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Artist CV:James Wilson Morrice
BORN: Montreal, 1865
DIED: Tunis, Tunisia, 1924
University of Toronto, 1882-1886
Law, Osgoode Hall, 1886-1889
Académie Julian, Paris, c.1892
Was set to study law, but left Canada for Europe in 1890 and settled in Paris to pursue painting. During his time in Europe and North Africa he was acquainted with with many of the leading artists and cultural figures of the time, in particular having an important artistic relationship with Henri Matisse. He travelled widely: Italy, Belgium, Spain, Holland, Great Britain, Algeria, Jamaica, North Africa, Cuba, and Trinidad. Approximately once a year he returned to Canada and sketched in Quebec and Montreal. Morrice was a pioneer of post-impressionism an important influence on the development of Canadian paintings most important artists.
1888, Royal Canadian Academy annual exhibition
1989, Spring Show, Montreal Art Association
1925, the Art Association of Montreal
1926, Galerie Simonson, Paris
1932, Art Gallery of Toronto
1937-1938, National Gallery of Canada
1953, Royal Canadian Academy
1965, National Gallery of Canada
Never had a one man show while he was alive
McMichael Canadian Collection
Art Gallery of Ontario
Vancouver Art Gallery
Musée du Quebec Musée National dArt Moderne
Addison Gallery of American Art
Musée National Du Louvre
Musée des Beaux-Arts de Montréal
Museum of Modern Art, Moscow
Tate Gallery
National Gallery of Canada
Terra Foundation of the Arts
Vancouver Art Gallery
Musée National Du Louvre
Vancouver Art Gallery
James Wilson Morrice
1865 - 1924
Morrice opened our eyes to things no one ever thought of painting.
A. Y. Jackson
(From James Wilson Morrice: Painter of Light and Shadow by Wayne Larsen, 2008)
James Wilson Morrice was one of Canadas first modernist painters. His landscapes, which showed the beauty of the country in a way the world had never seen before, helped form the identity of Canadian art, and his commissioned war scenes brought a new perspective to World War I.
Morrice originally studied law in Toronto, but decided to pursue art instead. After moving to Paris in the early 1890s, he studied at the Académie Julian, and under the Barbizon painter Henri Harpignies. His landscapes of the period show the influence of American painter James McNeil Whistler, but by 1905, his work became more Post-Impressionist. He visited Canada often, creating some of his best work in his home province (The Ferry, Quebec, 1907). He became friends with Henri Matisse, who was associated with the Fauve Movement, and in 1912, they travelled to Tangiers together. Morrice would also travel extensively through North Africa, the West Indies, Cuba and Venice, searching for the warm light and rich colours found in many of his paintings.
During World War II, Morrice was commissioned by the Canadian War Records to paint on the front lines. His moving portraits of marching soldiers would be considered some of the best representations of war in art (Soldiers in France, 1918). Morrice exhibited regularly at the Salon dAutomne in Paris, and at the International Society of Sculptors, Painters and Gravers in London. He was the first Canadian painter to have his work exhibited in the Venice Biennale (1903), and one of the first Canadian artists to gain widespread international acceptance.
Courtesy the National Gallery of Canada
MORRICE, James Wilson
Born in Montreal, P.Q., the third of seven sons of David Morrice textile manufacturer, merchant, financier (Dir. Bank of Mtl.; Pres. Penman's Ltd.; Pres. Mtl. Invest. & Freehold Co., etc., etc.) a native of Perthshire, Scotland. The elder Morrice was an enthusiastic supporter of the church and the arts, especially of the Montreal Art Association and the Royal Canadian Academy. Young James was brought up in typical surroundings of a wealthy household with all the material needs available. On the walls of their home were fine works of art. His father however would later have reservations about him becoming an artist because of the financial uncertainty many artists suffered. The Morrices were orthodox Presbyterians and so they adhered to the practice of keeping the Sabbath holy. Receiving visitors on Sunday was discouraged and reading weekly papers was forbidden. Much of their time on that day was to be spent in meditation. At an early age young Morrice began to draw and carve in wood. He loved carving sail boats and his mother would make the sails for them. He was never to lose his love of boats nor art. He attended a private school on Sherbrooke Street where he was a quiet student but participated in sports despite his small physique. In his Latin books he sometimes made sketches of his classmates. But none of his early art work gave any indication that he would become an outstanding painter. In 1882 at the age of seventeen he entered the University of Toronto where he was an average student and received his B.A. in 1886. During his study at university he began doing water colours. He had also taken up the flute and became an accomplished player. Every so often he joined his fellow students in making the rounds of the saloons and it was then that he first acquired a taste for strong drink. He did his painting on the outskirts of Toronto, along the Don River, in the