral decoration covers the rest of the vase: an ivy tendril on the shoulder and a palmette and lotus frieze on the lower body.<br />
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This hydria is one of a small group of painted vases produced at Caere in Etruria. All these vases appear to come from one workshop, which may have had two artists. Caeretan hydriai display many of the basic elements of Greek vase-painting reinterpreted for an Etruscan market, using a more vivid range of colors and emphasizing the importance of floral ornament in the decoration. They are unusual in that the artist used a template for the floral decoration, a technique not otherwise known in Greek vase-painting.<br />
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The distinctive form of this cup was influenced by metal prototypes and is also known in Etruscan Bucchero. It belongs to a select group of black-figure vases, termed Pontic ware, that were produced in Etruria by an artist known as the Paris Painter and his followers in the second half of the sixth century B.C. From the black-figure technique, the iconography, and other features, it is apparent that this globular cup was made to emulate East Greek and Athenian painted vases that were desirable to Etruscan collectors.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQsuGptQCmUEiPmk4khVu_r2SY4lj3qkwDEuqPTcNb1QoQpCjG5HW03_34ChRZOU32pbnNJTNHN3WgzgbtdJYJGSx_CR9l_ERr_LVMCMxyOL0EJarakVyfGLCt6SRhCMkX-uoXnkjMHxs/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQsuGptQCmUEiPmk4khVu_r2SY4lj3qkwDEuqPTcNb1QoQpCjG5HW03_34ChRZOU32pbnNJTNHN3WgzgbtdJYJGSx_CR9l_ERr_LVMCMxyOL0EJarakVyfGLCt6SRhCMkX-uoXnkjMHxs/s640/a.jpg" width="440" /></a></td></tr>
<tr><td>Etruscan Kalpis, 6th B.C<br />
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The thousands of Greek vases imported into Etruria beginning about 600 B.C. significantly influenced local pottery production. These imports also introduced the black-figure technique, with the use of incision and added color for details. The local admixture is most evident in the subject matter and its placement.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaaIlGJXFsXmIY2Ds7FESsE3gpR0557M9yvuHlY3BxhlKJHdiix3UuNh6V7aLKzMDg_8IUwbboSsS8u6RiTpbxxiPfOhHJmihFcR_Od8oSSm-9IptoHk4fTG2EW_bBZeOniXfzAv-imDs/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaaIlGJXFsXmIY2Ds7FESsE3gpR0557M9yvuHlY3BxhlKJHdiix3UuNh6V7aLKzMDg_8IUwbboSsS8u6RiTpbxxiPfOhHJmihFcR_Od8oSSm-9IptoHk4fTG2EW_bBZeOniXfzAv-imDs/s640/b.jpg" width="406" /></a></td></tr>
<tr><td>Ring, late 6th–early 5th century B.C.
Etruscan
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At the end of the Archaic period a complex artistic interconnection was prevalent. In this ring the bezel is in the form of a cartouche, a shape ultimately of Egyptian origin that the Phoenicians disseminated in the western Mediterranean. The three mythological creatures that decorate it — winged lion, siren, and scarab beetle — came from the East as well. Rich Etruscan tombs of the eighth and seventh centuries B.C. yielded luxury objects such as ostrich eggs and works in faience that indicate the taste for, and means to acquire, such exotica.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6OP-Ls6Zc7QiE4mhbw1_JQCd5oeiznpTM3qG4e4LWd1xZyqlYtoPl1tHvub2OrmuB4vGN6TdKWfG7i2-ptdiANQqbVj2i2rDeOUT-kUVnZuXs-LfjB9isnfDacysFrFlHikEtRREbEtE/s1600/b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="636" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6OP-Ls6Zc7QiE4mhbw1_JQCd5oeiznpTM3qG4e4LWd1xZyqlYtoPl1tHvub2OrmuB4vGN6TdKWfG7i2-ptdiANQqbVj2i2rDeOUT-kUVnZuXs-LfjB9isnfDacysFrFlHikEtRREbEtE/s640/b.jpg" width="640" /></a></td></tr>
<tr><td>Baule earring, 6th century B.C.
Etruscan
Gold and enamel; Diam.<br />
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The exceptionally elaborate embellishment of this earring with its curved body consisting of two metopes, both containing floral ornaments, the flower at the top and the more stylized motif below is markedly architectonic, a typical feature of Etruscan jewelry.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha_b7iy5JEJEKyVdx4AzDvL30aqvTPJzYJSluzkY9GPoxcWQqZ7jNj-ORAnTKpc80XVj568s7DLqA-iK8_MWUJMsqAyrvglb1jE2nDbaWqV-34Cvad34Vc_twlPFV4_ailTZlrhOO8xrY/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha_b7iy5JEJEKyVdx4AzDvL30aqvTPJzYJSluzkY9GPoxcWQqZ7jNj-ORAnTKpc80XVj568s7DLqA-iK8_MWUJMsqAyrvglb1jE2nDbaWqV-34Cvad34Vc_twlPFV4_ailTZlrhOO8xrY/s640/a.jpg" width="516" /></a></td></tr>
<tr><td>Goldsmithery, Gold and amber necklace and amber, from Regolini Galassi tomb at Cerveteri, Rome, Italy- Città Del Vaticano</td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwllNgG1_C3PgKrce-xwVDy6hdcjSw68pTlZnZSFzStNjJti7Ua40ZcUWdF0MwpVNfwykxjbkrFoYT3TgU9g3MMiKLuN8RWbCTI_tcQ_zfO9Hfk1WxUQEDBzEtA6AcvNZcPlH_t-9F0W4/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwllNgG1_C3PgKrce-xwVDy6hdcjSw68pTlZnZSFzStNjJti7Ua40ZcUWdF0MwpVNfwykxjbkrFoYT3TgU9g3MMiKLuN8RWbCTI_tcQ_zfO9Hfk1WxUQEDBzEtA6AcvNZcPlH_t-9F0W4/s640/a.jpg" width="634" /></a></td></tr>
<tr><td>Etruscan jewellery (ear stud) found in the Regolini-Galassi tomb (unknown-Jastrow/wikimedia)<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZKkUQgVyJOxmwLDdnmrcXxsPMd_hvDak6rekN09P8e6sEKB7vwim0KI3gCttdxJsEiXz6pkDUPPQQupeYV4H5JKu4a6iBdE3FZPlto4vXzO9pPwHdMX6pFRXB-ebU_mZhay8t-7gZtos/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZKkUQgVyJOxmwLDdnmrcXxsPMd_hvDak6rekN09P8e6sEKB7vwim0KI3gCttdxJsEiXz6pkDUPPQQupeYV4H5JKu4a6iBdE3FZPlto4vXzO9pPwHdMX6pFRXB-ebU_mZhay8t-7gZtos/s400/a.jpg" width="198" /></a></td></tr>
<tr><td>Apollo from Veii
510 BC (Etruscan)
Rome, Villa Giulia</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5IfZG62rXmIx5hJ7clQabRKxZneMn6tW4jHpKBffqW56U0ogDmiZb8wmprtemo41Jaw_K6gwsd_zcFiTAMwcifwkUVFYGtVydjWZFfxj6EC8_XyXvNaRqj4zz6VIJkXq9BuuJA9BSEVg/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5IfZG62rXmIx5hJ7clQabRKxZneMn6tW4jHpKBffqW56U0ogDmiZb8wmprtemo41Jaw_K6gwsd_zcFiTAMwcifwkUVFYGtVydjWZFfxj6EC8_XyXvNaRqj4zz6VIJkXq9BuuJA9BSEVg/s640/a.jpg" width="476" /></a></td></tr>
<tr><td>Lasa (patera support), 300-280 BC, Etruscan, bronze with silver inlays - Cleveland Museum of Art</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7I2RmIWC0hb0QPaTyi6_JonuklBRFQhMOBsAa4Cl3BdPbr4ravEE6pzxxzMAZDXhHgPOX-SuN8kdP97Pkz1r8lKfiM1i5cQqwvpI3QeZDRIfqnKPzrJaGqMXla25WP_9yyCBO8CW6Ym0/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="612" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7I2RmIWC0hb0QPaTyi6_JonuklBRFQhMOBsAa4Cl3BdPbr4ravEE6pzxxzMAZDXhHgPOX-SuN8kdP97Pkz1r8lKfiM1i5cQqwvpI3QeZDRIfqnKPzrJaGqMXla25WP_9yyCBO8CW6Ym0/s640/a.jpg" width="640" /></a></td></tr>
<tr><td>Detail of an Etruscan Bronze Cista from Praeneste, mid-4th century B.C. Italic Bronze; The Metropolitan Museum of Art,
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuVtIM3qQzMRd6V7WfejYP7227u9UIxjHVwcVGaOAvOGXlwRFQksXbcjxHwhF4IB66xTitOoEUb2zoNMFzq8QSiKydo6IPgP0nnPzBvVQojKE6m5-J3PV5utOcvrP5Vt7N6PTDWTcBtLM/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuVtIM3qQzMRd6V7WfejYP7227u9UIxjHVwcVGaOAvOGXlwRFQksXbcjxHwhF4IB66xTitOoEUb2zoNMFzq8QSiKydo6IPgP0nnPzBvVQojKE6m5-J3PV5utOcvrP5Vt7N6PTDWTcBtLM/s640/a.jpg" width="640" /></a></td></tr>
<tr><td><div style="text-align: left;">
In the Etruscan world, women, unlike their contemporaries in Greek civilization, enjoyed great freedom. The Greek authors disapproved of this fact and spread malicious comments about the moral customs of Etruscan women.</div>
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While Greek women lived in a position of submission to their husbands and spent most of their time shut up in their homes, Etruscan women were entitled to take part in all public events, at banquets they sat next to their men on convivial couches, they could dress unconventionally and they were educated. </div>
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Evidence of this prominent role includes the custom of identifying people by their mother's name alongside that of their father.
