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JEAN-LÉON GÉRÔME: History Painter
Jean-Léon Gérôme (1824 – 1904) was on the wrong side of history. Many people have been on the wrong side of history, and, like the segregationist Senator, Strom Thurmond, they deserve to stay there. However, art history is more subjective than history-history, which is supposedly based upon verifiable facts. Art falls into the perilous zone of subjectivity and art and artists are subjected to the rise and fall of critical preferences and of aesthetic judgments. Gérôme was art history's most vile villain, most reliable enemy to all things Modernist. He was the perfect foil to Manet, Monet, and Cézanne, not because he was a popular and successful Salon artist but because he railed against his Impressionist counterparts, often and in public, on the record. But since the 1980s, a "younger" generation of art historians, in search of new material for dissertations, began to revive the dead dinosaurs of "official" French art. And Gérôme was among the most in need of revision.
The current exhibition at the J. Paul Getty Museum, in Los Angeles, "The Spectacular art of Jean-Léon Gérôme (1824 – 1904)" is one of the highlights of the summer of 2010. The beige marble citadel high on a hill overlooking the Sepulveda Pass and the 405 Freeway has been honored as the first stop on a tour, which features the Musée d'Orsay in Paris and the Museo Thysssen-Bornemisza in Madrid. It is rare for Los Angeles to be the lead in the museum world, especially for such a superb array of paintings, many of which were recently retrieved from ignominy out of museum basements. Unlike some art historians, I am not interested in rescuing a neglected artist, unjustly discarded by the forces of history, or in making a case for his worthiness. I am more interested in making sure that history is made complete. Without championing Gérôme, it can be said that it is necessary for him to be re-placed in the history of Nineteenth-century art, if only to better understand the Modernist artists and their accomplishments and their courage. It is important to understand the vast differences between Gérôme and the Impressionists in terms of painting techniques and the subject matter in order to comprehend the reception of the art audience and Salon goers.
The Artist
When the real art history of the Second Empire and the Third Republic in France was restored by the new art historians, it was revealed that Gérôme was genuinely popular with the art audiences and collectors of his time because his art was immensely innovative, decidedly novel, technically proficient (not outstanding but good enough), and, above all, featured sex and violence. A can't miss combination. The reason why he fell off the art history pantheon was, as all art historians know, because of the Theory of Modernism. Beginning somewhere around the art critic, Charles Baudelaire, migrating to the British critic, Roger Fry and culminating in the American critic, Clement Greenberg, this theory put forward an entity called "Modernism," both a state of mind and a period of time, that produced an artistic attitude called "art-for-art's sake," which led to avant-garde art, a reaction to modernité.
According to the teleology of Modernism, the founding fathers (no mothers allowed) were Gustave Courbet and Édouard Manet and their progeny, the Impressionists, the Post-Impressionists and all the "isms" of the Twentieth-century, climaxing with Jackson Pollock. Any artist, no matter how historically famous and successful, could not be a Modernist unless he (not she: women were not considered) was part of that select group. The artists of the Salon were eliminated, the "official" artists were purged, English and American artists were left out, and only a small group of French male artists were allowed to be part of the club. The result was an art history based upon an evolutionary theory of a progressive march taken by art from representation to abstraction. The Greenberg story of art was an excellent metanarrative, as Jean-François Lyotard would later call it, but it was not a proper history of art. Modernism was a construct, a convenient fiction, complete with heroes and villains.
The Artist and the Public
"The Spectacular Art of Jean-Léon Gérôme (1824 – 1904)" comes equipped with a large catalogue and a smaller book of essays that strive to re-write the artist back into art history. Gerald Ackerman, whom I met while I was in graduate school, began the revival of Gérôme. At the time, Ackerman told me he had been working on Gérôme for twenty years and it is his pioneering effort that is the foundation of scholarship for today's writers. Current scholars point out that, even in his own time, Gérôme was as controversial with the critics as the avant-garde artists. Like the latter, Gérôme had to court and please the bourgeoisie, and the career-minded artist created a juste milieu path between erudite, orthodox, high-minded history painting and low-caste genre scenes of everyday life ("Molière Breakfasting with Louis XIV," 1862). Taking a page from the playbook employed by Ernst Meissonier, Gérôme rethought history painting and made it accessible and entertaining to the middle class art audience ("The Tulip Folly," 1862). In place of classical knowledge, understandable to scholars and specialists, the artist inserted carefully researched archaeological and ethnographic detail ("Solomon's Wall, Jerusalem," 1876). In place of the relentless ordinariness of Realism and the remorseless observation of Naturalism, Gérôme substituted panoply of information, educating the viewer. Instead of heroes and noble characters, he created a cast for his theater of history and used the actors to tell arresting stories about life in another place and another time.
Gérôme's art presents us with spectacle on two levels, echoing the culture of scopophilia and observation of the Other that was the basis of Second Empire power and Third Republic imperialism and the control of men over women. First, Gérôme's art showed the sheer spectacle that held sway during the Roman Empire. Bread, circuses, food and entertainment—-if you provide the people with these two necessities, they will tolerate any amount of tyranny. Whether or not this conscious policy is smart of despicable depends upon one's political point of view. To the middle-class French people, survivors of multiple revolutions and uprisings among the disempowered, a firm hand on the wheel may have seemed a good idea. Second, there is no reason to assume that Gérôme was trying to anything more than present interesting subject matter to his audience. There was probably not much sub-text in his work. Indebted to his imperial patrons, Gérôme was a conservative who would be unwilling to offend his collectors. All he asked of the viewer was to look. Clearly he had worked out a formula: sex and violence sells; and the exercise of imperialism is comforting to a second-class power.
His paintings of the Roman Empire enshrine the pleasure of looking, of seeing violence that happens to others and not to you, a pleasure called by Burke, the "sublime." That heightened and intense emotion that Edmund Burke wrote of was, not incidentally, in relation to the spectacle of beheading during the French Revolution. In the Roman arena, there are no victors, only victims of a system of witnessing what was an imperial display of the Emperor's power. The gladiators, who were slaves, saluted the Emperor before they died in "Ave Caesar, Morituri, Te Salutant" (1859), the Christians, who in actuality were prosecuted in very small numbers, provided the fledgling religion with its first martyrs. Maxime de Camp, photographer of the Middle East, complained that Gérôme was inaccurate, and the artist did, indeed, take liberties for dramatic effect. His painting of Christian martyrs showed human beings used as torches but the scene is set in daytime, while Nero put on such a show only at night. In "The Christian Martyrs' Last Prayers" (1863 – 1883), the lion approaches the huddling worshipers. Much has been written of Gérôme's prediction of film and his use of the long pause in a narrative and, indeed, the viewer can see the emerging head of other felines coming into the sand surface of the Coliseum. Like the martyrs, we wait. As opposed to "Gathering up the Lions in the Circus" (1902), in real life, animals had no interest in attacking humans and had to be taught, even forced to pounce. During these centuries of arena entertainment, wild animals, entire species were either wiped out or put in danger, due to the overindulgence of the Romans.
The Roman audience in "Pollice Verso" (1872) came to the arena to be entertained. Some commentators and historians have since suggested that the blood lust acted as a kind of drug, dulling the senses, reducing human carnage to a mere theatrical exercise. There was an endless supply of slaves and criminals to put to death in an exercise of punishment and control. Although Gérôme could not have imagined modern film, his paintings of the Roman Empire became sources of inspiration for Hollywood film directors, from C. B. De Mille to Ridley Scott. But that observation raises a rather interesting question: why are we still so fascinated with an imperial power, which used human beings as stage lights, crucified even the most insignificant dissidents, rewarded the few and persecuted the many, keeping everything in balance through constant spectacles of blood and violence? Why does Hollywood not make movies about the Greeks, unless they are fighting the Persians in tiny leather uniforms? Do we conclude that we are superior to the Romans in the arena because we are addicted only to movie violence?
In a world where schools have long since sidelined history, most of us learn of the past from the History Channel and Oliver Stone. Today we could call Gérôme a "popularizer." If he were a history professor today, he would be complimented for helping the students identify with the events of the past. However, history painting in Nineteenth-century France was not necessarily supposed to be popular, only revered and respected. Unlike Gustave Courbet who dis-respected the Salon system by portraying unattractive uninteresting modern types on a large scale, reserved for history painting, Gérôme kept most of his works small or medium sized. He was, in effect, using the rules to create a new space for what the system had already approved. In the end, he slipped past his many detractors and found fame, fortune, and many honors. As Scott Allan pointed out in his "Introduction" to "Reconsidering Gérôme," the artist was "appointed professor at the newly reorganized École des Beaux-Arts in 1863…. (was given) a seat in the Institut de France in 1865…(and was) nominated grand officier of the Legion of Honor in 1898." Son-in-law to the grand impresario of art reproduction, Adolph Goupil, Gérôme was one of the most reproduced and widely distributed artists of the Nineteenth-century. But was he a good artist?
The Artist and Technique
I went to the exhibition with my good friend and colleague, Irina, and, like post-Post-Modernist art historians, we glided among the many theoretical approaches available to us, from formalism to feminism, to discuss Gérôme. Technically speaking, he was an odd mixture. On one hand, he could handle paint only in a limited manner, for he was essentially a drawer in paint. On the other hand, he never won the Rome Prize for good reason—-he was almost blind when it came to the classical approach to the human figure. Only when he removed himself from the Beaux-Arts tradition did he become at ease with the people he painted. His nude women are borrowed entirely from other artists, especially from Ingres and Chassérieu ("Character Study for a Greek Interior," 1850), and are boneless and airbrushed to a peculiar blank flatness. But when Gérôme clothed his females, he was completely at ease. His portrait of the daughter of Betty de Rothschild, who was painted by Ingres in 1848, "Portrait of Madame la Baronne Nathaniel de Rothschild" (1866) is not as stunning as an Ingres painting but Gérôme held his own with the master. His"Portrait of M. Édouard Delessert" (1864) with the subject nattily dressed in blue argyle socks is a genuine character study.