Adirondacks or at Lake Champlain. After graduation he entered Osgoode Hall, Toronto, where he studied law and was called to the Bar of Ontario in 1889. Up to then he had been following his father's wishes. The senior Morrice wanted his son to have the security of a profession. But James' ambitions lay elsewhere. All during his later college years his interest in painting had been growing and the idea of becoming a lawyer began to bore him. While attending Osgoode Hall he submitted a painting to the Ontario Society of Artists but it was rejected. He continued painting while articling for a firm of lawyers in Toronto. Then one of his compositions was accepted in the annual exhibition of the Royal Canadian Academy. The following year he had two of his paintings accepted at the spring salon of the Montreal Art Association. By 1889 evidence of his talent began to appear in his work. After completing his legal studies he made it clear to his father that he wanted to become an artist. He might not have succeeded in persuading the elder Morrice to give his support had it not been for Sir William Van Horne, a neighbour in Montreal, who had seen some of young Morrice's work and was convinced of his talent. Van Horne purchased either at that time or later, one of Morrice's paintings from William Scott & Sons of Montreal. He encouraged the young man and allowed him to see his magnificent art collection. With persuasion from Van Horne and William Scott and the determination of his own son, the elder Morrice agreed to pay for James' art education abroad in the form of an allowance each month. The young man departed for Europe in 1890 and visited the city of Dordrecht, Holland, which had been the subject of artists' canvases he had seen in Canadian collections. Eventually he arrived in Paris alone and took a room in Hotel Moderne, Place de la République, located in an unspectacular district of the city. He enrolled in the Académie Julian where he studied for a short period until practical jokes, for which this institution was notorious, drove him from the school in utter disgust. The last straw had been added when a student broke a long round loaf of bread over his head while he was busily engaged in making a study at his easel. He was attracted by the landscapes of Henri Harpignies and he persuaded the old man, then in his seventies, to criticize his work once a week for a fee. Harpignies was a painter of the Barbizon school and much influenced by Corot. Morrice considered his criticisms the only tuition of any importance in Paris. Harpignies expressed in his own work the changing effects of atmosphere and sunlight and achieved delicacy in the use of grey-green for grass and trees, ochre tones for dry earth and blues and greys for skies. He added a touch of red in his compositions usually on the clothing of people. Paintings by Morrice around 1895 show considerable influence of this mentor. In Paris those first few years Morrice spoke or understood little French and therefore mingled mainly with British and American artists. He was an avid reader who took a particular delight in poetry and coupled with his personal charm he blended easily in literary circles gravitating for the most part in the cafés of the Latin Quarter and the Montmartre area. Of particular importance was the Chat Blanc restaurant in the Montparnasse district where a group of intellectuals visited, including Oscar Wilde, E. Arnold Bennett, Aubrey Beardsley, Somerset Maugham, Augustus John, Walter Sickert, Charles Condor and others. They accepted Morrice in their company and both Maugham and Bennett were so impressed with his personality that they drew upon it for characters in their books. Morrice emerges as the poet Cronshaw of Maugham's Of Human Bondage, as Warren in The Magician also as Priam Farll in Bennett's Buried Alive. Around this period he met Maurice Prendergast, William Glackens and Robert Henri all in Paris to study. All three Americans later became members of 'The Eight' in United States. They made trips to the coast towns and villages of Brittany, Normandy and elsewhere. In 1891 Morrice was at St. Malo and Dinard with Prendergast and Conder and later at Dieppe with Conder, Prendergast and Sickert (whom he probably met at Dieppe). In 1892 he visited Holland. By 1893 he had become greatly influenced by the work of Whistler who in turn thought highly enough of the Canadian's work to place it in the same category as Monet, Degas, Fantin-Latour, Harpignies, Zorn and Cottet (all exhibitors in the Third Exhibition of the International Society of Sculptors, Painters and Gravers). Finally Maurice Cullen arrived on the scene to study at the Beaux-Arts and it was not long before they met at the Café de Versailles. The two Canadians travelled to Venice together during 1896-97 and found good sketching grounds both day and night along its canals with its unique traffic of gondolas. Maurice returned to Venice several times between 1896 and 1906 with Prendergast, Pennell and Marquet. In Paris his first studio was located in the highest area of the city (Montmartre). He then moved to the Left Bank in 1899. Here at Number 45 Quai des Grands-Augustins, Morrice rented a dingy apartment in the old stone building which became his studio and living quarters. Through the French windows he had a magnificent view looking towards the Seine and it seems that this was the most important factor to him in the otherwise drab surroundings. Over the years friends and relatives urged him to find something more suitable but to no avail. He made that apartment his home base for a good part of his life. From time to time Morrice did figure and portrait studies and advertised for a model. His ad was answered by a young girl of eighteen, plump, good-natured and generally attractive. Her name was Lea Cadoret. She posed for him five or six times and then they fell in love. At that time she was living with her aunt who owned a pastry shop in the neighbourhood on Boulevard St.