In the last phase of Etruscan history, when Greek cultural influence made itself felt more strongly in the arts and in customs, Etruscan women lost part of their independence.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4UbwtMfgl8kfzytQCvxm7-9IUvC__n2ahzmWvBsAbA1nbYWhQf3YhutZ3i3fXJNANrdmaLRliF1_iGrdBJr2LtXVf74pukMFE-GBpcq0ld-a28kxCrvKIOayNLsSBgHc356-v0RUNkV0/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4UbwtMfgl8kfzytQCvxm7-9IUvC__n2ahzmWvBsAbA1nbYWhQf3YhutZ3i3fXJNANrdmaLRliF1_iGrdBJr2LtXVf74pukMFE-GBpcq0ld-a28kxCrvKIOayNLsSBgHc356-v0RUNkV0/s320/a.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Etruscan Terracotta duck-askos (flask with spout and handle)
Late Classical,
ca. 350–325 B.C.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3HNuc-dcfvF1xD1xi8ODWgdV6dxCeuSzSTgd8bOJakuJJP3LztxRIK0su0IQqbPN201pj458miqegNrb_197iQ2-F6OT4hiozvNhnguhAxGPfo1mw0n4c7BjD_efN03bYFdj9jJooeNU/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3HNuc-dcfvF1xD1xi8ODWgdV6dxCeuSzSTgd8bOJakuJJP3LztxRIK0su0IQqbPN201pj458miqegNrb_197iQ2-F6OT4hiozvNhnguhAxGPfo1mw0n4c7BjD_efN03bYFdj9jJooeNU/s640/a.jpg" width="300" /></a></td></tr>
<tr><td>Terracotta Four-Handled Amphora (jar)
Etruscan, Italo-Corinthian, ca. 675-650 BC</td></tr>
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</div>Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0tag:blogger.com,1999:blog-6727023006027071783.post-81271376207596505932015-08-23T11:57:00.000-07:002020-05-30T22:47:16.738-07:00Chapter 84: The San Francisco School - Psychedelic Revolution<div dir="ltr" style="text-align: left;" trbidi="on">
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Table of Contents: <br />
<ul><li><a href="#One">Introduction</a></li>
<li><a href="#Two"> Wes Wilson</a></li>
<li><a href="#Three"> Victor Moscoso</a></li>
<li><a href="#Four"> Bonnie MacLean</a></li>
<li><a href="#Five"> Lee Conklin</a></li>
<li><a href="#Six"> Rick Griffin</a></li>
<li><a href="#Seven"> Stanley Mouse and Alton Kelley</a></li>
<li><a href="#Eight"> Tom Wilkes</a></li>
<li><a href="#Nine"> Jim Blashfield</a></li>
<li><a href="#Ten"> Jim Blashfield</a></li>
<li><a href="#Eleven"> John Moehring</a></li>
<li><a href="#Twelve"> Bob Masse</a></li>
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<div style="color: red;"><a name="One"><span style="color: #993300; font-size: 300%;"></a> Introduction</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdeRPOrJMSyJSU9Y68LrgA9zle_LE2KpQhXEd8gbBYydFZybXX2QdlX9OyRAZaQKZasDn6XYT6Wwtsy0rZKip2Nl57dfNV4_okVu0cOqEOwr_Y3QNIh-OjJIR45-ZhU7zk9994dnlc6QY/s1600/a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdeRPOrJMSyJSU9Y68LrgA9zle_LE2KpQhXEd8gbBYydFZybXX2QdlX9OyRAZaQKZasDn6XYT6Wwtsy0rZKip2Nl57dfNV4_okVu0cOqEOwr_Y3QNIh-OjJIR45-ZhU7zk9994dnlc6QY/s640/a.jpg" width="404" /></a></div>
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The word “psychedelic” is a combination of the Greek words psyche and delos, and means “mind manifesting” or “soul manifesting.” Contrary to a prevalent myth about the role of mind-altering drugs in creation of this art, most revolutionary artists of this school including Wes Wilson, Victor Moscoso, Bonnie MacLean, Lee Conklin, Stanley Mouse and others had artistic talent, some formal art training and adhered to strict aesthetic discipline. Almost all the experiments that relied solely on the hallucinating impact of psychedelic drugs ended-up in total failure.<br />
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The birth of Visionary Art, and most experiments in sacred form of psychedelic art, have their roots in the native American arts, Jugendstil, and Dada lettering which were influenced by their integration into contemporary festival counterculture and emergence of psychedelic trance music that integrated sacred chanting from various cultures that appeared to correspond to an enigmatic mysticism depicted in the psychedelic posters.<br />
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Aldous Huxley's Heaven and Hell relates the psychedelic art to a mystical meaning contained in “the self-luminous objects which we see in the mind’s antipodes”.
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For Huxley color is “a kind of touchstone of reality.” The images of the archetypal world which are symbolic are colored, so are the non-symbolic contents of the mind's, which are far more intensely colored than external data. He quotes a number of authors to prove this point.
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For example George Russell writes of seeing the world illumined by an "intolerable lustre of light"; of finding himself looking at "landscapes as lovely as a lost Eden"; of beholding a world where the "colors were brighter and purer, and yet made a softer harmony." Again, "the winds were sparkling and diamond clear, and yet full of color as an opal, as they glittered through the valley, and I knew the Golden Age was all about me, and it was we who had been blind to it, but that it had never passed away from the world."
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Huxley is struck by the close similarity between induced or spontaneous visionary experience and the heavens and fairylands of folklore and religion. Thus in the Greco-Roman tradition he finds<br />
<blockquote>
“the lovely Garden of the Hesperides, the Elysian Plain, and the fair Island of Leuke, to which Achilles was translated. Memnon went to another luminous island, somewhere in the East. Odysseus and Penelope traveled in the opposite direction and enjoyed immortality with Circe in Italy. Still further to the west were the Islands of the Blest, first mentioned by Hesiod and so firmly believed in that, as late as the first century B.C., Sertorius planned to send a squadron from Spain to discover them.
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Magically lovely islands reappear in the folklore of the Celts and, at the opposite side of the world, in that of the Japanese. And between Avalon in the extreme West and Horaisan in the Far East, there is the land of Uttarakuru, the Other World of the Hindus. "The land," we read in the Ramayana, "is watered by lakes with golden lotuses. There are rivers by thousands, full of leaves of the color of sapphire and lapis lazuli; and the lakes, resplendent like the morning sun, are adorned by golden beds of red lotus. The country all around is covered by jewels and precious stones, with gay beds of blue lotus, golden-petalled. Instead of sand, pearls, gems and gold form the banks of the rivers, which are overhung with trees of firebright gold. These trees perpetually bear flowers and fruit, give forth a sweet fragrance and abound with birds."
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There is no doubt that our aesthetic sensitivities respond, perhaps in a mysterious way, to luminous colors. In fact, the mystical aesthetics and the mode of existence of the psychedelic artwork have an artistic affinity with Ernest Schoen’s depiction of “the unsurpassed noblesse of fireworks” as “the only art that aspires not to duration but only to glow for an instant and fade away.” Fireworks are regarded as a source of joy in our dark universe empty of any meaning. In the words of Theodor Adorno:
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<blockquote>
Fireworks are apparition kαṫἐξχήν: They appear empirically yet are liberated from the burden of the empirical, which is the obligation of duration: they are a sign from heaven yet artificial, an ominous warning, a script that flashes up, vanishes and indeed cannot be read for its meaning. <br />(...) Artworks part ways with fallible being not through their higher perfection, but rather through the fact that they, like fireworks, manifest themselves in a radiating fashion as expressive appearance” </blockquote>
In his rendering of the German author Jean Paul’s (1763-1825) metaphor of fireworks for a reflection on art Paul Fleming writes:
<blockquote>The night persists despite the fireworks, after fireworks. Only against a pitch-black background can moments, explosion of joy emerge. Whereas Schiller delineates a form of secular eschatology in which a divided sentimental subject strives to regain –albeit more perfectly – a previous naïve condition through art, and whereas Friedrich Schlegel prescribes an infinite process of becoming so as to achieve a progressive approximation of the absolute, Jean Paul rejects both the historical and reflective models of progress or perfectibility. For Jean Paul the gap between the finite and the infinite, the real and ideal, insuperable. [Art]’s task is neither a return to the Greeks nor reflective self-representation. Rather, the fireworks of art mobilize contrast in order to change one’s relation to the dark – one no longer sees just an overpowering, sublime swathe of emptiness, but the possibilities for spectacular joys. [Art] operates via a contrast in and against the darkness of finitude; it makes the night enjoyable, without ever turning it to day.</blockquote>
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The mystic impact of vibrant colours have also been explored by stained glass artists in search of eternal truth. The technique, popularly associated with the arts of the Middle Ages, underwent a spectacular renewal in the context of the Gothic Revival of the 19th century. The Victorians revived what came to be known as the "true mosaic principle" in which lead was used not only for the construction of stained glass windows, but as an aesthetic element in glass design.