Despite these near-great portraits, Gérôme seemed to have had a hard time integrating actual sites with imaginary people. For example, there is a wonderful trio in the exhibition, featuring Napoléon in Egypt. "Napoléon and his General Staff in Egypt" (1867) imagines a very large General on a very dainty camel, but it is not the size disparity, it is the startled expression on Napoléon's face that makes today's viewer smile. Oedipus (1863 – 86) also plays havoc with scale: Napoléon is on a tiny horse, standing in front of a shrunken Sphinx. But most interesting is "Napoléon in Cairo" (1867 – 68), a simple little painting with the General standing in full uniform with Islamic mosques in the background. In real life, Napoléon was short and rounded, but here he is tall and slim. The viewer is given TMI—the details of the uniform are exquisitely rendered and one learns, thanks to the deep shadows of selective folds of his trousers, that the future Emperor "dressed" left. There are probably several reasons for the disparity of scale and proportion in Gérôme's paintings. One would certainly be his academic training, which taught students to think in pastiche and collage and to "paste," as it were, standard studio poses into grand backgrounds. Another cause would have been the artist's use of photography as his source. Photography tended to make minute details available to the human eye, and when Gérôme copied these details, the effect was to flatten the surface with non-hierarchal information that overwhelmed the displaced figures and threw off the scale.
Gérôme emerged onto the Parisian art scene as the leader of the "Neo-Grec" school (according to the critics of his day) with "The Cock Fight" in the Salon of 1847. The genre painting tells a story of cocks, both seen and unseen, as a young boy orchestrates a contest between two roosters while a young girl shrinks away, as well she might. However, Gérôme did not confine himself to antiquity and the choice of his subjects says a great deal about what was going on in France during his career. Just as his mentor Paul Delaroche spoke obliquely about the French Revolution (matricide and patricide) with "The Execution of Lady Jane Grey"(1833), Gérôme saluted the Second Empire by celebrating the current Emperor's uncle, Napoléon I in a number of paintings, some direct references, some indirect. The rather marvelous "The Reception of the Siamese Ambassadors at Fountainebleau" (1864) is a direct steal of Jacques-Louis David's "The Coronation of Napoléon" (1807). Two other wonderful paintings, "The Grey Cardinal" (1873) and the "Reception of the Duc de Condé at Versailles" (1878) were painted after the fall of the Second Empire and could be interpreted as a warning against secret power (the Cardinal and by extension the late Empire) and a plea for reconciliation (Duc de Condé) after rebellion, but, given the inherent conservatism of Gérôme, the works could be more comfortably read in relation to the nostalgic Bonapartism and a desire for a monarchy, which marked the unsteady early decades of the ill-fated Third Republic.
The Artist and Gender
In painting after painting, Gérôme clearly demonstrated his discomfort with women. Before his very profitable marriage to the daughter of Europe's biggest art dealer, Gérôme lived a rather Bohemian life in a homosocial environment. Like most men of his time, he would have had little contact with women of his own class and he would not have considered a woman to be his equal. His nudes are far removed from actual women, as if their nakedness made him so uneasy, he had to use "the nude" as a mask for their disconcerting naturalness. But he is equally uncomfortable with male bodies. Both the gladiator in the celebrated Ave Caesar and the belly dancer in "Dance of the Almeh" (1863) are pudgy: the gladiator sports man boobs and the dancer has a large pot. But Gérôme was comfortable with little boys, carefully delineating their backsides in "The Serpent Charmer" (1880) and his early"Michelangelo (in his Studio)," 1849. In the former, the backside is bare, in the latter the backside is literally delineated due to a pair of red-striped tights, worn by the child. My friend Irina remarked that there is something "almost unseemly" in Gérôme's art. I would agree, although I would eliminate the polite "almost." Many of his paintings are simply unseemly, in today's terms, in their confirmation of the scopophilia of male desire for conquest through the passive gaze.
"Prynne Before the Areopagus" (1861) presents one of Gérôme's repeated themes: men looking at an object of lust. The object, in this case a woman, is isolated and alone and, most of all, naked, totally exposed to the male gaze. The artist tried to have his specious content both ways—men gaze upon women but the beauty of women's bodies subdue them, stun them into silence and submission. But the male is always clothed and always retains his power. Young "Prynne" is examined by a group of startled old men, dressed in strong red robes, countering her pale hairless body. Nowhere were women under the command of the male as she was in the mysterious East. The notion of the submissive and speechless woman was especially appealing to Frenchmen, alarmed by the propensity of Frenchwomen to rise up during each revolution at home. French women had been stripped of any social powers and political disenfranchisement, stripped naked in custom and law. The "Dance of the Almeh" (1863) also empowers the men, who watch the gyrating dancer who writhes for their amusement. The males in the circle are equipped with long straight phallic instruments, guns, spears, violin bows and even a pipe, as though they are protecting themselves. The same excess of protection and phallic display can be seen in "The Serpent Charmer." The old man at the center of the group has a long sword suggestively rising above his upper thigh as he watches the naked little boy playing with a long snake. The rest of the men are well equipped with erect spears, raising the unanswerable question of whether or not Gérôme was aware of the sexual subtext.
"For Sale (The Slave Market)" of 1866 is the ultimate expression of the stripped and speechless woman being exchanged among men (according to Engels). The slave market in the Middle East has replaced the European concept of marriage as a financial exchange and, as the catalogue essay on this painting reports that the French public "hardly batted an eye." The idea that the "public" was unphased by this painting implies that the painting was intended for men, which it surely was, and that the art was not viewed by women, which it surely was. Although women of the Second Empire were not expected to see art but were embarrassed by the painterly display of helpless female flesh, one can imagine that some of these ladies imagined the slave woman biting the fingers of the man who was examining her teeth.
In other paintings, the audience itself is outside the scene, looking it or looking at the imagined world of the harem. The external spectator was metaphorically internalized as a red robe reclining on a wooden chair in "King Candaules," 1859), watching the exchange of male looks. The King's guard, Gyes, lurking in the dark, off to the right, is watching the queen Nyssia. The queen is caught in a triangulated gaze among men, but as Baudelaire pointed out, she would not have been the "dull puppet," depicted by Gérôme. As was typical for the artist, the woman is pale and naked and helpless with her back turned to the audience in a gesture of modesty thrown in by the painter. One could ask if showing a woman's naked body from the rear is more or less discrete. "The Moorish Bath" (1872) is noteworthy for the carefully drawn Islamic tiles and for the inherent racism that exposed the naked breasts of the African slave and allowed the white woman to turn modestly away from the viewer. Echoing European and American notions of racial hierarchy, "The Grand Bath at Bursa" (1885) is yet another Imaginary Orient, complete with white women (presumably captured by swarthy Arab chieftains) who are sexual slaves and black women who take care of the needs of the concubines. At least in the harem, the women are together and have each other's company. In many of Gérôme's paintings, the women are alone, with no friend and no one to defend or take care of them, reflecting the Western version of marriage, the isolated woman, entirely dependent upon her husband.
The Artist as Colonialist
Much has been written about Gérôme as painter to the colonizers, and indeed his many trips to Egypt coincided with France's desire to master the Middle East and to build an empire. Although their imperial ambitions dated back to Napoléon, the French never caught up with the British who had an empire upon which "the sun never sets." The Second Empire and the Third Republic, the era of Gérôme, were the high points of French acquisition of territory and artifacts from northern Africa and the Middle East. Gérôme was at his best when he acted as ethnographer, observing the Other. As distasteful as the Imperial gaze was, it did have the virtue of freeing Gérôme from the tropes of classicism and the poncifs of academia. One does not often think of Gérôme the landscape artist, but, as my friend Irina pointed out, his desert paintings are beautiful, dappled with the blue of the sky reflected upon the pale golden buff-colored rocks, just as an Impressionist would ("The Lion on Watch," 1890). Here in a desert light that flattens everything, the silhouetted sharp edges of Gérôme's dry drawing make sense. In "Arabs Crossing the Desert" (1870), the large scale of the figures is permissible in such open distances. In these paintings of the Middle East, colors are intensified in the light and Gérôme came into his own with his strong colors, unexpectedly pinks ("The Black Bard," 1888) and brilliant oranges and blazing yellows (The Marabou, 1888), hot reds vibrating on the surfaces ("The Standard Bearer," 1876). "The Color Grinder" (1891) summarizes the importance of color with a row of large stone mortars lined up in front of a dark shop in the Holy Land. In an age of paint in tubes, Gérôme painted the encircled lips of the large stones, which are glowing with vibrant colors pounded into submission.
Although Gérôme replicated the Middle East and its male inhabitants with apparent exactitude, his paintings are fantasy pastiches. But they are totally convincing and carried a larger truth of white European fantasies of conquest and control of the inferior Other. The people he so carefully studied and observed during his many visits are from another century were devoid of technology beyond the Seventeenth century, backwards and in need of French guidance. "Heads of the Rebel Beys of the Mosque El Assaneyn" (1866) mixed actual events with infidel barbarity, necessitating the civilizing French touch upon a people who favored a public beheading. The irony of such an attitude of superiority may have escaped Gérôme. (The French continued to use the guillotine into the 1940s.) A fascinating and harmless object of curiosity, entertaining the French audience, "The Whirling Dervish" (1889) needs to be Christianized and Europeanized. Due to the precise accuracy garnered from a photograph, the Salon goers assumed that the artist was educating them with "The Carpet Merchant" (1887). Each painting of Middle Eastern life can be seen as a contrast to European life—a market instead of a bank, souks, not department stores, fanaticism instead of Catholicism—with the Muslim barbarians being presented as the Other, as Different, as Inferior, as Strange, as Something to be Looked At, as Spectacle, captured by the artist, commanded by the whitened gaze of the spectator.
The Sculpture
The Getty catalogue included a number of paintings done by Gérôme on the theme of the male sculptor and his female model, reflections on the Pygmalion and Galatea myth. From "Pygmalion and Galatea" (1890), where Galatea comes to live when the delighted Pygmalion kisses her to "The Artist's Model" (1895), when Gérôme becomes Pygmalion, we can trace the desire of Gérôme to make the perfect woman. Strangely enough, his women come alive only when they are sculpted, usually larger than life. Polychromed Nineteenth century sculpture, especially sculptures with teeth ("The Ball Player," 1902) and jewelry are an acquired taste, even for people educated by Jeff Koons. For us today, Gérôme's "The Gladiators" (1878) are both reminiscent of fascistic works and of fantasy figures from World of Warcraft. As Édouard Papet pointed out in his catalogue essay on Gérôme's sculpture, the fact that the ancients polychromed their sculpture had just come to light. Accustomed to the bleached whiteness of marble exposed to the elements or buried underground, Europeans must have found it difficult to adjust their taste to the multiple colors of marble used by Cordier. By the time of Gérôme, his chastely colored females would have been acceptable. But to Modernist educated contemporary viewers, Gérôme's sculptures were simply gaudy bad taste and they disappeared from view.