-Germain. Morrice offered to support her and she agreed and became his mistress. He found a flat for her on Boulevard St. Michel. Morrice, then thirty-three, at times mentioned casually to some of his friends that he had a middle aged woman companion. His closer friends however came to know her (Conder and later Marquet, Matisse and others). Throughout his life she was at his side when he needed her. Morrice was always fair to her with the exception of when he travelled abroad. She never found out he was gone until she received a post card. Their relationship seems to have been strengthened by them having their own respective places to live. This gave Morrice freedom to come and go as he pleased and to paint in his studio free from distraction. This left Lea also relatively free. They had very few quarrels. But she did accompany him to the opera or various other places and often in the afternoon when he painted by the cafe tables of Paris: Sometimes she would step forward for him into the scene if he wanted a figure in his composition. When he visited or travelled he took his flute with him. He performed with ease the music of Bach, Schubert and other composers. At times he would visit Gabriel Thompson, a Welsh painter, who owned a piano and they would perform their music together in the company of friends like Roderic O'Connor, the Irish painter, and Clive Bell, who became a prominent art writer. In his painting Morrice began to move into prominence. In 1901 he exhibited at the International Society of Sculptors, Painters and Gravers in London, England, and continued to show with this group until 1914. He became an honourary member of the Royal Canadian Academy in 1914. He won a silver medal in 1901 at the Pan American Exhibitions, Buffalo; mingled with noted writers and artists at Le Chat Blanc restaurant, Café Versailles, Café Alençon and Closerie des Lilas, all in Paris. In 1902 he went to Florence, Venice and Siena with Maurice Cullen and William Brymner. A painting of his was bought by the Pennsylvania Academy of Fine Arts and another was bought by the Société National des Beaux-Arts for the French National Collection in 1904. In 1905 he exhibited at the first Salon d'Automne, Paris. In 1906 he visited Dennemont, Antwerp and one of his paintings was purchased by the Musée des Beaux-Arts, Lyons and he began to exhibit at the Carnegie International. Each year he returned to Canada for a few months to reunite with his family and good friends in Montreal. On his way he painted scenes on board ship such as En Plein Mer one of his finest works. Once home he went sketching with Maurice Cullen and William Brymner mainly around Quebec City and other spots. From his experience in Europe he changed his handling of snow from white to olive green, blue grey and later, as he became more familiar with the Impressionists, he made purple, violet and ochre shades in his snow. Brymner spent his holidays in Paris. Morrice also kept in touch with Newton MacTavish art critic and trustee of the National Gallery of Canada. Most of his contacts with MacTavish were by letters which in later years have provided valuable information for art historians and writers. He became a charter member of the Canadian Art Club, Toronto, in 1907 and also spent some time in New York City during the same year. He turned his attentions to the south of Europe, North Africa and the West Indies. He had been influenced by the work of Gauguin and Matisse. He had met Henri Matisse at one of the salons in Paris and through him had become interested in North Africa. In the spring of 1910 he visited Marrakesh and spent the next winter (1911-12) in Tangier with the intention of meeting Matisse. He wanted to know the artist and his work better. Matisse never suspected his meeting with Morrice was anything more than chance. The two men got on splendidly in the evenings chatting beside the café tables but at no time did they ever paint together. At the end of the season Matisse would spread out his finished paintings for Morrice to view. The next year (1912-13) both men returned to Tangiers but did not, as before, lodge in the same hotel. Outside their painting hours they continued to spend many of their evenings together. Matisse once remarked years later that Morrice drank as many glasses of alcohol as he did mineral water. The Moorish pedlars of tourist items would pester the two men. Matisse would joke with them, exchanging playful teasing, but Morrice could not endure them, would lose his temper and demand that they leave him alone. Their revenge was complete when they went running after him in the