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In fact, stained glass provides a mystical interpretation for light as the manifestation of the eternal truth. That is why when the Gothic style of architecture started between 1137 and 1144 stained glass was extensively used. The Abbot Suger, who expanded the Abbey Church, St. Denis, just outside Paris over this period proclaimed an explanation very similar to Huxley’s "magically lovely islands". The Abbot said : <blockquote>“..when - out of my delight in the beauty of the house of God - the loveliness of the many-colored gems...has called me away from eternal cares....then it seems to me that I see myself dwelling, as it were, in some strange region of the universe which neither exists entirely in the slime of the earth nor entirely in the purity of Heaven; and that, by the grace of God, I can be transported from this inferior to that higher world...”</blockquote>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJSRQl9HfZHkxNOaVDRYqlpOiIc5CTx0aFBMth5DtcjVQrHvse4xD92Fet45hmJQZuHtNXpbmfQd1pCLARNoigoZ6_whf_nTowu02G73nuFOMDqNdzIqWkWyLorJs9ql4_PKMBOP9E7Xo/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="416" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJSRQl9HfZHkxNOaVDRYqlpOiIc5CTx0aFBMth5DtcjVQrHvse4xD92Fet45hmJQZuHtNXpbmfQd1pCLARNoigoZ6_whf_nTowu02G73nuFOMDqNdzIqWkWyLorJs9ql4_PKMBOP9E7Xo/s640/a.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Marriage at Cana , The Feeding of the Multitude , The Healing of the Blind Man and The Resurrection, Gerald E. Tooke , The four remarkable rectangular panels of stained glass dated <span style="font-size: 12.8000001907349px;">1965</span><span style="font-size: 12.8000001907349px;"> which are now mounted in the north wall of the new narthex built for St Simon-the-Apostle Anglican Church, Toronto, , </span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisr5SKH9o37l2k-EdTHFirXsVTuSUAHjQCbwl0BSDp6q1mhwwc2KxIwz35X5OBwkdEoQH0wTBPSHfUGS_EtcIVrGy3vF0lMS7uJj-_w328h5U3vpDHEkWUqwdmceAL5jyVi3oO_f1_akI/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisr5SKH9o37l2k-EdTHFirXsVTuSUAHjQCbwl0BSDp6q1mhwwc2KxIwz35X5OBwkdEoQH0wTBPSHfUGS_EtcIVrGy3vF0lMS7uJj-_w328h5U3vpDHEkWUqwdmceAL5jyVi3oO_f1_akI/s640/a.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8000001907349px;">Designed in the Catalan modernista style by the architect Lluís Domènech i Montaner, t</span>he Palau de la Música Catalana is a concert hall in Barcelona, Catalonia, Spain, built between 1905 and 1908 </td></tr>
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In an interview about his book, Are You Experienced?: How Psychological Consciousness Transformed Modern Art, The German Times art critic Ken Johnson states:<br />
<blockquote>
[I]f the psychedelic revolution had not happened, would art today look different than it does? I was convinced that it would look a lot different. If I was right about that, and if, on the other hand, the influence of psychedelia has been inadequately addressed by academic art historians and critics, as I think has been the case, then the follow-up question becomes: How might the ways we think and talk about art of the past half century differ from the official version?</blockquote>
In his book Johnson claims that in the 1960s some kind of awakening took place in art, and he explains that
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There have been three so-called “Great Awakenings” in American history—periods when the populace was gripped by religious fervor, awakened somehow to the Christian God. I think the psychedelic revolution was a similar awakening but not to God. It was more like an awakening to what the first and second century Gnostics thought of as Divine Mind. The new art that came out of the 60s had nothing to do with the progression of styles identified with Modernist art from Manet to Abstract Expressionism. The new frontier for art was and still is, I think, mind and consciousness, which psychedelia has revealed to be far more expansive, complex and variable than was previously ordinarily thought. No longer did it seem that consciousness had to adapt to a fixed state of affairs; mind came to seem the tail that wags the dog of reality.</blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg97-38Bc3T70xxBtROLaPvICI9Hneqh_NamJQvPeXvVClRHaUhR6cGhUc0xubSayotWm08gtkDD5BpY1BkPEvmIS4Ty8Gs5fmaOrqPU2m6dZMqP1_WKFuqj3M4n-55vqeuDuTyd4Rj9Q/s1600/a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg97-38Bc3T70xxBtROLaPvICI9Hneqh_NamJQvPeXvVClRHaUhR6cGhUc0xubSayotWm08gtkDD5BpY1BkPEvmIS4Ty8Gs5fmaOrqPU2m6dZMqP1_WKFuqj3M4n-55vqeuDuTyd4Rj9Q/s640/a.jpg" width="408" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Little is known about artist Gary Eagle, who designed this poster, but his work was an important part of Seattle’s psychedelic poster scene of the late 1960s.</td></tr>
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As these notes have argued in the previous chapters, art in all its manifestations in various forms and styles projects artistic mind's exploration journey into unknowns. Therefore one may suggest that, Johnson's conclusion that “The psychedelic movement helped people move beyond the act of viewing art into a deeper experience of it,” should be slightly modified to read as “The psychedelic movement encouraged people to continue to move beyond the act of viewing art into a deeper experience of it'. In other words the movement reminded people that art is alive and well; and viewers should not let themselves to be misled by the sophistry of the so-called 'art connoisseurs' and their grossly pretentious philosophizing of "end of art. ” <br />
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I also agree with Johnson's thoughtful observation that:
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<blockquote>
The prevailing vocabulary of art criticism, with its emphasis on conceptual and ideological analysis and its broader tendency to think compartmentally, is less well equipped to talk about the resonant ambiguities of metaphor and the psychology of the spiritual in art.</blockquote>
Nevertheless, to sharpen and clarify the message I wonder if we can slightly edit the above statement to read:
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<blockquote>
The now discredited 20th century's fad of art criticism, with its emphasis on conceptual and ideological analysis and its broader tendency to think compartmentally, was misguided and was not equipped to talk about resonant ambiguities of metaphor and the psychology of the spiritual in art of the modern age of twenty first century and beyond.<br />
.</blockquote>
The psychedelic posters were of course mass-produced commercial products and as such on May 25, 1968, their death was announced by Rolling Stones' Thomas Albright, who explained: <br />
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"their decline is largely explainable in terms of classical economic laws: flooding the market (or how many can you fit on your walls) and bad imitations driving out good originals. The whole thing turned into a tourist fad. And from the start, it was a phenomenon containing massive doses of camp, fresh to begin but staling as quickly as TV's "Batman."</blockquote>
Albright, like many 'Endists', "exaggerated" the news of 1960s poster death, and did not realize that there are and there will be those uniquely talented artists that CAN and Will use the same vehicle, outside the laws of economics, to produce authentic art.
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It stands to reason, to believe that, in all its forms, art will never perish. It is the everlasting companion of humanity and it will endure until the last human beings are still alive.
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<div style="color: red;"><a name="Two"><span style="color: #993300; font-size: 300%;"></a> Wes Wilson</span></div>
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Wes Wilson, regarded as the father of the psychedelic poster, was born Robert Wesley Wilson, on July 15, 1937, in Sacramento, California. Wilson was admitted at San Francisco State, majoring philosophy but dropped out in 1963.
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In 1965 he self-financed his first protest poster, known as the “Are We Next?” poster depicting a swastika within an American flag motif, objecting to the US conduct of the Vietnam War. In late 1965, Wilson was introduced to the Bay Area art scene in San Francisco. He joined Bob Carr's small basement studio with some modest printing press, creating posters for beat poetry and jazz events. Wilson designed the handbill for the first Trips Festival, marking the appearance of San Francisco's psychedelic culture.
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He soon started commission work for Chet Helms, Bill Graham and the Fillmore 'shows at the Open Theater, the Avalon Ballroom and Auditorium. According to him Chet Helms and the Avalon Ballroom often expected him to improvise around a theme given by them, while Bill Graham and the Fillmore offered him complete freedom to design whatever he wanted, and this is why he began to work with them exclusively.
In late 1966, Wilson created “The Sound,” his masterpiece poster for the Winterland venue, exhibiting all the features of his unique style with vivid color, decorative fonts and his monumental feminine figure. In 1968, Wilson was rewarded a $5000 award by the National Endowment for the Arts for “his contributions to American Art.” and in 1968 he was invited to exhibit at the Springfield Art Museum.
