The Sky in Edvard Munch's the Scream
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The Scream' - Hauled Away from AP Reports That the Scream Joins More Than Munch Museum 150,000 Lost Works of Art Which Specialists Say May Never Be Found
Arts & Archaeology - international The Scream' - hauled away from AP reports that The Scream joins more than Munch Museum 150,000 lost works of art which specialists say may never be found. Stealing art may be easy, but finding The Scream' and 'Madonna', famous paintings of someone to buy it is a long, difficult process. During Norwegian artist Edvard Munch, were yanked from the millennium celebrations on December 31, 1999, the Munch museum in Oslo on August, 2004. Two thieves in Oxford, England made off with Paul gunmen threatened the museum staff with a handgun, Cezanne's Anverssur-Oise, worth US$5 million. while dozens of horrified museum-goers watched, The painting has not been found. London writer stunned as the armed men carried the paintings to a Edward Dolnick has published an estimate of works of waiting getaway car. Many visitors panicked, thinking art stolen, lost, and missing, including 551 Picassos, they were being attacked by terrorists. 43 Van Goghs, 174 Rembrandts and 209 Renoirs. As they drove through the city, the thieves The database at Interpol tallies 20,000 missing broke the frames of the paintings, and threw out the art works, paintings making up half of them; while the bits from the window of the car, in case tracking Art Loss Register in Britain lists perhaps 150,000, with devices were lodged in the wood. Italian authorities giving a higher number. This is not the first time The Scream went A report by Reuters revealed how poorly Edvard missing. In February 1994, it was stolen from the Munch treated his own art work. -
Philippines's Constitution of 1987
PDF generated: 26 Aug 2021, 16:44 constituteproject.org Philippines's Constitution of 1987 This complete constitution has been generated from excerpts of texts from the repository of the Comparative Constitutions Project, and distributed on constituteproject.org. constituteproject.org PDF generated: 26 Aug 2021, 16:44 Table of contents Preamble . 3 ARTICLE I: NATIONAL TERRITORY . 3 ARTICLE II: DECLARATION OF PRINCIPLES AND STATE POLICIES PRINCIPLES . 3 ARTICLE III: BILL OF RIGHTS . 6 ARTICLE IV: CITIZENSHIP . 9 ARTICLE V: SUFFRAGE . 10 ARTICLE VI: LEGISLATIVE DEPARTMENT . 10 ARTICLE VII: EXECUTIVE DEPARTMENT . 17 ARTICLE VIII: JUDICIAL DEPARTMENT . 22 ARTICLE IX: CONSTITUTIONAL COMMISSIONS . 26 A. COMMON PROVISIONS . 26 B. THE CIVIL SERVICE COMMISSION . 28 C. THE COMMISSION ON ELECTIONS . 29 D. THE COMMISSION ON AUDIT . 32 ARTICLE X: LOCAL GOVERNMENT . 33 ARTICLE XI: ACCOUNTABILITY OF PUBLIC OFFICERS . 37 ARTICLE XII: NATIONAL ECONOMY AND PATRIMONY . 41 ARTICLE XIII: SOCIAL JUSTICE AND HUMAN RIGHTS . 45 ARTICLE XIV: EDUCATION, SCIENCE AND TECHNOLOGY, ARTS, CULTURE, AND SPORTS . 49 ARTICLE XV: THE FAMILY . 53 ARTICLE XVI: GENERAL PROVISIONS . 54 ARTICLE XVII: AMENDMENTS OR REVISIONS . 56 ARTICLE XVIII: TRANSITORY PROVISIONS . 57 Philippines 1987 Page 2 constituteproject.org PDF generated: 26 Aug 2021, 16:44 • Source of constitutional authority • General guarantee of equality Preamble • God or other deities • Motives for writing constitution • Preamble We, the sovereign Filipino people, imploring the aid of Almighty God, in order to build a just and humane society and establish a Government that shall embody our ideals and aspirations, promote the common good, conserve and develop our patrimony, and secure to ourselves and our posterity the blessings of independence and democracy under the rule of law and a regime of truth, justice, freedom, love, equality, and peace, do ordain and promulgate this Constitution. -
Imdb's Ios and ANDROID APPS HAVE NOW BEEN DOWNLOADED MORE THAN 50 MILLION TIMES