streets pointing and yelling 'whiskey, whiskey.' He returned to North Africa many times and it is believed that he had a studio in Marrakesh for a season. After the death of his parents in 1914 Morrice made fewer and fewer visits to North America. At the outbreak of the First World War air raids on Paris and the blackouts brought an abrupt end to his evening activities. Despondent he left for London where he spent a short period then on to Canada and from there to Cuba. He was back in Paris by the spring of 1915. In 1916 Lea persuaded him to move to a cleaner and more comfortable studio on Quai de la Tournelle not far from his Quai des Grands Augustins quarters. He was on the same side of the river with a similar view at a slightly wider section of the Seine opposite the Ile St. Louis. He painted scenes from both of his studios which were much the same in composition. When his father died in 1914 Morrice received a sizable share from his estate which left him fairly wealthy. But he never displayed any lavishness with the exception of his fine clothing. When he travelled he stayed in second-class hotels and developed the habit of playing poor. Through the years he had a great liking for alcohol especially absinthe and the doctors whom he visited warned him to stop drinking or risk going blind. On one occasion when he was ill he went to hospital. He chose an inexpensive institution operated by a religious brotherhood of St. Jean de Dieu on Rue Odinet, Paris. His food was brought to him on tin plates and tea in tin mugs. He was quite content with these conditions even though he could have afforded better accommodation in a local American hospital. His deteriorating health was one of the reasons why he sought refuge in warmer climates. He had been travelling south with Lea for a number of years and decided to buy her a house in Cagnes-Sur-Mer not far from Nice. The dwelling had large rooms and a gravelled terrace with a fine view. Morrice himself only spent an hour in the house to inspect those aspects which he thought would make her happy. In 1917 he worked in his new studio in Paris and the following year he was commissioned by P.G. Konody, English critic who was familiar with his work, to do a large canvas depicting Canadian soldiers. He got into uniform, shaved off his beard and made studies in his sketch books in the war zone. He then proceeded with larger sketches in oils and finally produced a painting 108 x 144 of Canadian soldiers trudging along a muddy road. The work is now in the Canadian War Collection. In 1919 he was back in Marrakesh and his health began to give him serious trouble. In 1920 he made his last trip to the West Indies and stayed in a house lent to him by a man named Austin (a Montreal banker), then later he visited Trinidad and returned to Paris in 1921. He was at Cagnes again in 1922 where he met Renoir and from there went to Nice, then to Corsica and finally Algiers where Lea joined him. She watched him do an oil and some water colours of the harbour from the window of his hotel room. Albert Marquet, the French painter was there also and they spent some time together. When Lea was leaving, Marquet and Morrice saw her off at the boat. Morrice, deeply moved, perhaps with the thought that his time was running out, cried as she left. In April of 1922 he returned to Paris where Edwin Holgate visited him at his studio and saw what were probably his last few paintings. There were water colours Morrice did which Holgate felt had the same beauty of tone as his oils. One of these paintings was acquired by Hart House and reproduced in J. Russell Harper's Canadian Paintings In Hart House (P. 8, 1955). It is generally felt that Morrice did little painting after the summer of 1922, the same year that he took a water cure at Evian-les-Bains, Lake Geneva, Switzerland, which unfortunately did nothing for his condition. From there he went to Leysons to see a friend convalescing in a T.B. sanatorium, then to his brother Arthur's home at Montreux. It was there that he was found on his hotel bed seriously ill. He was rushed to hospital and operated on at which time intestinal ulcers were discovered. He recovered sufficiently to travel and returned to Paris. From then on he kept to himself much of the time and it was even rumoured in Paris that he had died. The Salon d'Automne with which he had been exhibiting over the years listed him as deceased. In the winter of 1923 Morrice visited his brother again in Switzerland, also Nice where he spent Christmas day with Lea, and from there to Mentone (not far away) where he met William Brymner and his wife who were staying in France at that time. The Brymners were shocked to see how ill he looked; later they received a post card from him marked Palermo, Sicily, and this seems to have been the last note he wrote to anyone himself. He sailed for Tunis where he was stricken by another attack and rushed to the French military hospital. He asked that messages be sent to his relatives and to Lea Cadoret. He died in Tunis on January 23, 1924, and was buried on the 25th in the European cemetery. At his funeral were an English Church clergyman, the English Consul and the French doctor. This cemetery until recently was called Cemetery of the Avenue Taieb Mehiri and was in the process of being