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8000001907349px;">The Red Hat, September 24, 1966 :: Created for the grand opening of The Red Hat restaurant in Palo Alto, CA</span></td></tr>
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<div style="color: red;"><a name="Three"><span style="color: #993300; font-size: 300%;"></a> Victor Moscoso</span></div>
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The poster art of Victor Moscoso with its vibrant colours and intricate designs represents the archetypal expression of the psychedelic imagery. Moscoso was born in Spain in 1937, but moved with his family to Brooklyn, New York three years later, where he spent most of his youth and childhood. He went on to study art at Yale under the supervision of Josef Albers, whose color theory later became an important inspiration for him. Jack Kerouac’s On the Road was a motivating factor for Moscoso to move on to California and San Fransisco in 1959. But it wasn’t until 1967 with the Summer of Love that Victor Moscoso rose to international fame, with his posters for the Avalon Ballroom (whose concerts featured artists such as Janis Joplin and the Doors). There is an excellent interview with him at The Comics Journal, for those who would like to read more about his fascinating life and refreshing take on art. Victor Moscoso is still active as an artist.
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<div style="color: red;"><a name="Four"><span style="color: #993300; font-size: x-large;"></a> Bonnie MacLean</span></div>
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A native of Philadelphia, , graphic artist Bonnie MacLean was born in Philadelphia in 1939, she relocated to New York City in 1960 at the age of 21, landing a day job at the prestigious Pratt Institute and attending a figurative drawing class there in the evening. Moving to San Francisco in 1964, she was hired as a secretary at Allis-Chalmers Equipment Manufacturing; where her future spouse Bill, then the company's office manager, who became her boss. This was the same Bill Graham, who became the most famous rock promoter in America.
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After having a son, David, Bill and Bonnie began promoting local rock concerts. In spite of being a trained artist at Pratt Institute, Bonnie quietly worked behind the scenes collected tickets, passed out handbills, and counted receipts. When Graham parted ways with Wes Wilson, the artist responsible for creating the Fillmore’s promotional posters, Bonnie took over the task of producing all of the promotional artwork.
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It took a lot of courage to become a recognized artist in the male dominated world of rock poster art in the 1960s, but Bonnie MacLean sat behind the easel and graphic art supplies Graham provides at Christmas 1967, and created her masterpieces.
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Her early style evolved into variations of Medieval Gothic themes, accentuated with pointed arches and rose windows, but it was her faces that captured the most attention – young women with dazed looks, suggesting the disconnect between traditional religion and the spirituality of the sixties. In a creative arc spanning from 1967 to 1969, she produced customized works featuring Native American subjects as well as other culturally diverse themes. "What’s significant," explained MacLean, "is that these posters were created with an intensity that was lived."
MacLean’s tenure as a Fillmore artist ended in 1968 as new artists Lee Conklin and Rick Griffin appeared on the rock poster scene. In 1972, MacLean returned to the East Coast and settled in Bucks County; she and Graham divorced in 1975<br />
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<div style="color: red;"><a name="Five"><span style="color: #993300; font-size: 300%;"></a> Lee Conklin</span></div>
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Lee Conklin was born July 24th 1941 in Englewood Cliffs, New Jersey and grew up Monsey, New York. He was the sixth of seven children and graduated from Spring Valley High School in 1959. He did not intend to be an artist, but while studying History and Philosophy at Calvin College in Grand Rapids, Michigan, he made cartoons for the college paper called the “Calvin College Chimes”. He met his wife Joy in the college got married and moved to Florida in 1965. He was drafted into the army and served as a cook for a year in Korea. In 1967 he settled in Los Angeles, where he did some pen and ink work and some of it was published by the Los Angeles Free Press. After reading an article in Time about the “Summer of Love” and that San Francisco was becoming the center of the Universe for music and art he and his wife moved there.
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”From then on for the next two years, I had a pretty steady gig doing posters for Bill and the Fillmore West (Ed. note – he did over 30 posters in 1968-69). At the same time, the Santana band was playing there pretty frequently and I was well aware of their music, both from performances and their demos, which received extensive airplay on FM radio in San Francisco. One day, Bill asked me to do a poster for a show that Santana was headlining and so, with a little inspiration from a Muse named Mary Jane, I remembered seeing a picture of a lion in a book of animal picture I had and used that image as the basis of my drawing. Even then, I knew that I was making art for future generations and so even though Bill usually liked posters in color, I detailed this one in pen-and-ink. I only made one image, and the next morning he told me that he was going to print is as it was, so he must have been happy with the results.”</blockquote>
Lee Conklin is now known as an artist and graphic designer of psychedelic concert posters which he created for the Filmore in San Francisco 1960’s and 70’s.
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<div style="color: red;"><a name="Six"><span style="color: #993300; font-size: 300%;"></a> Rick Griffin</span></div>
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Richard Alden "Rick" Griffin was born near Palos Verdes on June 18, 1944. While attending Nathaniel Narbonne High School in the Harbor City area of Los Angeles, he produced numerous surfer drawings, which led to his surfing comic strip, "Murphy" for Surfer magazine in 1961. After briefly attendin Chouinard Art Institute (now CalArts), where he met his future wife, artist Ida Pfefferle, they moved to San Francisco in late 1966. After living in their van for a while, they moved to Elsie Street in the Bernal Heights district and Rick participated in Ken Kesey's Acid Tests. His first art exhibition was for the Jook Savages, celebrating the one-year anniversary of the Psychedelic Shop on Haight Street. Organizers for the Human Be-In saw his work and asked him to design a poster for their January 1967 event. Chet Helms was also impressed by Griffin's work and asked him to design posters for the Family Dog dance concerts at the Avalon Ballroom, which led Griffin to create concert posters for the Charlatans. In 1967, Griffin, Kelley, Mouse, Victor Moscoso and Wes Wilson teamed as the founders of Berkeley Bonaparte, a company that created and marketed psychedelic posters. Griffin returned to Southern California in 1969, eventually settling in San Clemente. He passed away on August 18, 1991
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Rick Griffin’s original hand-made mockup for the cover of the 1985 book “San Francisco Nights: The Psychedelic Music Trip 1964-1969.” At the request of authors Gene Sculatti and Davin Seay, Griffin created this artwork, which is very close to the finished book’s cover. On this mockup, Griffin drew in ink, marker and paint pen on two taped-together pages (working over a copy of an earlier, sketched out version.) In his letter of authenticity, co-author Davin Seay notes having interviewed Griffin prior to the book, and that “Rick was a natural choice to provide the cover art for ‘San Francisco Nights,’ especially given the fact that he had done numerous posters for Charlatans concerts and gene and I wanted the Charlatans on the cover (which they are.) Rick graciously assented…and what you have is the hand done board he submitted to us. </div>
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<div style="color: red;"><a name="Seven"><span style="color: #993300; font-size: 300%;"></a> Stanley Mouse and Alton Kelley</span></div>
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The creative partnership of Stanley Mouse and Alton Kelley is one of the most important event in the modern history of poster. They met in San Fransisco and collaborated for over 15 years, creating some of the most remarkable pieces of the 20th century poster art, and two of their most famous images, one featuring ZigZag cigarette rolling papers and another, the Grateful Dead skeleton and roses motif, became iconic symbols of the 60s .</span></span><br />
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Stanley Mouse (<span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px; line-height: 14.6545457839966px;">Stanley George Miller) </span>was born in California on October 10, 1940. His father was an animator with Disney Studios who worked on Snow White. Stanley grew up in Detroit, a quiet boy he was always drawing in class, earning his pen name, Mouse in the seventh grade.
Stanley became renowned in the the Detroit hot rod culture by detailing extraordinary paint jobs on vehicles, and his T-shirts airbrush designs. After being expelled at tenth grade because of his graffiti on the high school hang out he enrolled in Detroit’s School for the Society of Arts and Crafts which was connected to the Detroit art museum. However he dropped out to move to San Francisco lured by rock posters, social revolution, political passion and musical innovation. In 1970 Stanley returned to Detroit and was given a one man show at the Detroit Institute of Art.
In the late sixties Stanley moved from San Francisco to London to flame Eric Claptons Rolls Royce. From there he did art for Blind Faith and the Beatles and returned to America to work on the signage at Woodstock with Kelley. Kelley and Mouse were working on a Jimi Hendrix cover but Jimi died before it was released. That art morphed into several covers for Journey, including Infinity, Escape and Captured.
Stanley produced posters for the Fillmore Auditorium and the Avalon Ballroom. His cover art for Steve Millers album Book of Dreams won a Grammy Award in 1977.<br />
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Alton Kelley was raised in Connecticut, where his father worked for Chance Vought, building the Corsair—a navy fighter plane. He enrolled at art school of the Philadelphia Museum and College of Art with an interest in industrial design. Then in 1959, after hitchhiking to San Francisco and later to Los Angeles, and Mexico he was admitted at art school at the Art Students League in New York City for a brief time. Kelley ended up this phase of his life working and being laid off as a helicopter and later as a motorcycle shop mechanic.