The Getty has brought together a splendid collection of the artist's late sculptural work, the highlight of which has to be "Corinth" (1904). Decked out with jewelry, which is applied to her naked body in every conceivable site, she would be the envy of Jeff Koons; she was the epitome of vulgarity and excess, a siren of the Gilded Age. "Corinth" and the portrait of "Sarah Bernhardt" (1901) were true highpoints of the exhibition, even for the visitor who has seen many, many paintings already in the previous galleries. Paradoxically, the rare paintings by Gérôme, which allow the woman any agency at all, feature the art of sculpture, the craft of Pygmalion. In "Painting Breathes Life into Sculpture," 1893), a young woman, working in the back of a Tanagra shop, is painting the small female sculptures, bringing them to life. In ancient Greece, there were women who were allowed to participate in their family's workshop, but, although they were accomplished artists, they did not sign their names. In"The End of the Séance" (1886) the still-nude model covers the clay repliant of herself, as though to grant the inanimate object some protection and modesty that she herself has been denied.
The Artist and Orientalism
My friend Irina and I noted the penchant of Gérôme to fill in his canvases with overwhelming detail about the Orient. Full of bric-a-brac, the paintings are crowded with information, much of which was gained from the artist's many visits to the Middle East and documentary photographs. From one perspective, the artist's work was typical of the Victorian "horror vacui." From another point of view, the artist was on a mission. The French tactic of conquest through military might and the gathering of facts dated back to Napoléon's ill-fated foray into Egypt. The history of paintings of the Middle East done by French artists also dates from the early Nineteenth-century when the Turks and the Muslims were depicted as brutal and backward. Gérôme nodded to his artistic precursors in his painting of "Marcus Botsaris," a hero of the war of Greek Independence who fought with Lord Byron. But the 1874 painting itself, is typical of Gérôme's approach to the unfamiliar: he delineated a veritable encyclopedia of an Eastern inventory of décor and paraphenalia.
Gérôme's dedication to accuracy was part of larger tendencies: the rise of modern history writing, the rise of the French Empire, the use of photography to record and preserve the known world, and the period's fear of empty space. Gérôme's paintings are packed with these cultural vibrations. His art owed a great deal to the French delight in the Pre-Raphaelites and their facility for storytelling, which he put in the service of imperialism. It would be anachronistic to accuse the artist of "complicity" on a conscious level in an enterprise that would, a century later, be described by the French as an accidental empire. Undoubtedly, Gérôme shared the prejudices and desires of his time and believed in the right for the French to have an Empire. His paintings were part of a deeply felt belief system. In his investigation of the pioneering efforts of French artists in picturing the Orient, Todd Porterfield did not accept that the current French scholarship which insists that the imperialism of France was "haphazard" and "timidly entered into." According to Porterfield, the French artists portrayed,
…national attributes are posited that pit French science, morality, masculinity, and intellectual rigor against supposedly representative traits of Easterners: fanaticism, cruelty, idleness, vice, irrationality, deviance, and degeneracy.
As was pointed out earlier, this was exactly the dialectical strategy employed decades later by Gérôme in his paintings of the Mysterious East and the Backward Other. it would be safe to assume that the artist believed, in common with most other Europeans, that the culture of the West or the Occident was superior. The discourse of racial and cultural superiority had been in the making among European scholars and writers for decades. The late Palestinian philosopher, Edward Said, revealed the role of discourse in the literary manufacture of "Orientalism" in his 1978 book of the same name. Although the cover of his book featured Gérôme's "The Serpent Charmer," Said did not discuss "Orientalizing" art. Said pointed out that when the Europeans wrote about the East, the scholars were creating, not the truth, but a "representation" of the "Orient." Using Michel Foucault's concept of "discourse" in which serious speech acts from experts shape what becomes received knowledge surrounding a topic, Said stated that the "Orient" was constructed in terms of what the West was not. As Foucault pointed out, representation as constructed by the One would fabricate the Other into a inferior for purposes of discipline and punishment, power and control. Said continued the French philosopher's thought by pointing out that an "Imaginary Orient" was manufactured for the purpose of defining the Europeans themselves by using the "Orient" as the negative to the Western positive. The Imaginary Orient had little to do with the "real" Middle East, for the Europeans were essentially uninterested in the Other. Europeans were concerned with the task of writing themselves into a position of dominance.
The concept of Foucault and Said was quickly taken up by art historians, resulting in a major investigation into the attitude that European artists had towards the Other. Thanks to post-colonial theory, it is possible to view Gérôme and his art as an expression of French power over a dark-skinned people who refused modernity and Westernization. The art of Gérôme had to overwhelm the viewer with facts, information, detail, as though to compensate for a fundamental Lack of knowledge. Foucault equated seeing/sight with power: "voir, savoir, pouvoir:" to see is to know is to have power over. For all the privileging of vision in Gérôme's work, the Other, the "Oriental" remained a slippery character in the French imperial drama. All the knowledge in the world is spread out on his canvases, but it is all from the French point of view and we learn everything and nothing. In the end, all the superiority, all the power in the world could not hold the Empire together, and today, as Porterfield, pointed out, the French seem vaguely embarrassed about their role in colonialism.
Looking at Gérôme's art in today's world is an interesting enterprise. The colonized subjects of the French empire have long since come home to the Mother Country, unsure of their identities, as Frantz Fanon so eloquently stated in " Black Mask, White Skins." So thoroughly imbued with the doctrines of colonialism and imperialism, the colonized think that they are partly "French" and came to France to live, but they insist on bringing their "Oriental" culture with them. Suddenly, what seemed exotic in the Middle East caused controversy in Paris: head scarves or not? The fear of the Other continues. Gérôme, like all artists, was engaged in acts of representation; and, as for his attitudes, his biases, his complicity, his patriotism—that is for history to decide.
The Artist and History
Gérôme studied under the official juste milieu artist, Paul Delaroche, who knew how to please a crowd. He had a gift that Gérôme did not: Delaroche could move an audience with his spell binding and compelling scenes of arrested pathos. In "The Execution of Lady Jane Grey," the blindfolded teenager, England's nine day queen, gropes for the wooden block where she will lay her little neck. Dressed in white to emphasize her youth and innocence, the little girl who has been a pawn of reckless and ambitious adults is a triangle of pity in the center. She is flanked by the axe man, the executioner. By his side is his axe, the head of which gleams in anticipation. In Delaroche's "Princes in the Tower," also known as "The Children of Edward" (1831), the beautiful young princes cower in the dark alerted by a shaft of light under the closed door to their room. The minions of their evil uncle, Richard the III, are upon them. It was this master of the breathless moment who said when photography was invented, "From today, painting is dead!" It was this painter who trained some of the greatest photographers of the new era, men who transformed photography into an art form, Charles Negre and Henri Le Sec. But their photographs were doomed to be neglected and unstudied until the Twentieth century. It was another painter, his pupil, Gérôme, who would profit the most from photography.
Although Gérôme benefitted a great deal from his relationship with Goupil's, there were many critics in his own time who were wary of the sale of reproduced paintings-as-photographs or as prints. Presaging Walter Benjamin's observation that when art is reproduced, it loses its aura, its untouchability, its place in ritual, its role in cult, Nineteenth century critics wondered if Gérôme were cheapening himself and his art. But being under contract with the firm, the artist had little control over the fate of his images. The art firm did well for the artist, finding for him an audience of buyers for all levels of his works, from the original paintings to different kinds of reproductions, suitable to a wide range of incomes. Sadly, some of the images in the $80 Getty catalogue reproduced poorly, such as "The Death of Marshal Ney," where the darks submerge the image into unreadability. But the original reproductions were clear in replication and enhanced the artist's reputation everywhere. When my friend Irina was surprised that"Pollice Versoi" was now in the Phoenix Art Museum, I bet her that the original buyer was an American. I was one buyer off: the first was British, but after that, all the others were Americans in New York. New Yorkers, especially in the gilded age, as an essay in the catalogue by Mary G. Merton pointed out, loved the opulent visual excess of Gérôme and equated him with all things French. The American buyers tended to not quite understand the distinctions among French artists, and they would purchase a Renoir and a Bouguereau and a Gérôme, ignorant of theoretical debates in Paris.
But Gérôme was in the thick of the quarrel between tradition and modernity. The artist who gained the most from technology was the most hostile to artists who dared to think or paint differently. "Rodin, Pissarro, Monet, Degas are rotten scoundrels," he exclaimed. In the "Forward, Picturing Gérôme," the authors quoted Gérôme as objecting, among other things, to a posthumous exhibition of the art of Édouard Manet at the École des Beaux-Arts in 1884. The artist derided Manet as "…the apostle of a decadent manner, of a piecemeal art…" Manet, he continued, produced "…highly willful and lurid work…" Of the Caillebotte donation of the Impressionists to the Louvre, Gérôme raged, "I repeat, if the State has accepted such rubbish, then moral fiber has seriously withered." This, from the master of the bared bottom. Invective, no matter how heart-felt or mainstream at the time, seldom passes the test of time. Meissonier's prosecution of Courbet after the Commune soured his place in history, and, like Gérôme, who had nothing but spleen for dead artists, the rancor of these popular artists lost them respect from their peers and from history. The writing that accompanied the exhibition at the Getty suggests that we need to separate Gérôme's unpleasant nature from our reconsideration of his art. The audience at the museum, however, seemed unconcerned with the issues Irina and I mulled over. On a Wednesday afternoon, crowds were large and appreciative. Gérôme would have been pleased. Back where he belonged. On top. The center of attention.
See Also:
Allan, Scott and Mary Morton, eds. "Reconsidering Gérôme," J. Paul Getty Museum, 2010
Cars, Lawrence de, et. al, "The Spectacular Art of Jean-Léon Gérôme (1824 – 1904)," Skira, 2010
Peltre, Christine, "Orientalism in Art," Abbeville Press, 2005
Porterfield, Todd, "The Allure of Empire. Art in the Service of French Imperialism. 1798 – 1836," Princeton University Press, 1998
Said, Edward, "Orientalism," Random House, 1978
"Culture and Imperialism," Vintage, 1994
Thornton, Lynne, "Women as Portrayed in Orientalist Painting," Art Creation Realisation, 1996
Dr. Jeanne S. M. Willette
The Arts Blogger