decommissioned in 1968 to allow Belvedere Park, which the cemetery adjoins, to be enlarged. It was thought that Morrice's remains would be moved to another cemetery called El Borgel. Lea was alive in 1959 and was still dividing her time between Paris and Nice at the age of seventy-eight. She had a number of Morrice's paintings and sold some of them to the Morrice family in Montreal but she was reluctant to sell any of his work to art dealers. Morrice himself had very little to do with the dealers by preference with the exception of Scott and Sons of Montreal. It was not until after his death that his paintings began to appear on the walls of art dealers in Europe and Canada. Throughout his life he made presents of his panels to his friends in many countries. Many of these oil paintings on wooden panels were no larger that a standard post card but they were produced in all sizes (e.g. 3-5/8 x 6-1/8, 4-1/2 x 5-3/4, 6 x 5, 9-1/4 x 13, etc). One estimate is that he did at least five hundred panel sketches of which one hundred were in collections of Parisians alone. From these little panels and from his small sketch books he made his larger canvases. All nineteen of his sketch books were acquired by the National Gallery of Canada. The panels were kept in specially made white boxes. Gaston Latouche is credited with giving Morrice the idea of painting miniature scenes out-of-doors. Morrice is credited with introducing the use of the panels to Canadian students and artists. Morrice seems to have gotten the idea for his small sketch box from the photographic plate containers commonly in use at that time. The box measured six by seven inches so that he could carry it in his coat pocket. His brushes were carried in a leather cigar case (usually three brushes). Slits in the box held a panel firmly while the inside cover of the box doubled as his palette. The portrait painter Gerald Kelly often sat with Morrice while he was making his tiny sketches. Much of what we know today about Morrice's sketching procedure was passed on by Kelly. His larger canvases were made by working from the background design forwards: red applied behind the blue of the sky, then the blue, next olives or lemons for the houses or trees; or in winter scenes he would at this point add blue, purples and violets of the snow. Loosely interpreted minor details were then added. In his early canvases he sometimes painted a new scene over an old one although he made some effort to scrape part of the old one off. In his later work he thinned his colours so that he could rub them together to create a blended effect. Signing J.W. Morrice, he seldom dated his work. The following is an attempt to list his influences and changes in technique with dates denoting the beginning of the influence or change: Dutch and Barbison (1889); Harpignies (1890); Walter Sickert (1891); James McNeill Whistler (1892); Courbet, Gaston La Touche, Charles Cottet (1905); he applied thin washes with white canvas showing through (1905-10); Fauves (1910); Matisse (1911); starts treating his canvases with reddish stain giving a flesh-coloured glow to his work (1910) although there seems to have been a reddish touch to his work from the beginning; paints on thin linen canvases which he purchased directly from dealers with no underpainting of his own. Some other artists who probably influenced Morrice include Monet, Manet, Sisley and Prendergast. Morrice never had a one-man show of his work while he was alive nor did he seem to have wanted one. All of the showings of his work took place after his death and are as follows: The Art Association of Montreal (125 work, 1925); Galerie Simonson, Paris (53 works, 1926); Art Gallery of Toronto (26 works, 1932); Jeu de Paume, Paris (47 works, 1927); Société National des Beaux-Arts, Paris (7 works, 1933); National Gallery of Canada, Art Gallery of Toronto, Art Assoc. of Mtl. (131 works, 1937-38); Royal Canadian Academy (45 works, 1953); The Montreal Museum of Fine Arts, National Gallery of Canada (150 works, 1965); National Gallery of Canada, Holburne of Menstrie Museum, Bath, Eng. (45 works, 1968). He is represented in the following collections: Vancouver Art Gallery; Winnipeg Art Gallery; London Public Library & Art Museum, Ont.; Art Gallery of Hamilton, Ont.; Art Gallery of Ontario; Hart House, Tor.; The McMichael Canadian Collection, Kleinburg, Ont.; National Gallery of Canada; Montreal Museum of Fine Arts; The Mount Royal Club, Mtl.; McGill Univ., Mtl.; Musée du Québec; Beaverbrook Art Gallery, Fred., N.B.; Pennsylvania Museum of Fine Arts, Pa.; Tate Gallery, London, Eng.; Musée National d'Art Moderne, Paris; Musée National du Louvre, Paris; Musée des Beaux-Arts, Lyons, France; Museum of Modern Western Art, Moscow; Heritage Museum, Leningrad, and elsewhere. His work is in many private collections including: Andrée & Maurice Corbeil, Mtl.; Mr. David R. Morrice, Mtl.; Miss F. Eleanore Morrice, Mtl.; Mr. H. Heward Stikeman, Q.C., Mtl.; Mr. & Mrs. Frazer Eliott, Mtl.; Jules Bazin, Mtl.; Mr. & Mrs. Jules Loeb, Tor.; Murray Vaughan, Mtl. and many others. An exhaustive study on Morrice was carried out during 1935-36 by Donald W. Buchanan who received a research fellowship from the Carnegie Foundation of New York. He visited Europe and contacted Gerald F. Kelly, R.A., and