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“I came I worked there and I hated it. And I said. ‘Well, I'm gonna go back to California.’ . . . And that's how I met everybody on Pine Street. Bill Ham was my landlord . . . Mike Ferguson was living there, and Ellen Harmon and Luria Castell . . . And then these folks came down from Virginia City. They got the Charlatans to go up there, so we all went up there and worked on the Red Dog Saloon . . . spent the summer in Virginia City . . . Then, when we came back from Virginia City, we figured, . . . because we knew the bands were all playing together, the Charlatans and the Great Society and the Jefferson Airplane and Warlocks . . . so we figured we'd just start throwing some dances . . .”</blockquote>
Although he had designed the flyers advertising the original Family Dog shows, Kelley lacked drafting ability. When he met Stanley Mouse there was an instant connection. The two formed Mouse Studios and Kelley's drawing skills improved so that he would be working left-handed on one side of the easel with Mouse on the other. “He had the most impeccable taste of anybody I knew,” said Mouse. “He would do the layouts, and I would do the drawing.” They worked together steadily for 15 years and on and off thereafter.
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<tr><td class="tr-caption" style="text-align: center;">Using Alphonse Mucha's logo for the JOB rolling paper, Mouse and Kelly changed its colors into psychedelic pallet .</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Stanley Mouse</td></tr>
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<div style="color: red;"><a name="Eight"><span style="color: #993300; font-size: 300%;"></a> Tom Wilkes</span></div>
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Tom Wilkes was born in Long Beach, California on July 30, 1939 and raised in southern California, Wilkes graduated from Woodrow Wilson High School in 1957 despite being sent to the Principal's office on many occasions for drawing in class. He put himself through Long Beach City College, UCLA and the Art Center School in Los Angeles by painting flamboyant motifs and illustrations on his friends' cars. In 1967, he was running his own advertising agency and had already designed album covers for the Rolling Stones – the Flowers compilation with its swirly letters and flower stems topped by individual pictures of the five band members – and The Mamas And The Papas, whose debut If You Can Believe Your Eyes And Ears featured the four members in a bath tub and a lavatory in the corner – a recurrent Wilkes motif and bugbear of record labels – covered up and then cropped on subsequent versions of the hit album. This brought him into contact with the Mamas' producer Lou Adler and John Phillips of the group, two of the instigators of Monterey Pop, alongside Alan Pariser and the Beatles' press agent Derek Taylor.<br />
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Wilkes was Creative Director, Art Director, Designer, Illustrator, Writer, Photographer and Producer-Director. Wilk has been the art director for the Monterey Pop Festival, A&M Records, ABC Records, The Human Dolphin Foundation and has also served as a partner in Camouflage Productions, Wilkes and Braun and was the President of Tom Wilkes Productions.<br />
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Wilkes is responsible for scores of award winning designs including a Grammy for his 1973 "Tommy" album package. The two Beatles compilation albums released in 1973, "The Beatles 1962-1966" and "The Beatles 1967-1970", were designed by Tom Wilkes. His name was shown (only on the US versions of these albums) in the bottom left-hand corner of the paper sleeve (side four) for housing the vinyl record. He passed away on June 28, 2009<br />
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<div style="color: red;"><a name="Nine"><span style="color: #993300; font-size: 300%;"></a> Jim Blashfield</span></div>
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Jim Blashfield was born September 4, 1944 in Seattle, Washington. He was active in the late 1960s countercultural music scene and became known for his colorful, psychedelic posters he created for rock shows in the Northwest. He soon began experimenting with filmmaking, making short non-narrative works and music videos. Blashfield developed an instantly-recognizable aesthetic, crafting dreamlike fantasies through his cut-out xerographic animations. Blashfield is the recipient of a Cannes Golden Lion, a Grammy Award, and several MTV Music Award nominations and awards.
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<div style="color: red;"><a name="Eleven"><span style="color: #993300; font-size: 300%;"></a> John Moehring</span></div>
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<tr><td class="tr-caption" style="text-align: center;">John Moehring poster for a 1967 Big Brother and the Holding Company concert at Eagles Auditorium, Seattle</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Moehring posters of late 60s in Seattle were heavily influenced by Aubrey Bearsley's work</td></tr>
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<div style="color: red;"><a name="Twelve"><span style="color: #993300; font-size: 300%;"></a> Bob Masse</span></div>
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Born Robert Joseph Masse on April 5, 1945 in Burnaby, British Columbia.
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<blockquote>
I was attending Vancouver Art School, and for our last year project, we had to do something that was “practical.” Basically, find a client, get a job, negotiate a price, get paid for it, and print it up. We had all this theory on how to draw pictures. So, now we had to draw a picture, try to paint it, put a frame on it and get it in a gallery. Sort of like a thesis I guess.
My best friend was in the same class with me and he had a cousin who was a beatnik. So we’d all hang out at an underground little coffee house near the art school and it was so cool. Just hanging out there basically lead to us producing some free posters for some of the folk acts who performed at this coffee house. We gave them free posters, and we got to hang out for free. Then another place opened in Vancouver, called Inquisition, and it was in a bigger, better location. We ended up doing the same thing: we’d have fun making posters for them and we’d get in for free. We were young, in our 20s, and just loved hanging out watching all the shows. So we did that for a while.</blockquote>
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Masse credits his trips to San Francisco during the early days for inspiring him, in particular the work of Rick Griffin, Victor Moscoso, Wes Wilson, Stanley Mouse, and, above all, the Art Nouveau style. He argues that psychedelic lettering style has started from the old woodcut designs of the early twentieth century.<br />
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<blockquote>
The seed of that was from a place called the Red Dog Saloon in Nevada and with a group called The Charlatans (they became Big Brother and the Holding Company, and then Janis Joplin joined them). They had this Mississippi-gambler mock up in the way they dressed. Interestingly enough, at the same time over in England, they were doing the English Edwardian type of lace. It’s kind of funny, because what was turn of the century stuff in America, they did a similar style in England going back in time a bit with the Edwardian dress.
But that lettering style, that old lettering was what was used. Then it started to bend and flow a little bit around, rather than keeping it totally straight. So psychedelic posters had lettering that flowed around a bit more. You were breaking a lot of the rules of design that you learnt so well in art school. That was what was so fascinating: you were breaking the rules. Here I am in art school learning everything should be parallel and flushed left; these guys were having the lettering flowing as part of the art. It wasn’t just a photo with lettering, it was all one. The lettering became part of the art itself. Then, as different people came along and added their touch to it, different styles evolved. San Francisco was, of course, the place where psychedelic poster art was really taking off, so I’d go down to there every few months or so to see what the artists were up to.
(...)
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Another part of psychedelic posters was that it was hard to read the damn things. It was kind of like if you were the in-crowd, you knew how to read these things, you didn’t have to look very closely at them. People would be standing in front of the poster trying to figure out what the heck it was saying. It was great in the days of San Francisco because you’d walk down Haight-Ashbury and there were beautiful posters everywhere. I can remember those days, walking down to see what’s the latest piece up on the street.</blockquote>
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<tr><td class="tr-caption" style="text-align: center;">Bob Masse , Grateful Dead at Dantes Inferno, 1967</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">TRIPS Vancouver (Richmond), May 1967, </td></tr>
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<span style="color: #351c75; font-family: Arial, Helvetica, sans-serif; font-size: x-large;"><span style="background-color: white; line-height: 16.2000007629395px;"><b>... </b></span><span style="line-height: 16.2000007629395px;"><b>Oh we're off to war Because we're not yet dead!</b></span></span>
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<span style="background-color: white; font-family: arial, sans-serif; font-size: 13px; line-height: 14.6545457839966px;">Monty Python's Spamalot</span>
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<span style="background-color: white; font-family: 'larger sans-serif'; font-variant: small-caps; line-height: 26.6666660308838px;"><span style="color: #38761d; font-size: x-large;"><b> John Van Hamersveld</b></span></span><br />
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John Van Hamersveld (b. 1941) has played a key role in poster art of Southern California since the 1960s. Holding influential positions as an art director for Surfer Magazine and Capitol Records, he transcended these roles by designing hundreds of album covers for musicians like the Rolling Stones and the Beatles along with leading the surf culture aesthetic for decades. His iconic image for the movie The Endless Summer in 1964 and his concert poster for Jimi Hendrix at L.A.’s Shrine Auditorium in 1968 have become two of the most recognizable and well-known images in their respective genres, securing JVH’s place in design history.
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Van Hamersveld's early designs were inspired by surf culture and the professional aesthetic of museums, from the underground psychedelic scene his art developed into to refined posters designed for La Jolla Museum of Contemporary Art, Wet Magazine and the 1984 Olympics.
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In 2005 JVH’s launched his first new poster since 1989 when he was asked to create Cream’s reunion poster. The Cream poster ended up being the cover of the live album and the success led to JVH going on a 2005-2006 tour to visit 17 Tower Record stores, selling posters around the country. “The artist as originator and promoter has become the new model. My work has gone on to murals. I went out the back door from this history into a new medium.”