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LA likely to start Fife while going for sweep of Cubs
Dodgers expected to push back Greinke; Villanueva goes for Chicago
The Dodgers are on a tear, especially on the road, and will look to sweep the Cubs on Sunday afternoon at Wrigley Field.
The Dodgers, 13-2 in the second half and 30-7 over their past 37 games, are expected to activate right-hander Stephen Fife from the disabled list to make his first start in almost a month.
While Dodgers manager Don Mattingly did not make plans to start Fife instead of listed starter Zack Greinke official on Saturday, the move would give the club a six-man rotation and allow the other five starters an extra day of rest.
"We want to give guys extra days when we can," Mattingly said. "Hypothetically, this would be a good time."
Fife is 3-3 with a 2.76 ERA in eight starts with the Dodgers this season. The rookie went on the 15-day disabled list July 7 with right shoulder bursitis. He made two Minor League rehab starts and threw a bullpen session on Thursday in Chicago.
By inserting Fife into the rotation, Greinke would start Monday's game against the Cardinals instead of Sunday.
The Dodgers have won 13 consecutive road games, a franchise record. The road streak is the longest in the Major Leagues since the 1976 Phillies also won 13 straight on the road.
The Cubs, meanwhile, have been outscored 15-6 in the first three games of the series and have dropped six of their last seven games.
Chicago starter Carlos Villanueva is winless in his past 10 outings. He's coming off a no-decision against the Brewers on Tuesday, when he was charged with four runs on six hits over 6 1/3 innings.
It won't get any easier for Villanueva on Sunday against the Dodgers' potent offense.
"They've been pretty hot, they've been playing well," Villanueva said. "Obviously they have a good team. As long as I execute pitches, I should be OK."
In seven career appearances against the Dodgers, including one start, Villanueva has allowed 14 earned runs in 11 innings.
Dodgers: Puig day to day with thumb issue
Dodgers outfielder Yasiel Puig suffered a left thumb contusion on Saturday, the result of a diving catch in the seventh inning that saved a run. The rookie was replaced in right field in the bottom of the eighth and is considered day to day.
Puig is 6-for-10 with a double and a home run in the first three games of the series. He is hitting .376 with 11 homers, 11 doubles and 25 RBIs in 53 games.
Cubs: Murphy promoted, Borbon designated
The Cubs promoted infielder Donnie Murphy from Triple-A Iowa on Saturday after designating outfielder Julio Borbon for assignment on Friday.
Murphy, 30, has played 244 Major League games with the Royals, Athletics and Marlins. He signed a Minor League deal with the Cubs in April and hit .265 in 89 games at Iowa.
Borbon made a baserunning mistake Friday, when he was thrown out trying to advance to third on a ball in the dirt with the Cubs trailing by four runs and none out in the ninth. He was designated for assignment after the game.
"That obviously was an unfortunate thing that happened," manager Dale Sveum said. "But it is a point that, we just can't keep having those things go on and [Borbon] has had a few of those things himself. So it was just time to make an adjustment to the roster and see if somebody else can do the job."
Worth noting
• Dodgers closer Kenley Jansen has nine saves in as many chances over his past 14 appearances, and he leads all Major League relievers with 79 strikeouts.
• The Cubs have at least one extra-base hit in each of their past 27 games since July 5.
Austin Laymance is an associate reporter for MLB.com. This story was not subject to the approval of Major League Baseball or its clubs.