Clive Bell in London, Lea Cadoret in Paris, André Schoeller and his secretary who put him in touch with Louis Vauxcelles (prominent French art critic), Henri Matisse, Somerset Maugham and others. In Canada he was also aided by Newton MacTavish, David Morrice (the painter's nephew) and F.R. Heaton (successor at James Scott & Son). Buchanan also discovered over fifty photographic plates of Morrice's paintings dating before 1913. They had been photographed by a firm Crevaux which went out of business. Owned next by a man in Paris, the plates were sold to the National Gallery of Canada through Buchanan who acted on behalf of the Gallery. In 1936 Buchanan's definitive work James Wilson Morrice was published by Ryerson Press, Toronto, in which a catalogue raisonné of 193 paintings with brief descriptions, exhibit records, publication records, and names of owners of each painting during the time of the book's publication. Some of the paintings listed however could not be traced as to their ownership but were known to exist through reproductions or photographs. In his book The Growth of Canadian Painting Buchanan summed up Morrice's Canadian work as follows: The feeling which Morrice had for Canadian landscape, particularly its winter atmosphere, was true. But in his Quebec paintings he was not trying to tell one, as in a lesson, that his was nationalist landscape and northern air and skies; his approach, . . . was a much more subtle and more subjective one than that. The Group of Seven came after him and A.Y. Jackson, who, as a student, had always been strongly moved by Morrice's works, was, in a sense, one of his disciples. But Morrice did not have that same urgency of belief in Canadian nature which Jackson and his colleagues did . . . as he grew older, he mingled in Paris with those advanced painters who had formed the Salon d'Automne, and this brought him close in understanding to men like Matisse, who tried to organize the design of the picture surface by modulations, changes and contrasts in colour, as much as by line and perspective. His paintings were eagerly acquired during his lifetime by discriminating collectors in Paris. Appreciation of him by his fellow-artists also grew with the years. After his death, Matisse addressed to the editor of L'Art et Les Artistes a sincere letter in tribute to his friend, whom he called 'the artist with the delicate eye, so pleasing with a touching tenderness in the rendering of landscapes of closely allied values;' at the same time, Dunoyer de Segonzac organised a memorial exhibition of his work at the Salon d'Automne, an honour which that distinguished organisation had rarely bestowed before on a foreign artist. Similar recognition, especially for his later paintings, was to arrive more slowly in Canada. Those earlier and more sombre snow-scenes, done with pigment laid on thickly and with considerable over-painting . . . had sold well in Montreal, but after 1908, when more subtle and less obviously naturalistic colours began to creep into his painting and his style became more broadly calligraphic, his work found few buyers at home. In disgust, he ceased to exhibit in Montreal and soon forsook Canada entirely, except for one or two brief visits in 1917 and 1919 when he was en route from Paris to the West Indies. Today his paintings are eagerly sought after and sell for high prices.
Colin S. MacDonald
A Dictionary of Canadian Artists, volumes 1-8 by Colin S. MacDonald, and volume 9 (online only), by Anne Newlands and Judith Parker
National Gallery of Canada / Musée des beaux-arts du Canada


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During the course of the year, you've probably pondered a tattoo or two that you thought would match your style. Whether or not you decided to take the plunge, you certainly weren't alone when perusing some potential ink. Some of your favorite celebs weighed their options and decided to go under the needle for some amazing new tats.
Celebrity Tattoos
Guess The Celebrity With This Massive Tattoo?
It's real, alright. Any ideas who the celebrity is with the sizeable section of ink? Read more…
Lindsay Lohan's New, Obscure Tattoo Revealed, But What Does It Mean?
Did you read our piece published yesterday of Lindsay Lohan making a desperate dash from New York to L.A. to make her court date? After trying to wiggle out of it by pretending to be sick, and then being photographed in NYC the very same day, shopping and smoking, of course. Did you also shake your head, much as we did, and sigh, "Oh, Lindz …" Well, to answer the question posed yesterday: She made it to court in one piece. We say in one piece because anyone wearing those huge, unwieldy Christian Louboutin platforms in the picture you see above, could fall off them. And also because two hotels in Santa Monica rejected her, and mother Dina Lohan, as they arrived late at night. The Beverly Hills Hotel finally took them in, FYI. As expected, the judge (or Lindsay's old nemesis, as we like to call her), Stephanie Sautner busted the actress' chops, even saying, "I'm glad you're feeling better" as a dig towards Lindz's lame attempt to not fly to L.A. She's also said L.L. could still be found in violation of her probation, even if the jury finds her not guilty, and has set a trial date for March 1.