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<tr><td class="tr-caption" style="font-size: 12.8000001907349px;"><span style="background-color: white; color: #514837; font-family: Arial, Helvetica, sans-serif; font-size: 12px; line-height: 16.2000007629395px; text-align: left;">2005</span><br />
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<b><span style="color: #274e13; font-size: x-large;">Dave Hunter
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Dave Hunter,an alumnus of the California College of the Arts in Oakland and the Center For Electronic Arts in San Francisco was involved in the Bay Area rock art/music scene for more than two decades. After moving to San Francisco in 1985, he helped to organize and install rock poster shows at the Psychedelic Shop and Artist Rights Today benefits in San Francisco. Dave went on to work as head picture framer for the Bill Graham Archives from 1988 till 1992. From this rock art rich background Hunter began to create rock art for San Francisco Bay Area bands, record labels and venues. He then returned to his roots in printmaking, creating silkscreened posters – some of which are featured in the new Firehouse/Goldenvoice SF poster series.Dave Hunter passed away of brain cancer in May 2017.
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<tr><td class="tr-caption" style="text-align: center;">2010</td></tr>
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<span style="text-align: center;"><b><span style="font-size: x-large;">Darrin Brenner</span></b></span><br />
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The Southern California-based artist Darrin Brenner has been creating art her entire life, exploring a variety of mediums over the years. She is influenced by the rock posters of artists such as Alton Kelly, Stanley Mouse, Rick Griffin, and Wes Wilson influenced her. Darrin’s most notable clients include Moonalice, Cubensis: The Grateful Dead Music Tribute, Mickey Hart, the Rex Foundation and High Sierra Music Festival, among many others.
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<span style="background-color: white; font-family: 'larger sans-serif'; font-variant: small-caps; line-height: 26.6666660308838px;"><span style="color: #38761d; font-size: x-large;"><b>Jasmin Meier</b></span></span><br />
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Jasmin Meier, Graphic designer and Illustrator from Surry Hills, Sydney Australia is captivated by the weird and wonderful combination of 60's and 70's psychedelic music posters of San Francisco School . She holds a bachelor of Visual Communications majoring in Graphic Design.
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<tr><td class="tr-caption" style="text-align: center;">2013</td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #222222; font-family: "proximanova" , "arial" , sans-serif; font-size: 16px;">An original advertising poster for Pink Floyd´s first concert in Spain on July 20, 1988 at RCD Español´s Estadi di Sarrià in Barcelona. This poster uses strong compositional techniques with the bold, contrasting colours of the flag of Barcelona and a stylized image of the city´s iconic La Sagrada Familia Cathedral.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVItOgBXoNIO2H_p9Xk4q_apnQvkRtB_8C6Pha7uzepvNl7d-81NOyFxHEhTwBuvJmZmQIuHkFNSWxOTmWVlOVmqeI5MIjrYGbCJYXM-TqI2hixDEnVUZkAPKagm96VCCGCL2izxlz7Q0/s1600/A.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="955" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVItOgBXoNIO2H_p9Xk4q_apnQvkRtB_8C6Pha7uzepvNl7d-81NOyFxHEhTwBuvJmZmQIuHkFNSWxOTmWVlOVmqeI5MIjrYGbCJYXM-TqI2hixDEnVUZkAPKagm96VCCGCL2izxlz7Q0/s640/A.JPG" width="380" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #222222; font-family: "graphik webfont" , , "blinkmacsystemfont" , "roboto" , "droid sans" , "segoe ui" , "helvetica" , "arial" , sans-serif; font-size: small; text-align: left;">This psychedelic art nouveau-style poster by Bob Masse is for a 2006 Who concert in Calgary, Alberta, </span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: left;">Bonnie MacLean </span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: left;">Bonnie MacLean</span></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Bob Masse</td></tr>
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</div>Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com1tag:blogger.com,1999:blog-6727023006027071783.post-59700653083261411282015-08-19T08:20:00.001-07:002016-01-31T17:09:43.280-08:00Chapter 83 - History of modern package design <div dir="ltr" style="text-align: left;" trbidi="on">
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The role of package design also known as brand packaging is of crucial importance in the marketing of a product. Packaging not only conveys information about the features of the product but also the vision of a brand.<br />
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Packaging is also used to manipulate the psychology of the buyer. All the elements of design, i.e., form, color, font, logo, and illustration are used in an increasingly competitive market to attract the attention of customers.<br />
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The main functions of packaging of course are to shield its content from mechanical damage and includes cushioning against the mechanical shock, vibration, electrostatic discharge, compression, temperature, and leakage, to provide instructions as how to assemble, transport, recycle, or dispose of the package or product, to provide ease of handling in storage, distribution, and recycling or disposal, and to protect from the contamination, oxidization, and radiation. These considerations can impose challenging limits on design, but good designers can overcome these constraints and transform them to their advantages.
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A sophisticated, elegant and attention-grabbing look is the most essential feature for marketing of a product. However, it is not enough for a package design to just stand out clearly in the monotonous competitive environment, and to be just surprising among a bunch of competitive products cannot guarantee to create consumer loyalty. Truth and honesty in conveying the pertinent information are the essential factors for long term success. Only then one can expect a payoff for extra efforts in design of a package.<br />
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Aesthetics and elegance are major differentiating features for an outstanding package and beautiful packaging design in itself would be informative about the quality of a product. In today’s hegemony of mass production most consumers would be delighted to experience a little bit of art in the banality of everyday life! However, an agreeably decorated package design must work in tandem with the functionality of the product. Protection against contaminant, mechanical shocks, light and oxidization must be fully accommodated by design. Value Packaging is an excellent way to communicate sophistication, class and value.
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<span style="color: #b45f06; font-size: large;">The Birth of Consumer Packaging
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The modern consumer packaging was born by an accident. In 1840 the hand-folded carton, was invented to protect highly expensive items such as jewelry. However in 1879, a careless error by an employee of the Robert Gair Company in New York, who severely damaged many boxes by setting the creasing blade at a wrong height resulted in invention of folding cartons. The idea popped out in the mind of Scottish-born Robert Gair, the proprietor of the paper bag factory in Brooklyn, who after inspecting the error of his employee thought why not to set the press machine's sharp cutting blades at two different heights one for creasing and one for cutting. The idea to use the same machine to print, crease and cut folding cartons was born, saving sharply the production costs relative to the old procedure, in which box sheets had to be scored by a press and then the necessary cuts were applied using a guillotine knife by hand -- one by one.
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The Gair’s new single machine was now able to produce his entire one-day factory’s output, of 1,875 boxes, in just two and half hours which made mass producing of foldable boxes quite inexpensive. However, at first, Gair’s major clients like Great Atlantic & Pacific Tea Company, Colgate, Ponds, and tobacco manufacturer P. Lorillard did not show much enthusiasm for his mass-produced boxes and the demand remind rather small. Nevertheless, he got his first break when National Biscuit Company decided on a strategy to take on its rival Cracker Jacks and in 1896 invested $1 Million to create a brand identity for its Uneeda Biscuits. This was the first time that a product was being distributed throughout north America in a folding carton package revolutionising retailing business by moving beyond the local markets.
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Uneeda Biscuits were wrapped inside a waxed paper liner inside a tray-style paper carton, and the colorful brand-printed wrapper featured a boy in a raincoat to emphasize the moisture barrier. This allowed preserving biscuits for longer periods and they can now be transported easily in a clean unit-size package.The carton packaging also represented the power of brand advertising that relied on packaging as a sales tool tied to an easily recognizable identity advertised in magazines, and on the billboards.
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<span style="color: #b45f06; font-size: large;">Shaping of a brand – the case of Coca Cola.
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Humans are instinctively sympathetic to all kinds of quiet communications transmitted by forms. Shrewd designers and branding experts take advantage human responses to shape and color to attract their attentions. Commercially minded designers continuously asserts certain rules about shapes which are rather amusing. For example; it's suggested that “vertical lines are subconsciously associated with masculinity, strength and aggression, while horizontal lines point to community, tranquility, and calm”, or “a diamond or star shape might garner attention quicker than a symmetrical shape, such as a square". A CBC program about marketing has suggested<br />
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"Fast Company Magazine cites University of Toronto research, where people were placed into brain imaging machines, then shown images of curved and linear products.
The results showed that men and women were far more likely to prefer the curved items, and activity was triggered in the part of the brain that is highly involved with "emotion."
In another Harvard brain imaging study, people were shown sharp objects with corners, like square watches and pointy couches. Those images triggered activity in another section of the brain – the part that processes fear.
Sharp objects have long signaled physical danger, so our brains have come to associate sharp lines with a threat.”</blockquote>
All such assertions are just that, assertions. If applying certain rules could assure certain level of success then everybody would just follow those rules to become successful, but this is not the case. A good artistic design creates the most relevant shape simultaneously with the totality of design and that cannot be repeated to become a rule. If somebody imitates the shape of a Coca-Cola bottle that won’t help the sale.