IMDb’S iOS AND ANDROID APPS HAVE NOW BEEN DOWNLOADED MORE THAN 50 MILLION TIMES Just-Launched Redesign of IMDb’s Movies & TV App for iPad Includes Discovery Features, Personalized Recommendations and Watchlist Enhancements IMDb’s Portfolio of Leading Mobile Entertainment Apps Achieved Significant Milestones and Garnered Media Acclaim in 2012 SEATTLE, WA. – December 20, 2012—IMDb, the world’s most popular and authoritative source for movie, TV and celebrity content, today announced that its award-winning Movies & TV apps for iOS and Android have each been downloaded more than 25 million times for a total of more than 50 million combined user downloads. Over the last 5 months, IMDb’s mobile-optimized website and apps have received an average of more than 175 million visits per month. Additionally, IMDb just launched a redesigned version of its acclaimed iPad app featuring highly anticipated discovery features, personalized recommendations and Watchlist enhancements. To learn more and download IMDb’s free apps, go to: http://www.imdb.com/apps/ “2012 has been a significant year for innovation and usage of IMDb’s leading mobile apps for iOS, Android and Kindle Fire,” said Col Needham, IMDb’s founder and CEO. “Our mission is to continually surprise and delight our customers with new features that will revolutionize the movie-watching experience such as ‘X-Ray for Movies,’ which we launched in September 2012 exclusively on the new Kindle Fire HD devices. We look forward to raising the bar on behalf of our customers in 2013.” IMDb’s iPad App Redesign Beginning today, an update (available through the iTunes App Store) to IMDb’s popular iPad app includes a complete redesign focused on discovery features, personalized recommendations and Watchlist enhancements. -
Edvard Munch's Images of Sultan Abdul Karim 8
© Ashgate Publishing Ltd 8 Staging ethnicity: Edvard Munch’s images of Sultan Abdul Karim Alison W. Chang www.ashgate.com www.ashgate.com The rise of the ethnographic exhibition in the late nineteenth century created a new form of spectacular entertainment in fin-de-siècle Europe and America. As an integral part of World’s Fairs and traveling circuses, these exhibitions provided European audiences the opportunity to view people from faraway cultures. In these displays, exhibition participants donned native costumes, sang songs, and performed dances, all in a display thatwww.ashgate.com was a re-creation of their homeland. These exhibitions created a full-scale fantasy, an immersive entertainment that surrounded the spectator with the paraphernalia of another culture—its people, its objects, its traditions, and its architecture—creating a panoply of sensory delights and transporting the viewer to another part of the world, all without having to leave one’s own country. For many, this was their first encounter with people of other races and ethnicities, and these exhibitions were instrumental in shaping and reinforcing the perception of foreign cultures in European minds. Despite the show organizers’www.ashgate.com claims at authenticity, these exhibitions were highly staged. From the clothing to the participants’ surroundings, each aspect of the ethnographic exhibition was carefully selected and choreographed. Circus Hagenbeck, which traveled throughout Europe, was one of the première presenters of ethnographic exhibitions, and the troupe made its way to Oslo in November 1916. The Norwegian painter Edvard Munch and his cousin, Ludwig Ravensberg, attended the circus to sketch, and it was there, according to Ravensberg,www.ashgate.com that Munch had met and “hired a fine and attractive negro, Sultan Abdul Karim, as a servant, driver, and model.”1 Although Munch had hired models steadily since the turn of the century, this was his only attempt at depicting a person of African origin. -
STALKERS and Their Victims