subset: commoncrawl


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North America
North America
Recent Activity
There were nearly 34 million temporary admissions to the United States in 2006, twice the number in 1990. MPI's Jeanne Batalova outlines the definition of nonimmigrants and takes a detailed look at admissions data and data limitations.
MPI's Muzaffar Chishti and Claire Bergeron report on the USCIS naturalization application backlog, final Real ID regulations, proposed H-2A visa changes, and more.
In 2006, about 271,000 foreign born of Pakistani origin were residing in the United States. MPI's Jeanne Batalova and Uriah Ferruccio examine the geographic distribution and socioeconomic characteristics of this population.
Counterterrorism policies have had an unintended, negative effect on asylum and refugee resettlement in the United States. Swetha Sridharan of the Council on Foreign Relations explains the origins of the material-support bar, which groups it has affected, and how the U.S. government is addressing the problem.
In 2006, nearly 15.2 million naturalized citizens were eligible to vote in the United States. MPI's Claire Bergeron and Jeanne Batalova examine naturalization trends.
Recent Activity
This report analyzes the housing status of immigrants in the 100 largest metropolitan areas in the United States with respect to homeownership. In addition, it examines the factors that appear to influence homeownership among immigrants, and the programs and initiatives that can encourage homeownership among these groups.
This report examines the transfer of immigration functions from the former Immigration and Naturalization Service to the newly established Department of Homeland Security and offers an analysis of the Department's progress in its first year of existence toward accomplishing the two purposes for which it was created: (1) to ensure that immigration regulation and control enhances national security; and (2) to improve the performance of both the service and enforcement sides of the immigration system by allocating their respective functions to separate units within DHS.
The genesis of this particular conference on Latino immigration is Samuel P. Huntington's recently published "The Hispanic Challenge," which suggests that Latino immigrants are likely to destroy the United States as we know it. The essays that follow indicate that Professor Huntington's thesis is easily rebutted.
La década de los noventa fue extraordinaria en términos de cantidad y diversidad cultural de trabajadores migratorios que vinieron a vivir a los Estados Unidos. Recién estamos comenzando a comprender las implicaciones a largo plazo de las decisiones y medidas tomadas por los trabajadores migratorios y por las instituciones americanas durante este período de fuerte crecimiento económico.
This report examines foreign-born participation in the United States' labor market. It provides information and charts relating to the number and share of immigrant workers in the total civilian labor force and their employment rates.
This report examines the characteristics of foreign-born workers in the United States based on the 2002 Current Population Survey. Findings relate to foreign-born workers age 16 and over participating in the civilian labor force.
During the 1990s, NAFTA was promoted by both U.S. and Mexican officials as a means to spur economic growth and job creation in Mexico and thereby reduce the number of unauthorized migrants entering the U.S. from Mexico each year. This report takes a critical look at NAFTA's impact on regulating migration from Mexico to the United States.
This report provides basic information on International Agreements of the Social Security Administration, bilateral agreements that coordinate the United States' system for retirement, disability. It examines the eligibility criteria for receiving benefits and the concept of "totalization," particularly with regard to the Social Security Totalization Agreement with Mexico proposed under President Bush's plans for immigration reform.


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SKU: yir2006_v-3_dvd
Please verify you have a compatible player before purchasing our DVD-R titles. We are not responsible for the compatibility of your player to our DVD-R titles. Click here to check: (DVD-R Compatibility Chart)
1. Rhino vs. Raven2. Sabu vs. Crowbar3. Sandman vs. Trent Acid4. King Kong Bundy vs. Jake Roberts5. 8 Ball Challenge6. Scott Steiner vs. Rhino7. Xpac vs. Evan Karagious8. Rhino vs. Sabu9. Dudleys & Corp. vs. Flash & Mafia10. Sabu & Raven vs. Tommy Dreamer & Sandman11. Steiner Brothers vs. The Outlaws


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Learn everything you need to know to get started building Android apps with the Android 5 SDK and Google's Android Studio IDE.
Learn how to develop iOS and Android apps with your existing HTML skills, Dreamweaver CC, and PhoneGap.
Teaches Android developers how to program with the Fragments API, and build apps that work well on Android phones, tablets, and even desktop computers.
Get a first look at Android Studio, the new IDE for building and packaging Android apps, before its official release.
Learn to request data for your Android apps from cloud-based storage networks that offer RESTful web services.
Learn how to prepare, package, and publish your Android app on Google Play, and investigate other distribution platforms offered by Amazon and Barnes & Noble.
Everything you need to know to get started building Android apps with Google's Android SDK and Developer Tools.
Add interactive maps to your Android apps with Google Maps Android API v2.
Create a complete mobile app from scratch with the Android SDK and Java in this project-based course.
Introduces the Kindle Store and explains how to take your existing applications and tailor them to the Kindle environment.
Discover how to build an Android game and distribute your game in the Google Play app store, using Cocos2d-x development and the Eclipse Platform.
Create datacentric apps for Android devices, using SQLite, Java, and the built-in android.database packages from the Android SDK.
"Wow! It just keeps getting better and better. I hate the fact that I will never be able to quit—I am now a lynda.com addict." —Sharon W.
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Innovation center chief to step down in Portsmouth
Galvin said he will continue to support entrepreneurship by taking a more active role with Regaalo.com, a company that was formed by UNH graduates with initial guidance provided by the NH-ICC startup staff.
"As a startup guy, I'm very happy to have been able to bring UNH and the private sector together to get the Innovation Commercialization Center started," Galvin said in a statement.
With more than a dozen companies at the center now, it needs an executive director "that is better suited to the needs of a growing not-for-profit service business," he said.
Galvin, along with a committee of the NH-ICC board of directors, will be interviewing candidates for the top spot at the NH-ICC this month.


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Opened in 1906, the Montreux Palace has set a tone of elegant luxury ever since.
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The hotel offers three standout restaurants: La Terrasse du Petit Palais, Montreux Jazz Café and Funky Claude`s Bar.
Host your wedding in one of the magnificent Belle Epoque rooms, or in the garden on the banks of Lake Geneva.
We are the official hotel of the Montreux Jazz Festival, with direct access to the event. Musicians like BB King and Miles Davis stay here during the festival.
Deluxe Lake view room, 30SQm, king or twin beds, mostly balcony, AC,safe, desk
Fairmont Lake view room, 28SQM, queen bed, AC, safe, writing desk
Fairmont Room Mountain view, 24SQM, Queen or twin bed, AC, safe
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Bellevue 2 Bedroom Suite lakeview,130SQM One king or two single beds, balcony.
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Avenue Claude Nobs 2, 1820 Montreux, Switzerland
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This picture-perfect gem of a castle dramatically sits on the shore of Lake Geneva. It's worth a visit not just for its historical significance but also for its interesting exhibitions. www.chillon.ch.
This fascinating and diverse collection in Martigny includes an exploration of the history of the automobile, exhibits on Galllo-Roman archeology and a sculpture garden including mosaic pieces by Marc Chagall. www.gianadda.ch.
Switzerland's largest wine-growing area is also one of its most picturesque, with lovely hillside terraces along the lakeshore. The vineyards and wine cellars can be easily explored by car, bike or foot.
Reinterpreted versions of classic French fare—as well as wonderful fresh fish—are on offer at this small, pretty and casual restaurant near the port of Territet. Rue de Bon Port 2; (41-21) 963-10-20.
This charming restaurant in the erstwhile wine vaults of an 18th-century convent serves wonderful renditions of Swiss specialties like cheese fondue and raclette. www.museum-montreux.ch.
Take the train from Montreux to Jaman station and then hike—two hours, moderately difficult—and you'll be rewarded with a spectacular, wide-open view of Alpine peaks.
Beautifully set on the shore of the lake, this lovely centuries-old church is built of local sandstone and tufa rock and has fantastic views of the lake and the mountains beyond. www.concerts-st-vincent.ch.
Ride in a luxurious refurbished 1915 Pullman car from Montreux through the vineyards to the famed cheese town of Gruyère and a chocolate factory in Broc. www.goldenpass.ch/goldenpass_chocolate_train.
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5 Responses to Episode 031 Carolyn Crane
Felicia Day 5-starred the books on Goodreads:
[…] for 11/3/10 Interviews/Profiles Functional Nerds Patrick Hester and John Anealio interview Carolyn Crane (podcast). The Agony Column interviews Charles Burns (podcast).John Scalzi's The Big Idea: […]
Carolyn's handyman philosopher quote was awesome as she used it in relation to how to write a book and be successful: "It's not knowing how to build the door, it's how to solve the problems that come along the way."
What a handyman…
Finally! Some technology talk! All these interview sessions and not enough of John and Patrick grooving on tech…


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Get an alert for markdowns and new arrivals of Beach House!
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Beach House is a contemporary lifestyle swimwear brand for active young women. With classic American styling, Beach House offers vibrant prints and solids in versatile separates. Key silhouettes include twisted bra, crossback, blouson, and halter tankinis, which are easily mixed and matched with solid bottoms, swim skirts, and board shorts.
Featuring adjustable straps, removable soft cups, and underwire support, Beach House swimwear is quick-drying and perfect for women on the move. The swim separates and cover-ups combine style with unmatched comfort and fit. Beach House's uniquely flattering and fashionable designs are sure to get you noticed, both in and out of the water.