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Coca-Cola history began in 1886 when Dr. John S. Pemberton, an Atlanta pharmacist, created a peculiar soft drink that could be sold at soda fountains. Dr. Pemberton was fortunate to have a genius partner and bookkeeper, by the name Frank M. Robinson, who is credited with suggesting the catchy name “Coca‑Cola” as well as the designing of its wonderful logo. Before his death Dr. Pemberton sold portions of his business to various parties including Asa G. Candler, an Atlanta businessman, who acquired the majority shares. In 1894, Joseph Biedenharn installed bottling machinery in the rear of his Mississippi soda fountain, becoming the first to put Coca‑Cola in bottles. Large scale bottling was made possible just five years later, when in 1899, three enterprising businessmen in Chattanooga, Tennessee secured exclusive rights to bottle and sell Coca‑Cola for just $1.
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However, competitor brands like Koka-Nola, Ma Coca-Co, Toka-Cola and even Koke copied or only slightly modified the spencerian script logo. These competitor bottles created confusion among consumers. While The Coca-Cola Company began litigation against these infringements, the cases often took years and the bottlers were constantly asking for more protection. . In 1914, Harold Hirsch, a lawyer for the Coca-Cola Company, made an impassioned plea for the bottling community to unite behind a distinctive package.
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“We are not building Coca-Cola alone for today. We are building Coca-Cola forever, and it is our hope that Coca-Cola will remain the National drink to the end of time. The heads of your companies are doing everything in their power at considerable expense to bring about a bottle that we can adopt and call our own child, and when that bottle is adopted I ask each and every member of this convention to not consider the immediate expense that would be involved with changing your bottle, but to remember this, that in bringing about that bottle, the parent companies are bringing about an establishment of your own rights. You are coming into your own and it is a question of cooperation”.</blockquote>
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In 1916, Hirsch came up with a plan to launch a national competition in which bottle manufactures across the country would be asked to design a distinctive bottle – a bottle which a person could recognize even if they felt it in the dark, and so shaped that, even if broken, a person could tell at a glance what it was.
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The bottle manufacturer that won this competition was the Root Glass Company of Terre Haute, Indiana. Inspired by a picture of a cocoa pod which was found in an encyclopedia at the Emeline Fairbanks Memorial Library, Earl R. Dean made a pencil sketch of the pod. From this sketch, Dean designed the contour bottle prototype. The prototype never made it to production since its middle diameter was larger than its base. According to Dean, this would make it unstable on the conveyor belts. Dean then equalized the middle and bottom diameters and the Contour Coca-Cola Bottle was born.
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1YiDsbgj0iI_j6Hw_wP2VodOsst1qktlSZhuqZ4V7s9id3w2TNCo5poXS91piqwcODRaUjNOXuCc7hm-dLaodXlZcyrSN_cDERdzu5oPrwX-Whz_Ah_UtV3OpotV5KWlw4aat07gFirY/s1600/a.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1YiDsbgj0iI_j6Hw_wP2VodOsst1qktlSZhuqZ4V7s9id3w2TNCo5poXS91piqwcODRaUjNOXuCc7hm-dLaodXlZcyrSN_cDERdzu5oPrwX-Whz_Ah_UtV3OpotV5KWlw4aat07gFirY/s640/a.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The concept drawing and prototype for the Coca-Cola bottle created by Earl R. Dean.</td></tr>
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<tr><td style="text-align: center;"><a href="https://www.blogger.com/null"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl6ZYHKog6Zupi8eIP06Q-aYWzYiClcchuuhH-wqjQ-F7-bA_2V3HoT63xOzarLPX3wEikdkatce-fAo5_-WHBJq8CNOGY_qogSI38EGd-4o0-kpFOfmGQ8eECGoKGD7QR_YThZMLykA8/s640/Capture.JPG" width="424" /></a></td></tr>
<tr><td>The design patent registered for the original prototype design. Earl R. Dean’s name does not appear but instead the credit goes to the plants superintendent, Alexander Samuelson!! </td></tr>
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On its debut in 1916 the bottle was dubbed the "hobble skirt bottle", as it was believed that the pinch in the bottle's shape was influenced by a women's long skirt fashion of the period that was pinched or narrowed just above the ankles, causing the wearer to hobble when walking. The nickname soon changed to the "Mae West" bottle – a reference to the actress's glass-hour curves.
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<tr><td>May West and hobble skirt</td></tr>
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Nevertheless, functionality of design matters. Factors such as the size, ease of handeling and shape of a product can influence the demand for a product. A study by University of Chicago psychologist Sian Beilock involves “embodied cognition,” the body’s ability to help people think, behave, and feel through movement. In one of her more famous experiments, she asked participants to put one of two kitchen objects into a box. Her observation showed that 63 percent of the participants picked the objects that were easiest to grab. She also discovered that the sizes and shapes of other objects affects whether or not people would choose to purchase them.
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In addition to this discovery, Beilock discovered that shape matters, even if the objects are the same size.<br />
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In 2008, Coke redesigned its two-liter bottle to make it curvier and thus, 'easier to hold and pour,' in the words of a Coca-Cola representative. And suddenly, Beilock reports, Coke was selling a lot more of its two-liter sodas than archrival Pepsi.
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Does this mean Coke knew all about the way the body influences the mind? Beilock says: ‘My guess is [in tests] people preferred that bottle.’
Based on her research, she believes that the enticing shape of a soda bottle ‘might push you to buy it even knowing it's not the right decision.’
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<img alt="Coke 2L" src="http://i.cbc.ca/1.3067769.1431146386!/fileImage/httpImage/image.png_gen/derivatives/original_620/coke-2l.png" style="border: 0px; box-sizing: inherit; display: block; height: auto; width: 614.489562988281px;" /><br />
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<img alt="Unique Diet Coke Packaging" class="aligncenter wp-image-1052336 size-large" src="http://cdn.business2community.com/wp-content/uploads/2014/10/Diet-Coke-Packaging.jpg-600x337.jpg" height="337" style="border: 0px; box-sizing: border-box; color: #333333; display: block; font-family: Merriweather, Georgia, serif; font-size: 16px; height: auto; line-height: 25.6000003814697px; margin: 0px auto; max-width: 100%; vertical-align: middle; width: auto;" width="600" /><br />
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com2tag:blogger.com,1999:blog-6727023006027071783.post-85434841234913096562015-02-12T17:41:00.000-08:002017-08-01T23:10:27.867-07:00Chapter 82, Graphic Design and Layout of eBooks in the Smart Reading Devices of Future <div dir="ltr" style="text-align: left;" trbidi="on">
In the April 2013 edition of the Scientific American an article by Ferris Jabr entitled "The Reading Brain in the Digital Age: The Science of Paper versus Screens" claimed
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How exactly does the technology we use to read change the way we read? How reading on screens differs from reading on paper is relevant not just to the youngest among us, but to just about everyone who reads—to anyone who routinely switches between working long hours in front of a computer at the office and leisurely reading paper magazines and books at home; to people who have embraced e-readers for their convenience and portability, but admit that for some reason they still prefer reading on paper; and to those who have already vowed to forgo tree pulp entirely. As digital texts and technologies become more prevalent, we gain new and more mobile ways of reading—but are we still reading as attentively and thoroughly? How do our brains respond differently to onscreen text than to words on paper? Should we be worried about dividing our attention between pixels and ink or is the validity of such concerns paper-thin? </blockquote>
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Given the close affinity of graphic design and layout with reading material, such questions are of crucial importance from a designer perspective. The article reported that <br />
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Since at least the 1980s researchers in many different fields—including psychology, computer engineering, and library and information science—have investigated such questions in more than one hundred published studies. The matter is by no means settled. Before 1992 most studies concluded that people read slower, less accurately and less comprehensively on screens than on paper. Studies published since the early 1990s, however, have produced more inconsistent results: a slight majority has confirmed earlier conclusions, but almost as many have found few significant differences in reading speed or comprehension between paper and screens. And recent surveys suggest that although most people still prefer paper—especially when reading intensively—attitudes are changing as tablets and e-reading technology improve and reading digital books for facts and fun becomes more common. In the U.S., e-books currently make up between 15 and 20 percent of all trade book sales.</blockquote>
A similar article by Brandon Keim in January 2014, issue of Wired, entitled "Why the Smart Reading Device of the Future May Be … Paper" wrote:<br />
<blockquote>
To those who see dead tree editions as successors to scrolls and clay tablets in history’s remainder bin, this might seem like literary Luddism. But I e-read often: when I need to copy text for research or don’t want to carry a small library with me. There’s something especially delicious about late-night sci-fi by the light of a Kindle Paperwhite.
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What I’ve read on screen seems slippery, though. When I later recall it, the text is slightly translucent in my mind’s eye. It’s as if my brain better absorbs what’s presented on paper. Pixels just don’t seem to stick. And often I’ve found myself wondering, why might that be?
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The usual explanation is that internet devices foster distraction, or that my late-thirty-something brain isn’t that of a true digital native, accustomed to screens since infancy. But I have the same feeling when I am reading a screen that’s not connected to the internet and Twitter or online Boggle can’t get in the way. And research finds that kids these days consistently prefer their textbooks in print rather than pixels. Whatever the answer, it’s not just about habit.