STALKERS and their victims Paul E. Mullen Michele Pathé and Rosemary Purcell The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 24th Street, New York, NY 10011–4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain © Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Printed in the United Kingdom at the University Press, Cambridge Typeface Minion 10.5/14pt System QuarkXPress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Mullen, Paul E. Stalkers and their victims/Paul E. Mullen, Michele Pathé, and Rosemary Purcell. p. cm. ISBN 0 521 66950 2 (pbk.) 1. Stalking. 2. Stalkers. 3. Women – Crimes against – Prevention. I. Pathé, Michele, 1959– II. Purcell, Rosemary, 1969– III. Title. HV6594.M85 2000 362.88 – dc21 99-044607 ISBN 0 521 66950 2 paperback Every effort has been made in preparing this book to provide accurate and up-to-date information which is in accord with accepted standards and practice at the time of publication. Nevertheless, the authors, editors and publisher can make no warranties that the information contained herein is totally free from error, not least because clinical standards are constantly changing through research and regu- lation. The authors, editors and publisher therefore disclaim all liability for direct or consequential damages resulting from the use of material contained in this book. -
Stalking Victims 9
© Jones and Bartlett Publishers, LLC. NOT FOR SALE OR DISTRIBUTION CHAPTER Stalking Victims 9 by Cheryl Regehr 44 LEARNING OBJECTIVES 44 KEY TERMS • Discuss the nature of stalking behaviors Celebrity Stalking • Identify legal responses to stalking Credible Threat • Identify a typology of stalkers Cyberstalking • Discuss effects of stalking on victims de Clérambault’s Syndrome • Discuss risk assessment of offenders Erotomania • Discuss treatment for offenders Obsessional Harassment Peace Bond Protection Order Introduction Psychiatric Gating Stalking is defined as a pattern of conduct in which one person Restraining Order inflicts on another repeated, unwanted intrusions and communi- Sexually Violent Predator cations to the extent that the victim fears for his or her own safety Stalking (Pathé & Mullen, 1997). In and of themselves, the behaviors that are experienced by the victim as stalking can seem benign to the outside observer. Someone leaves repeated phone messages, sends gifts, shows up in places where the victim habitually goes, all of which in isolation do not appear to be threatening (Purcell, Pathé, & Mullen, 2004). Yet it is the context of the relationship that sets the stage for what the victim experiences as intimidation. That is, the stalker is pursuing a relationship that the victim does not desire, often because either the victim is a former partner of the stalker, the victim is a famous person who has no relationship with the stalker, or the victim is a professional who has no interest in a personal relationship with the victim. What differentiates these behaviors from normal interpersonal interactions and characterizes them as stalking is that they are (1) intentional; (2) repeated; and (3) result in fear (Spitzberg & Cupach, 2007). -
Than 30 Works by Edvard Munch Are Missing from Oslo. Did University Students Steal Them?
AiA Art News-service More Than 30 Works by Edvard Munch Are Missing From Oslo. Did University Students Steal Them? Works by the famed painter and five other artists disappeared after a loan scheme to a student housing complex. Javier Pes, January 8, 2019 Edvard Munch, Madonna (1895/1902). Courtesy of Munchmuseet. The Munch Museum will be sending nearly 50 prints to the British Museum in London in April for the UK’s biggest exhibition of the Norwegian artist’s celebrated works on paper for almost 50 years. But the epic loan will not include 34 works by the artist that have gone missing—and are suspected stolen. The Oslo museum is hoping to track down the works, which disappeared decades ago . The theft of a trove of art by Norway’s most famous artist has gone largely unreported: there was no dramatic heist to capture international headlines. Instead, many of the prints are believed to have been pilfered by students from the halls of dorms, where they were until the 1970s as part of a remarkable, if risky, loan scheme. An investigation by the Norwegian newspaper Dagladet has revealed that 34 Munch prints that should be part of the Munch Museum’s collection are, in fact, missing. All of them come from a trove of works donated to the city of Oslo by a Norwegian businessman, Rolf Stenersen (1899–1974) in 1936. Around 15 years later, because the works had not gotten a dedicated home, the city and Stenersen agreed to display them on the walls of a student housing complex. -