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Burned out lite bulb Judy T. • Renton, WA • August 28, 2014 Appliance: Model INSIDE DOOR My Repair & Advice Changed it to a new bulb, specifically for Whirlpool appliances. Was this review helpful to you?
Refrigerator and freezer were warming and cooling Cathleen S. • Lake Forest, IL • October 05, 2014 Appliance: General Electric Refrigerator ZISB48DYB My Repair & Advice We just had the Defrost Timer replaced less than 90 days ago. Called the appliance company who came to diagnose ($109) and it was the same part, (a $34 part). The part was warrantied, but not the service, which was $270. I saw them install the part in July... less than 5 minutes! The company told me that they bill not by time spent on labor, but according to the "national average" for that repair. They wouldn't give me the warrantied new part without doing the labor. I checked with AppliancePartsPros.com and read reviews of how easy the job is. It's unplugging the old and plugging in the new. And APPros warranties their parts for one year. My husband did the "job" and we're back on. What a scam these appliance companies are running. Also, the 85-day old part was Made in Mexico. Our new part from APP is made in USA. Was this review helpful to you?
Leaking air Pradip S. • West Chicago, IL • November 20, 2014 My Repair & Advice Replace gaket Was this review helpful to you?
I had broken shelves in my refrig Don S. • O'fallon, IL • December 09, 2014 My Repair & Advice I looked on line and found the parts from the pictures and clicked on the parts I needed. They came in 3 days and I put them in with a Phillips screw driver. All Fixed. That simple. Don Was this review helpful to you?
Broken fan blade Thomas H. • West Blocton, AL • April 21, 2014 Appliance: Model TFX25ZAZAWW My Repair & Advice I used a set of ring pliers to remove the old retaining ring, then spread the plastic ribs around the fan motor shaft with a small flat bladed screwdriver to ease removal of the old fan blade. I reversed the process to replace the blade, gently tapping a socket from my socket wrench set placed over the motor shaft and ribs with a small rubber mallet. I stopped when the shaft protruded about 1/8" beyond the plastic ribs of the new fan blade, then installed the new retaining clamp ring with the ring pliers. The whole process took less than 5 minutes. Was this review helpful to you?


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The trial for Dzhokhar Tsarnaev, the man charged in the Boston Marathon bombings that killed three people and injured more than 200, begins Monday. Take a look back at scenes from the April 15, 2013, incident.
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Philadelphia Phillies Gear
Philadelphia Phillies Mens
Philadelphia Phillies Mens T-Shirts
(236 items)
Product ID: 1290144
Main Content
It's the bottom of the ninth and your Phils only need two bases to win the game. With one man on first, everything is crashing down on the next batter. After the pitcher spins your guy a fast one, the ball instantly ricochets off the bat, unravels in the air from the high speed and bursts into remnants that pepper the exterior of Citizens Bank Park. While that may be a textual dramatization, it perfectly shows the kind of oomph you need to put into your game day T-shirt wear. This Dramatic Struggle tee from Majestic features a distressed and textured printed team logo. Throwin' on a tee is never all that difficult, so enjoy that home run and your Phillies in this stylin' crew neck.
- 90% Cotton/10% Polyester
- Distressed, textured screen print graphics
- Imported
- Officially licensed MLB product
- Tagless collar
Special event items are produced by manufacturers only after the outcome of a game
or event. These are advanced sale items and will ship immediately after they are
received in our warehouse.
Manufacturer direct items are shipped directly from the manufacturer. These items
are not available for international or expedited shipping.
Customized items can be personalized with options such as your name, your favorite
number, and/or designs. Some options may be limited by league rules.


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July 24, 2012
Inside the Gators Staff InsidetheGators.com
Even at an event as stocked with talent as Friday Night Lights, there's still a handful of prospects we are looking forward to seeing for whatever reason. This week Inside the Gators will countdown the five prospects we most anticipate seeing on Friday night under the lights. ...More... To continue reading this article you must be a member. Sign Up Now!
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The Cambridge Primary Care Unit (PCU) works to reduce the burden of ill health:
- by identifying and targeting the behaviours that lead to chronic disease;
- by improving early detection of illness;
- by improving the delivery of health services in community settings;
- and by teaching medical students, clinicians, researchers and educators.
We aim to deliver research and education at the highest international standards of excellence.
Our research is organised into five research themes: Behaviour and Health, Cardiovascular Disease and Diabetes, Cancer, Health Services Research and End of Life Care.
The Primary Care Unit is based within the Department of Public Health and Primary Care at the University of Cambridge, one of Europe's premier university departments of population health sciences.
The PCU has rejoined the NIHR School for Primary Care Research, which is a partnership between eight leading academic centres for primary care research in England.
We aim to improve the health of the population through research conducted at three levels: clinical care in general practice, the organisation and delivery of healthcare, and improving health through changes to the wider environment.
The Primary Care Research Unit offers academic posts for GPs as well as opportunities for PhD students.
The Primary Care Unit host occasional events and seminars, currently we are administering one for social science research on theorising medical devices.
Primary Care Unit News
VBI New Protocol for Workstream 3
Study Protocol for "Potential efficacy, fidelity, feasibility and acceptability of techniques to promote physical activity for use in very brief…
Early diagnosis of cancer – progress update
Cambridge public health and primary care investigators, who play a leading role in the field of early diagnosis of cancer,…
Dr Jenni Burt's promotion from Research Associate to Senior Research Associate is, according to Professor Jonathan Mant "a much deserved…


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HEAT oven to 350°F.
MIX 1 cup coconut, margarine and crumbs in 9-inch pie plate; press onto bottom and up side of pie plate. Bake 10 min. Microwave 3 chocolate in small microwaveable bowl on HIGH 1-1/2 min., stirring every 30 sec. Stir until chocolate is completely melted. Spread onto bottom of crust. Refrigerate 15 min. or until chocolate is firm.
BEAT pudding mix and milk with whisk 2 min. Stir in remaining coconut; pour into crust. Refrigerate until ready to add next layer. Microwave remaining chocolate and 1/4 cup whipping cream in large microwaveable bowl on HIGH 2 min., stirring after 1 min. Stir until chocolate is completely melted. Cool 20 min. or until room temperature, stirring occasionally.
BEAT remaining whipping cream in chilled large bowl with mixer on medium-high speed until soft peaks form. Add half the whipped cream to chocolate mixture; whisk until well blended. Stir in remaining whipped cream. Spoon over filling in crust. Refrigerate several hours or until chilled.