So that's that, for a quick recap. But now we want to focus on Lindsay's new addition: the tattoo you see on the right. It's etched on her right upper arm and features a red triangle and what appears to be written, "What dreams may come." It's a terrible ink job, we will admit. And really, that's what you focus on befor going to trial? A tattoo? Any guesses to what the significance of the red triangle and words mean? Have at it it in the comments section below.
[Photo: Splash News Online]
Disco Mom Snooki Gets A New Tattoo
We couldn't resist the "Disco Mom" Bit for Snooki but couldn't resist it due to that Studio 54-ish gold headband in this picture . The petite reality star got on Celebuzz around the New Year to show off her new tattoo — it's her sixth one — to the world. There are leopard spots, people. But it's Snooki, there had to be leopard spots in it. She also posted a lengthy explanation of what her new ink signified, and although it looks a bit like a Griffin to us, she says it's, "My fierce leopard tattoo. I wanted to get this because to me it represents being a strong independent woman, and obviously I love leopards/leopard print! The crown represents being a queen and being fabulous, and the wings represent everyone who has passed in my family." That's pretty sweet, you have to admit. The tattoo was inked by her favorite artist in L.A., Bryce Oprandi , at the The Martlet Tattoo and this post is going to mark the start of a short series by Snooki. She explained saying, "Every Monday I am going to be showing you one of my tattoos and the story behind it, so make sure you come back to find out about my other 5 tattoos and what I am planning on getting for my 7th!" We'll be there, Snooksters.
[Photo via Celebuzz]
Justin Bieber Sparks Controversy With Twitpic Of His New Tattoo
Justin Bieber is no stranger to that tattoo needle, and just yesterday he took to Twitter to show off his new ink. "Newtat" he captioned the extreme close-up image of his body art. Located on his left ankle, it depicts two hands praying reverently, while surrounded my roses. While the hands have been on JB's skin for some time, the flowers and some of the colors are a new addition. Several of Justin's tattoos are of a religious nature (in fact, he has the face of Jesus also tattooed on his left leg), but the tweets are sending social media savvy Beliebers into an uproar. Many are concerned that Justin is going too far with that tattoos and that he's permanently scarring his gorgeous bod.
"It's nice but too much," commented one fan, whereas another went with the most simple "Omg! No no no!!!" There is also some debate in the fan community as to whether or not the ink is actually his! The Biebs is currently in a gorgeous nondescript tropical location (of course) for the new years holiday and can't be reached for comment. We'll have to wait until he comes back to the stage for a better look. But in the mean time, what do you think of the new tatt? Sound off in the comments section!
[Photo: Instagram]
Justin Bieber, Rihanna, 1-D & More Get Inked Up In 2012: The 20 Best & Worst Tattoos Of The Year
We always appreciate celebrities who take to Twitter and Instagram and share their lives with us. And while a lot of what they share is amusing insight into their world, it's safe to say some of their most entertaining tweets are shots of their ink. Let's face it, tattoos are fascinating forms of self-expression and it's always interesting to see what people permanently etch into their skin — especially celebrities.
Lady Gaga, Drake, Justin Bieber, Rihanna, Adam Lambert and more got their ink on this year. And despite commending them for braving the needle, some tattoos are just worse than others. We've ranked them from our least to most favorite, so browse through our gallery of 20 Instagram shots and Twitpics and tell which is your favorite celeb tattoo of 2012.
Demi Lovato Takes To Twitter To Show Off Her New Tattoo From Kat Von D
A tweet for the tweets! Demi Lovato took to twitter last night to shared some snaps of her new tattoo with her followers. "And another picture of my new birdies," she captioned one of the several photos. The ink depicts 12 birds flying up her arm, trailing the word "Faith" written in elegant script. Deeper meaning or massive George Michael fan? You be the judge.
This isn't first experience with tattoos. The 20-year-old singer already has the words "Stay" and "Strong" tattooed on her respective wrists, as well as "let go" and "let God" on her feet. But this time around is pretty special the tatt was given to her by former L.A. Ink star Kat Von D! "Thank you so much @thekatvond for my new ink!!" she gushed. "I think it's beautiful and I love it!!" What do you think of the new ink? Get a closer look in the gallery below and let us know!