EDVARD MUNCH Cast
EDVARD MUNCH EDVARD MUNCH Cast EDVARD MUNCH Geir Westby MRS. HEIBERG Gros Fraas The Munch Family in 1868 The Munch Family in 1875 SOPHIE Kjersti Allum SOPHIE Inger Berit Oland EDVARD Erik Allum EDVARD Åmund Berge LAURA Susan Troldmyr LAURA Camilla Falk PETER ANDREAS Ragnvald Caspari PETER ANDREAS Erik Kristiansen INGER Katja Pedersen INGER Anne Marie Dæhli HOUSEMAID Hjørdis Ulriksen The Munch Family in 1884 Also appearing DR. CHRISTIAN MUNCH Johan Halsbog ODA LASSON Eli Ryg LAURA CATHRINE MUNCH Gro Jarto CHRISTIAN KROHG Knut Kristiansen TANTE KAREN BJØLSTAD Lotte Teig FRITZ THAULOW Nils Eger Pettersen INGER MUNCH Rachel Pedersen SIGBJØRN OBSTFELDER Morten Eid LAURA MUNCH Berit Rytter Hasle VILHELM KRAG Håkon Gundersen PETER ANDREAS MUNCH Gunnar Skjetne DR. THAULOW Peter Esdaile HOUSEMAID Vigdis Nilssen SIGURD BØDTKER Dag Myklebust JAPPE NILSSEN Torstein Hilt MISS DREFSEN Kristin Helle-Valle AASE CARLSEN Ida Elisabeth Dypvik CHARLOTTE DØRNBERGER Ellen Waaler The Bohemians of Kristiania Patrons of the Café "Zum Schwarzen Ferkel" HANS JÆGER Kåre Stormark AUGUST STRINDBERG Alf Kåre Strindberg DAGNY JUELL Iselin von Hanno Bast STANISLAV PRZYBYSZEWSKI Ladislaw Rezni_ek Others BENGT LIDFORS Anders Ekman John Willy Kopperud Asle Raaen ADOLF PAUL Christer Fredberg Ove Bøe Axel Brun DR. SCHLEICH Kai Olshausen Arnulv Torbjørnsen Geo von Krogh DR. SCHLITTGEN Hans Erich Lampl Arne Brønstad Eivind Einar Berg RICHARD DEHMEL Dieter Kriszat Tom Olsen Hjørdis Fodstad OLA HANSSON Peter Saul Hassa Horn jr. Ingeborg Sandberg LAURA MARHOLM Merete Jørgensen Håvard Skoglund Marianne Schjetne Trygve Fett Margareth Toften Erik Disch Nina Aabel Pianist: Einar Henning Smedby Peter Plenne Pianist: Harry Andersen We also wish to thank the men, women and children of Oslo and Åsgårdstrand who appear in this film. -
Detection of Cds Nanoparticles and Implications for Cadmium Yellow Paint Degradation in Edvard Munch’S the Scream (C
1910 Microsc. Microanal. 23 (Suppl 1), 2017 doi:10.1017/S1431927617010212 © Microscopy Society of America 2017 Detection of CdS Nanoparticles and Implications for Cadmium Yellow Paint Degradation in Edvard Munch’s The Scream (c. 1910, Munch Museum) Barnaby D.A. Levin1, Kayla X. Nguyen1, Megan E. Holtz1, Marcie B. Wiggins2, Malcolm G. Thomas3, Eva S. Tveit4, Jennifer L. Mass5, Robert Opila6, Thomas Beebe2, David A. Muller1,7. 1. School of Applied and Engineering Physics, Cornell University, Ithaca, NY, USA. 2. Department of Chemistry and Biochemistry & UD Surface Analysis Facility, University of Delaware, Newark, DE, USA. 3. Cornell Center for Materials Research, Cornell University, Ithaca, NY, USA. 4. The Munch Museum, Tøyen, Oslo, Norway. 5. Department of Conservation, Rijksmuseum, Amsterdam, NL. 6. Department of Materials Science and Engineering, University of Delaware, Newark, DE, USA. 7. Kavli Institute for Nanoscale Science, Cornell University, Ithaca, NY, USA. Cadmium sulfide (CdS) based yellow paint is fading, flaking, and discoloring with age in billions of dollars worth of Impressionist through Expressionist masterpieces from the late 19th and early 20th centuries. Characterization of the morphology, chemistry, and crystal structure of paint particles is critical for understanding CdS pigment degradation, and the role of other cadmium compounds in paint synthesis and aging [1]. Here, we use scanning transmission electron microscopy (STEM) to identify nanoparticle structures in a sample of cadmium yellow paint from the Edvard Munch’s The Scream (c. 1910, Munch Museum), taken from a region of flaking yellow paint in the water adjacent to the two background figures on the bridge (Fig. 1a), and prepared for STEM by focused ion beam (FIB) milling. -
Edvard Munch.Pdf