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Each member of the Vélocité charity cycle team has been tirelessly fundraising for this event and are an inspiration to us all. The teams' most recent fundraising event was a roaring success that added €7,000 to the Paris to Nice donations bank. That brings the teams' total amount raised to date to €150,333 putting their target firmly within their reach.
This will prove to be a cycle of a lifetime for all involved as they push themselves to the limit in order to show their support for a very worthy cause. The twenty strong team of cyclists will be averaging 100km per day and are fortunate that Hostelworld.com, the worlds leading provider of online reservations, through a financial contribution have ensured the team will have a comfortable place to lay their heads each night.
The Vélocité team realise that 700km in six days will be no easy feat and have been training regularly in recent months. On hand to lend the team some advice and encouragement at these training events were professional cyclists and Tour de France champion Stephen Roche and Sean Kelly. The two cycling legends even recorded good look messages for the paris2nice website and Sean Kelly gave an exclusive interview to the Vélocité team.
Bright and early on September 24 the team will bid adieu to the Eiffel Tower as they set off for Nice on the cycle of a lifetime. The team will follow the Sine out of Paris and cross the Forét De Sénart from here they will travel through small villages on route to the medieval town of Moret-sur-Loing where they will stop for a spot of lunch. Once rehydrated and replenished the team will continue on towards the pleasant town of Sens where they will rest for the night and celebrate Eunice Kennedy Shriver Day.
Fully rested, day two of the cycle will see the team enter the renowned wine region of Burgundy and pass through its wonderful old towns. The town of Chablis will make for an unforgettable lunch setting before the team sets off once again across vineyards and charming countryside to the traditional cobblestoned town of Avallon where they will turn in for the night.
On day three of the journey the team will cross the Morvan forest national park, to the famous Cóte d'Or wine region where they will visit one of the local vineyards. From here the Vélocité team will take in the UNESCO world heritage site, the Roman town of Orange. Moving onto day four the route will continue on to the familiar Cháteauneuf-du-Pape region offering the team an overwhelming view of Mount Ventoux that promises to leave them speechless. For the members of the team who wish to make the cycle a little extra challenging a detour option will be available to bike climb this legendary mountain, a feature of many Tour de France races.
Venturing further south on day six the team will cross the well-known Aix region and drink in its wonderful scenery. Wednesday's destination is Draguignan, originally a Roman fort built on the hill now dominated by a distinctive 17th century clock tower that on a clear day, offers visitors splendid views of the surrounding region.
On Thursday September 29th the team will embark on the last day of their adventure. Upon leaving Draguignan the landscape becomes slightly mountainous while the views become more intense as the team nears the Mediterranean. Throughout the final miles of the journey the team will catch a glimpse of the luxurious resorts and beaches of Cannes and Antibes before finally coming to a screeching stop in the beautiful city of Nice.
To make a donation to the Vélocité Paris to Nice charity cycle visit www.paris2nice.com or www.specialolympics.org/velociteFollow the Vélocité teams' progress online at www.paris2nice.comView images and post messages of support for the team on the Vélocité facebook pageFor more information on hostelworld.com visit www.hostelworld.com
Help us reach one more athlete.
Find out about the many ways you can get involved in the Special Olympics programs nearest you. There are 58 country-level offices in the Europe/Eurasia region.
Stay in touch! See inspiring stories, photos and videos in our Special Olympics newsletter.
Today, the Templeton Foundation gave its most prestigious award to my hero, Jean Vanier. For Linda and our children and me, he has also been our retreat leader, our teacher of humility, our guide.
Posted on 2015-03-11 by Tim
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Reader comments are listed below. Comments are currently closed and new comments are no longer being accepted.
Good!!!Starting even if I didn't vote for EPN because the PRI and because he looks a bit stupid sometimes.But we are a democracy and we have to support our President!!! Mr. EPN please do your best and the Mexicans many of them will change their minds about you!!!!
There is no way that Mexico will open the oil industry to the private sector. As mentioned here, it's part of the constitution and historically, it's imprinted in the mind of the mexicans that they own Pemex because they partially paid the money to buy it from the foreign companies in the 1930s. EPN (that is how we call Enrique Peña Nieto in Mexico) never promised to open Pemex to private investment, he spoke about associating with private companies as a form of hiring services. Many of us don't like EPN, I didn't vote for him, but he is our president and so far he's up to a good start.
The article did not mention breaking up the telephone and other monopolies. What happened to that?
There are no telephone monopolies in Mexico. Telmex and Telcel´s services may suck, but if you don´t like them, you can move to other service. Likewise, if you have a few billion dollars lying around, you can set up your own telco in Mexico.
Don´t confuse "monopoly" with market dominance. Not the same thing.
It may not be a "Monopoly" but it is definitely an oligopoly
The telecom industries of many countries are oligopolies; the economies of scale and economies of critical mass of the industry push towards such economic structure.
Just take a look at the tortuous story of the telecom industry in the US.
Too soon to judge, of course, but no doubt that Pena Nieto started with a whirlwind of action. The best beginning to an administration since that of Carlos Salinas in 1988.
Yes. And we all know how that ended: an orgy of corrpution. The
main characters of that tragedy are behind little Peña: Salinas
and Aspe.
Yes. And we all know how that ended: an orgy of corrpution. The
main characters of that tragedy are behind little Peña: Salinas
and Aspe.
Yes. And we all know how that ended: a festival of corrpution. The
main characters of that tragedy are behind little Peña: Salinas
and Aspe.
You are still stuck in the phantasy of the All Powerful Salinas? :)
Promises, promises. Nothing will happen. 20 oligarchs control everything.
Well, thinks are already happening. Don´t you read the news?
Do you follow up on what you read? Amigou freshen up on your "reading between the lines" skills.
Could you be a little more vague?
I could but if I would you still wouldn't get it. (I.e. your reply)
Maybe I´m too obtuse to understand, or maybe you are too dimwitted to explain.
Peña Nieto won't open the energy market for private investment. He lied
It´s naive to think that Mexico will "open" its oil industry. Oil is owned by the government, it´s part of the constitution, and it´s damn hard to change that. It´s never going to happen.
What a weird last paragraph of your note.
The Pacto Por Mexico, a document signed by political forces, pretty much outlines what will happen in energy markets in Mexico: nothing.
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Bitter dispute led to Delaware courthouse shooting
Tuesday - 2/12/2013, 11:44pm EST
Associated Press
WILMINGTON, Del. (AP) -- A bitter custody battle that included an international kidnapping and prison sentences for a former optometrist and his mother ended in gunfire at a Delaware courthouse, with the doctor's father killing his former daughter-in-law and another woman before fatally shooting himself, authorities said Tuesday.
Delaware State Police said Thomas Matusiewicz, 68, walked into the lobby of the New Castle County Courthouse on Monday, pulled out a .45-caliber semiautomatic pistol and shot Christine Belford, a 39-year-old mother, and her friend Laura Mulford, 47. He then exchanged fire with police, striking two officers who were protected by armored vests.
Authorities were working Tuesday to understand how the killings were planned, questioning former optometrist and convicted kidnapper David Matusiewicz (muh-TOO'-suh-wits) about his father and searching the older man's home in Edcouch, Texas. The yard of the small single-story home was filled with a crime scene investigation truck and unmarked grey pickup trucks commonly driven by federal agents.
Hidalgo County Sheriff Lupe Trevino said Texas authorities were searching the premises on a request from Delaware law enforcement officials.
Belford and Mulford, both from Newark, were at the county courthouse on Monday to attend a child support arrears hearing for David Matusiewicz, Belford's ex-husband.
Delaware State Police said David Matusiewicz and his father entered the courthouse lobby about 7:40 a.m. David Matusiewicz went through a security checkpoint while his father remained in the lobby. About a half-hour later, Belford and Mulford entered the lobby, and Thomas Matusiewicz approached and shot them, police said.
Thomas Matusiewicz then exchanged gunfire with police, taking a bullet in the upper body but dying from a self-inflicted gunshot to the head, said Delaware state police spokesman Sgt. Paul Shavack.
The shooting was the culmination of years of strife between the Matusiewicz family and Belford, who battled David Matusiewicz for custody of their three daughters. In 2007, he kidnapped the girls and took them to Central America, court records show.
In a bankruptcy filing in Texas last year, Thomas Matusiewicz noted that he and his wife, Lenore, along with his son and daughter, Amy Gonzalez, were defendants in a Delaware Superior Court lawsuit filed by Belford.
Amy's husband, Juan Gonzalez, said the acrimony had stressed out the family, but that they were shocked by Monday's shooting. Juan Gonzalez said Lenore Matusiewicz told Amy Gonzalez she saw no signs that her husband was planning violence.
Gonzalez, of Edinburg, Texas, said he last saw Thomas Matusiewicz about a week ago as the family was preparing to drive east for Monday's court hearing and to visit a family member in New Jersey.
"I guess Tom had other plans," Gonzalez said. "We're still trying to figure out why he did that."
Gonzalez said his wife told FBI officials that her father had a brain tumor that went untreated for years, and that she wondered if it could have played a role in the shooting.
"He was changing -- forgetting things," Gonzalez said.
At the heart of the lengthy custody and child support battles were the former couple's daughters, ages 7, 9 and 10. In 2009. Two of them were pictured with their mother in the Wilmington newspaper after returning home from Central America. They were shown as blonde, smiling youngsters. One sat in Belford's lap as her mother stroked her hair.
David Matusiewicz pleaded guilty in 2009 to federal fraud and kidnapping charges after fleeing to Nicaragua in a motor home with his mother and the three girls. Investigators said David Matusiewicz, who was released from prison last year, kidnapped the girls after forging his ex-wife's name on a loan document.
According to court records, Matusiewicz took the girls to Central America after telling Belford they were going to Disney World for two weeks. The two were divorced and sharing custody at the time. Prosecutors say he forged his wife's signature to obtain nearly $250,000 from a Delaware bank, then sent the money to his parents' bank account and had his father transfer the money to a Bank of New Zealand account.
Thomas Matusiewicz was not charged in the scheme, but Lenore Matusiewicz pleaded guilty in state court to endangering the girls' welfare and was sentenced to 18 months in prison.
The attorney general's office on Tuesday obtained a court order forbidding Lenore Matusiewicz, 67, from having any contact with her grandchildren.
Jason Miller, a spokesman for the attorney general's office refused to say whether the girls were placed with another family member or were in state custody.


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Skeena River Waders-King (Men's)
Out of Stock Product Number: 32104
Whether you're scrambling up small, high-gradient freestones or climbing over drift boat gunwales to do the cast-step-mend steelhead dance, the fact is, most wader failure is caused by abrasion along inner leg seams. The solution for wader longevity? Move the seams out of the high-wear zone to the back outside of each leg. Our Skeena River Waders feature SSC (single-seam construction) for significantly enhanced durability and freedom of movement. These highly versatile, lightweight fly fishing waders are built from varying weights of tough, 4-layer polyester microfiber with our proprietary waterproof/breathable H2No barrier and NanoSphere DWR (durable water repellent) finish. They're also loaded with fishing-friendly features: waist-mounted EZ-Lock suspenders easily convert from chest to waist height and provide quick relief without having to remove your jacket; internal, welded TPU-waterproof pocket keeps camera or phone dry; chest handwarmer pockets with water-resistant zips protect your off hand from the elements; additional upper storage pockets and 100% nylon utility keeper secure essential tools. The custom fit left and right booties are made from 3mm neoprene with abrasion-resistant soles. Field repair kit included.
* This product does not qualify for shipping to all countries.
- H2No Performance Standard polyester microfiber shell, with a proprietary waterproof/breathable barrier and NanoSphere DWR (durable water repellent) finish; highly durable and puncture-resistant fabric has no multiple layers or added weight
- Waist-mounted EZ-Lock suspenders allow easy conversion from chest to waist height for quick relief without having to remove jacket; TPU slide-and-lock design on front and back of suspenders offers security when wading deep
- Full elastic back provides all-day comfort
- Upper reach-through kangaroo pocket and horizontal-zip chest pocket keep hands warm and allow quick access to tippet spools, nippers and floatant
- Interior welded TPU-waterproof zippered pocket protects camera, cell phone; lasercut Hypalon utility keeper allows access to tools, nippers
- Anatomically curved knees; anatomically designed left and right booties with abrasion-resistant soles
- Field repair kit included
Gender: Men's
Weight: 1052 g (37.1 oz)
Material: H2No Performance Standard shell
Fit: King
Technologies: [H2No Performance Standard]
H2No Performance Standard
Season: F14 S15
Vendor ProductId: 82315
Review ProductId: 32104


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today's shot.
can't hardly see it because of clouds,
but there it is
check it out. today the volcano is belching out mass quantities of noxious fumages.
alright chicha...you got me...just turned it on and saw very little, then it gradually appeared...what the hell is it?
you talking about Nibiru? Or the Vulcan, which is glowing now. If Nibiru, I've gotten a lot of info from YOWUSA. This guy explains what it's not. it's 49 minutes. that's how I got to the cam. checking out if it"s caca de vaca.
It's the ghost of the black spy vs spy
its a scout ship from a race of large-breasted amazon women who need surfers to re-populate their race.