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Another explanation, expressed in a recent Washington Post article on the decline of deep reading, blames a sweeping change in our lifestyles: We’re all so multitasked and attention-fragmented that our brains are losing the ability to focus on long, linear texts. I certainly feel this way, but if I don’t read deeply as often or easily as I used to, it does still happen. It just doesn’t happen on screen, and not even on devices designed specifically for that experience.</blockquote>
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According to Jabr:
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<blockquote>
Understanding how reading on paper is different from reading on screens requires some explanation of how the brain interprets written language. We often think of reading as a cerebral activity concerned with the abstract—with thoughts and ideas, tone and themes, metaphors and motifs. As far as our brains are concerned, however, text is a tangible part of the physical world we inhabit. In fact, the brain essentially regards letters as physical objects because it does not really have another way of understanding them. As Wolf explains in her book Proust and the Squid, we are not born with brain circuits dedicated to reading. After all, we did not invent writing until relatively recently in our evolutionary history, around the fourth millennium B.C. So the human brain improvises a brand-new circuit for reading by weaving together various regions of neural tissue devoted to other abilities, such as spoken language, motor coordination and vision.</blockquote>
This explanation then is not an argument for the revival of the Dead-Tree Editions, i.e., paper. One can hypothesize that it is the failure of the layout and graphic design in these smart devices that cannot produce an adequate vehicle for embedding " thoughts and ideas, tone and themes, metaphors and motifs" for "those long, linear texts". In fact, when I look at the website of banks, for example, mortgage pages, or retailers showcasing their various products I often see the same thing and feel amazed how "dead-tree" design criteria dominate the creation of these sites.
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXCjP49SfXfxZ4_HgviG4SuY1wSsNSh67H8wt2pueAbjsO16XPpwG-Y-ME0rsvK-qBTknGKziv1Ik4teZ7LrRDOzwGtXGX7KKUCXOTt2ChqKEnsAc4gQGCL0ksD9TOI9RHhWXqlKfDeLg/s1600/a.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXCjP49SfXfxZ4_HgviG4SuY1wSsNSh67H8wt2pueAbjsO16XPpwG-Y-ME0rsvK-qBTknGKziv1Ik4teZ7LrRDOzwGtXGX7KKUCXOTt2ChqKEnsAc4gQGCL0ksD9TOI9RHhWXqlKfDeLg/s1600/a.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">BB eBooks' Fixed Layout Formats</td></tr>
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According to the article in Wired:
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<blockquote>
Mangen is among a small group of researchers who study how people read on different media. It’s a field that goes back several decades, but yields no easy conclusions. People tended to read slowly and somewhat inaccurately on early screens. The technology, particularly e-paper, has improved dramatically, to the point where speed and accuracy aren’t now problems, but deeper issues of memory and comprehension are not yet well-characterized.
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Complicating the scientific story further, there are many types of reading. Most experiments involve short passages read by students in an academic setting, and for this sort of reading, some studies have found no obvious differences between screens and paper. Those don’t necessarily capture the dynamics of deep reading, though, and nobody’s yet run the sort of experiment, involving thousands of readers in real-world conditions who are tracked for years on a battery of cognitive and psychological measures, that might fully illuminate the matter.
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The article then describes a 2004 study by psychologist Erik Wästlund at Sweden’s Karlstad University, who found that students learned better when reading from paper. The description quite clearly points out the fact that the layout design in smart reading devices are inadequate. It reads:
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Wästlund followed up that study with one designed to investigate screen reading dynamics in more detail. He presented students with a variety of on-screen document formats. The most influential factor, he found, was whether they could see pages in their entirety. When they had to scroll, their performance suffered.
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According to Wästlund, scrolling had two impacts, the most basic being distraction. Even the slight effort required to drag a mouse or swipe a finger requires a small but significant investment of attention, one that’s higher than flipping a page. Text flowing up and down a page also disrupts a reader’s visual attention, forcing eyes to search for a new starting point and re-focus.
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It is clear then that these smart reading devices need a different "visual grammar". As the article in Scientific American suggests:
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<blockquote>
"Beyond treating individual letters as physical objects, the human brain may also perceive a text in its entirety as a kind of physical landscape. When we read, we construct a mental representation of the text in which meaning is anchored to structure. The exact nature of such representations remains unclear, but they are likely similar to the mental maps we create of terrain—such as mountains and trails—and of man-made physical spaces, such as apartments and offices. Both anecdotally and in published studies, people report that when trying to locate a particular piece of written information they often remember where in the text it appeared. We might recall that we passed the red farmhouse near the start of the trail before we started climbing uphill through the forest; in a similar way, we remember that we read about Mr. Darcy rebuffing Elizabeth Bennett on the bottom of the left-hand page in one of the earlier chapters.
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In most cases, paper books have more obvious topography than onscreen text. An open paperback presents a reader with two clearly defined domains—the left and right pages—and a total of eight corners with which to orient oneself. A reader can focus on a single page of a paper book without losing sight of the whole text: one can see where the book begins and ends and where one page is in relation to those borders. One can even feel the thickness of the pages read in one hand and pages to be read in the other. Turning the pages of a paper book is like leaving one footprint after another on the trail—there's a rhythm to it and a visible record of how far one has traveled. All these features not only make text in a paper book easily navigable, they also make it easier to form a coherent mental map of the text.</blockquote>
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If such claims are valid, then a graphic designer can create and reinforce these senses of orientation and tracking of footprints. Nevertheless, perhaps this is the reason why
fixed-layout eBooks are so popular format for eBooks today, especially for children, textbooks, and technical books . Unlike standard eBook files, fixed layout eBooks can keep the same page layout and design as their print book counterparts, and can sometimes contain enhancements that make them more interesting and interactive.<br />
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According to Lotta Larson, an assistant professor of curriculum and instruction at Kansas State University education technology, smartphones, e-books, iPads, Kindles, iPods, etc. have now become the new learning aids for school kids.
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<blockquote>
“Today it is very common that elementary school classrooms are equipped with SMART boards, which are interactive white boards, as well as a projector and at least one classroom computer with a high-speed Internet connection. More traditional technologies, such as audio recorders and players, are also useful and common at the elementary level. Preferably, all students have access to computers several times a week, whether that is through the use of laptops, tablets or stationary desktop computers in a computer lab,”</blockquote>
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One can imagine that for kids who move effortlessly across various platforms traditional paper books do not create any emotional attachment. In general, it is quite clear that future readers would be expecting intuitive experience of moving seamlessly across all devices and various platform, reading their books whenever they want to, at whatever platform would be available at various times. Thus , ebooks need to adopt the concept of omni-channel, and in this regard graphic design plays a central and crucial role in creating an omni-channel experience.
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The article in Wired emphasizes the tactile nature of the paper in a somewhat romantic and nostalgic language:
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<blockquote>
To be sure, electronic reading has changed quite a bit since Wästlund’s experiments, which concluded in 2005. Many applications, such as Amazon’s Kindle software, have scrapped scrolling in favor of page-flipping emulations. Yet Mangen, who in a 2013 study of Norwegian teens found a deeper comprehension of texts on paper, and Wästlund say that e-readers may fail to capture a crucial, generally overlooked aspect of paper books: their physicality.
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From this perspective, the feel of pages under one’s fingertips isn’t simply old-fashioned charm. It’s a rich source of information, subconsciously informing readers of their position in a text. Reading experts say that sense of position is important: It provides a sort of conceptual scaffold on which information and memory is automatically arranged, and the scaffold is strongest when built from both visual and tactile cues.</blockquote>
The task of graphic designer is to overcompensate for such shortcomings of ebook.<br />
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At present, there are two layout formats available for an ebook:<br />
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<ul>
<li> reflowable layout,</li>
<li> pre-paginated layout. </li>
</ul>
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<b>Reflowable layout format</b> is the most popular ebook format for publications, particularly for text-heavy, single column format ebooks, since it provides responsive text and images. In other words, this format treats the content as floating text and images, then rearranges them according to the screen dimensions (mobile, tablet, or desktop). As a result, the number of pages in this layout is dynamic – it depends on how many pages it would take to fit the same content on the current screen size. Clearly, large screens would result in less number of pages than smaller screens.<br />
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<ul>
<li>The user can switch between portrait and landscape views, and the content would automatically rearrange itself to optimize readability for the new dimensions. A reader can also change the size of the text to a desired level.</li>
<li>Some think reflowable layout is more user friendly, as the text renders itself appropriate to the screen dimensions at hand, and the reader just needs to scroll up or down, which is as simple as turning a page on a printed book. </li>
<li>This format is easier and cheaper to produce, and it does not require a large disk space. However, designers do not have much of control over format, and fonts or how the text and pictures are displayed on screen. </li>
</ul>
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<b>The pre-paginated layout format </b>(also known as fixed layout ) basically takes a photo of text and image placement. This allows for the full creativity of the graphic designers to be fully implemented. The reader would be able to zoom in and scroll both vertically and horizontally. It also allows for some interactive elements, like audio-on-click and animations.<br />
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Guity Novinhttp://www.blogger.com/profile/13738237538081319049noreply@blogger.com0