EDVARD MUNCH L.O. TO USE PAINT APPLICATION TECHNIQUES TO CREATE MOOD AND ATMOSPHERE IN A PAINTING WHO IS EDVARD MUNCH WHAT CAN WE REMEMBER FROM THE VIDEO WHAT CAN WE REMEMBER FROM THE VIDEO Born 12.12.1863 His genre of Art is Expressionist Died 23.1 1944 A lot of his art was based on emotions His based some of his art on ghost stories Born in Norway that he loved hearing from his father. Melacholy Jealousy The Scream Anxiety Sickness Death Lonliness Today we are going to have a go at creating our own Scream painting. You will be following the steps of creating the background. Then you can either have you photograph taken in the scream pose or draw your own scream person. He painted one of the most famous and recognized paintings of all time, “The Scream”. This is what he wrote in his diary about the incident that inspired him to paint it: “I was walking along the road with two friends – the sun went down. I felt a gust of melancholy. Suddenly the sky turned a bloody red. I stopped, leaned against the railing, tired to death as the flaming skies hung like blood and sword over the blue-black fjord and the city. My friends went on. I stood trembling with anxiety and I felt a vast infinite scream through nature.” -Edvard Munch. Step 1 create the straight lines for the fence. Sketch them in gentley so you can see them but they will be covered when you paint Step 2. Once you have sketched the fence, paint in the fence, the pathway in shades of brown. -
The Study of the Relationship Between Arnold Schoenberg and Wassily
THE STUDY OF THE RELATIONSHIP BETWEEN ARNOLD SCHOENBERG AND WASSILY KANDINSKY DURING SCHOENBERG’S EXPRESSIONIST PERIOD D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Sohee Kim, B.M., M.M. Graduate Program in Music The Ohio State University 2010 D.M.A. Document Committee: Professor Donald Harris, Advisor Professor Jan Radzynski Professor Arved Mark Ashby Copyright by Sohee Kim 2010 ABSTRACT Expressionism was a radical form of art at the start of twentieth century, totally different from previous norms of artistic expression. It is related to extremely emotional states of mind such as distress, agony, and anxiety. One of the most characteristic aspects of expressionism is the destruction of artistic boundaries in the arts. The expressionists approach the unified artistic entity with a point of view to influence the human subconscious. At that time, the expressionists were active in many arts. In this context, Wassily Kandinsky had a strong influence on Arnold Schoenberg. Schoenberg‟s attention to expressionism in music is related to personal tragedies such as his marital crisis. Schoenberg solved the issues of extremely emotional content with atonality, and devoted himself to painting works such as „Visions‟ that show his anger and uneasiness. He focused on the expression of psychological depth related to Unconscious. Both Schoenberg and Kandinsky gained their most significant artistic development almost at the same time while struggling to find their own voices, that is, their inner necessity, within an indifferent social environment. Both men were also profound theorists who liked to explore all kinds of possibilities and approached human consciousness to find their visions from the inner world. -
Edvard Munch
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1972 Edvard Munch: Motifs and Motivations Gordon Moffett Eastern Illinois University This research is a product of the graduate program in Art at Eastern Illinois University. Find out more about the program. Recommended Citation Moffett, Gordon, "Edvard Munch: Motifs and Motivations" (1972). Masters Theses. 3848. https://thekeep.eiu.edu/theses/3848 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #2 TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements. Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. Date I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because ----- Date Author EDVARD MUNCH: MOTIFS AND MOTIVATIONS (TITLE) BY Gordon Moffett _,.- THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS .---:_.··-- .