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Avere Takes Edge-Core to the Cloud
Click here to download now
Overview: The future of storage is in the cloud. Integrating it into existing network-attached storage (NAS) infrastructures can be challenging. In this technology report, DeepStorage.net blogger, Howard Marks, takes a look at Avere's Edge-Core architecture with its newly announce Cloud NAS.
Marks explores:
How Cloud NAS works
Its usefulness in providing NAS access from multiple locations
The ease of migration between traditional and object-based storage solutions
The financial benefits of object storage


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COOK rice as directed on package, omitting salt.
MEANWHILE, cook chops in large nonstick skillet on high heat 2 min. or until bottoms of chops are browned; turn. Sprinkle with oregano; top with peppers, dressing and tomatoes. Bring to boil on medium heat; simmer on low heat 10 min. or until chops are done (145ºF).
REMOVE chops from skillet; cover to keep warm. Cook vegetable mixture on high heat 1 to 2 min. or until vegetables are tender and sauce is thickened, stirring occasionally.
SPOON rice onto serving plates; top with chops. Spoon vegetable mixture over chops; sprinkle with cheese.


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Sexual Addiction Center - Cranston, RIWebMD Physician DirectoryCranston, Rhode IslandSexual AddictionSexual addiction facts
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Two Brothers M-2 VALE Exhaust System Yamaha FZ6R
This system completely replaces your existing exhaust system. This not only adds horsepower, but also can drop significant weight from your bike. Two Brothers' builds their header systems as a complete unit.
Their finished system flows better at the collectors, makes more power and does not vibrate on the bike.
TBR's superbike stainless steel headers are manufactured from .035" thin wall stainless steel. They then polish them to a satin finish. The ductile quality of stainless steel makes it possible to produce extremely light and strong headers. TBR uses only premium #304 stainless which will never rust and after a few heat cycles will turn a golden amber color which is the characteristic signature of high quality stainless steel. This type of canister can be mounted in the original position or in a "high" mounted position depending on the bike.
NOTE: Please check local laws before purchasing. Some modifications may be prohibited in some states.Resources:
Have a functionality, fit, or otherwise product-specific question about the Two Brothers M-2 VALE Exhaust System Yamaha FZ6R 2009-2015? Ask it here! If you have a customer service or shipping question, please direct it to our Customer Service department.
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Sun Advocate Archives: Shoot first, ask questions later gets early lawman into big troubleThe story of a shooting and a subsequent death from the actions of a company guard (and former deputy sheriff) dominated the news of the fall of 1912 and the winter of 1913 in Carbon County.... | |
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And now, for the sake of god and the universe I kindly ask: Who the fuck is using this operating system?
Thanks for the reply, also in case someone says "I am! it's me!", be sure to explain WHY THE FUCK YOU ARE USING IT.
Phoronix: NetBSD 6.0.1 Released, Brings Bug-Fixes
For those of you currently on NetBSD 6.0 or are using NetBSD 5.x as your operating system but have been wanting a reason to upgrade, the first NetBSD 6.0.x point release has surfaced...
And now, for the sake of god and the universe I kindly ask: Who the fuck is using this operating system?
Thanks for the reply, also in case someone says "I am! it's me!", be sure to explain WHY THE FUCK YOU ARE USING IT.
it called a specialized OS. there are literally dozens. in the light of this, its linux that looks silly and pointless. it strives to be a general purpose OS, but is crap for the average user because of lack of apps, useesotericworkarounds, biannualforceddeathmarch, stableapiabinonsense. with the way gnome is heading with nautilus and whatnot, windows 8 (which is a usability clusterf***) looks like a freaking powerhouse next to it.
I've used netbsd mainly for fun. I run it on my SparcStations. I also run Gentoo, Redhat 5.2 and OpenBSD on them. OpenBSD is alot nicer out of the box acutally but NetBSD tends to have a bit more hardware supported and has SMP for 32 bit Sparc so it sorta depends on the particular box I want to run it on.
For instance SparcStation LX is a clear candidate for Linux or OpenBSD as it is a uniprocessor box. Whereas a SparcStation 20 with dual 150Mhz HyperSparcs would be better off with Linux or NetBSD both of which support SMP. That said Linux is a bit of a pain to deal with upgrades as stuff breaks alot like upgrading to glibc 2.15 ... sunrpc got ripped out so I haven't sorted that out yet probably simpler to just cross compile at this point.
And yeah I have extra disk space setup via my regular workstation which proviles a several Gb NBD mount that my box can mount over the network.... if only BSD supported NBD that would be so nice.
Because of its simplicity, portability, and clean code, NetBSD is used heavily in embedded development. Pretty much any Apple embedded device (Time Capsule, etc.) uses it. I believe NASA also uses it for some embedded systems that need to go into space.
NetBSD may be old, and lack features that a desktop user would want, but it is stable and has very clean and portable code. It's the closest you get these days to an old-style UNIX OS.
Thanks for the replies. To "DanL", if you carefully read my post I NEVER said "netbsd sucks and is pointless". I asked, in a harsh way yes, what's the point of netbsd and so if someone is actually using it.
NO ONE SANE WOULD USE THIS IS SHIT FACE, CRAP, SHIT, SHITTERMANIC OS. Only retards, freedom haters and ASSHOLES and those like BDSM from M$ and apple.
Frankly I don't see why the shit does this bunch of retards continue to release suck a unless OS they only shit people uses when they could just be productive and create their own linux distro.
I DISAGREE, when bulletxt ask this question, it's reasonable and those people who use such a pointless OS (BSD) have no justification to. They are the ones who should be ask how old are they.
There aren't a lot of NetBSD user in the phoronix becuase there AREN'T A LOT OF NETBSD USERS IN THE FIRST PLACE.
WTF!!??, Linux is far more useful then NetBSD. All NetBSD does is just boots up on as many systems as it can and on majority of those systems, it is useless as it does not have FUCKING DRIVERS to use their features (touchscreen etc.) while Linux on the other hand works and is useable on literally all the platforms it is ported to.
This is why you never see a smart phone running NetBSD and being usable which by contrast Linux has done.
Whats more is that NetBSD is not the king of portability, Linux is.


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As the U.S. government weighs its next step in a broader government response to a damaging cyber attack on Sony, President Obama ramped up his criticism of the Hollywood studio for its decision to pull back the release of �The Interview,� saying the comedy should be in the running for an Oscar.
Gothic folklore met modern dentistry, with the whole world watching. This was the World Cup and the Bite of Brazil — a mouthwatering, open-jawed, succulent chomp on an unsuspecting victim that would have done proud any vampire worth his cape.
NEW YORK � The police killings of unarmed blacks in Ferguson, Missouri, and elsewhere � and the investigations and tumultuous protests they inspired � was the top news story of 2014, according to The Associated Press� annual poll of U.S. editors and...
Florida has passed New York to become the third most-populous state as it adds about 800 people per day, according to the U.S. Census Bureau.
Whole house fans have changed -- for the better! Although this natural home cooling method has been around close to a century,...
For�Seth Rogen, seeing his film�The Interview�on a big screen was a Christmas miracle. So he...
Did Santa bring you a tablet or phone for Christmas? It's time to put that new toy to use: to watch TV!
Talks on ending the more than eight-month conflict in Ukraine resumed Wednesday after the country's parliament angered Russia by voting to cancel its non-aligned status.
Meb Keflezighi strode alone down Boylston Street, past the patched-up sidewalks and re-opened restaurants that line the path to the Boston Marathon finish line. On his race bib he had the names of those killed there by a pair of homemade bombs, and...
Of all the incriminating Sony�emails leaked in the hack, the one�
Caroline�Forbes has had more than her share of love interests on�The Vampire Diaries. But how...
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