[Photo: Twitter]
Scarlett Johansson Gets Tatted Up, Also Gets Her Psycho On For V Magazine
It's kind of hard not to stare at this V cover of Scarlett Johansson. We've already marveled at the photographs of her as Janet Leigh in Hitchcock, which is based on the making of Psycho. Having said that, you now know exactly what the cover photograph is about, as it's so clearly a take on Psycho's legendary shower scene. She looks feral and gorgeous and scary all at once making this one of the most arresting covers we've seen on the magazine yet. This is also reminiscent of the W magazine goth cover Scarlett did, which was extreme in a similar way. Looks like magazines with initials agree with her! Of filming the actual scene, the actress said, "We only had the luxury to shoot the scene for a day, and everybody was feeling very nervous because it involved water and nobody wants the actor to get wet. They were concerned with modesty and all these things – but I don't care about any of that stuff and Janet Leigh never did either." Yeah, we have a feeling plenty of people would be just fine with Scarlett showing up to work and jumping into a shower.
It's also been interesting to see her without the makeup on in this photo published by Celebuzz of Scarlett's new tattoo. It's a horseshoe with the words "Lucky You" inked on her right ribacage. As in, lucky you to see Scarlett's ribcage? She got it while visiting Paris a week ago, and it was done by the French tattoo artist Fuzi Uvtpk. What do you think of it? It feels a little … country to us, but hey, is she's happy, we are too.
[Photo via V Magazine/ Celebuzz]
What's Cuter: Justin Bieber's New Owl Tattoo, His New Hamster, Or Him Holding The New Hamster?
We've been here before. 2010 saw mass hysteria as the world figured out that Justin Bieber's teeny tattoo was real. Our boi has grown since and his ink collection has as well. As he was frolicking with girlfriend, Selena Gomez, in Hawaii last year, mostly shirtless, he made grown women check out his torso in ways that were both creepy and … even more creepy. Hell, he's even shared a memorable tattoo moment with his dad since! Then there was the new "Believe" tattoo that got David Letterman to yell at him! You would think that that would serve as a cease and desist, but have a seat and ponder over how wrong you were. Because, and we know this thanks to his very active Instagram account, the Biebs now has a brand new owl tattoo on his arm, the picture of which was helpfully captioned with, "Befo the paps get me." It's totally growing on us. Okay … it's grown on us. We think it's so cute, but if you thought that that was the only adorable thing on his various social media thingamijigs, have a seat and do the whole "How wrong I was" deal again. Say hello to Pac the hamster. If you can tear your eyes away from Justin's wrist bling, that little guy will coax baby gurgles out of you. So — cuteness stand-off, guys. Hamster … or owl? And just to make it even harder for you, here's one of Justin WITH the hamster.
Not doing it for you? Well, brace yourself for this one. El Swoono. Read more…
Chris Brown Shows Off His New Neck Tattoo In The Midst Of Increasingly Crazy Rihanna Rumors
The last time we paid a visit to Chris Brown's neck, we were up in arms about how his latest tattoo seemed to depict the battered face of his ex-girlfriend Rihanna. So now that Brown is showing off his latest neck ink showing the face of lion, you'd think it would be a lot less controversial. And you'd be right…unless you assume that all these tats are part of a larger narrative. Like a full body comic strip! Does Brown want Riri to get eaten by a lion? Is that what you're saying, Chris!? OK, we're not even going to speculate on the meaning of the animal symbol. Who knows, maybe Breezy is just a huge Simba fan. The singer posted pics to his twitter showing off his latest ink. Situated in the center of his neck, the artwork covers his throat and jugular artery. Damn, he must have really trusted that tattoo artist!
The existence of Chris's new tattoo is the most firm news we have about the dude these days. Lately rumors have been swirling about his rekindled flame with Rihanna following his breakup with girlfriend Karrueche Tran. There have been rumbles that the two will make their romance public after the release of Rihanna's new album Unapologetic on November 19th. Even more bizarre, MediaTakeOut is alleging that Riri is already pregnant with Chris's baby! They offer firm and compelling evidence like…she walks like a pregnant woman. Umm, ok. That makes our "Chris Brown Full Body Comic Book" theory sound less crazy.
[Photo: Twitter]


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I'm fairly sure most (all) of us feel parent/child incest is wrong, and for fairly obvious reasons.
However, if a brother and sister are very careful about pregnancy prevention or, better, one or both of them is unable to conceive, what would be wrong with it?
BTW, I'm NOT trying to decide whether to do it with my sister (LOL). This is just a question that came to mind while in a discussion with another person.
Views: 19349
I've read a lot of responses that touch on, or discuss the genetic mutations and other genetic problems inherent with a child produced from an incestuous relationship. But we have only known about this for a couple of centuries. The taboo started long before this. There may be groups of peoples that are still unaware of the effect of genes intermixing, yet they will likely still have a taboo on incest.
So the interesting question is why the taboo, when you set it in the background of genetic ignorance?.
I think perhaps even then they recognized the toxicity of breaking such relationships off, which often occurs.
I don't think that explains the revulsion we might feel at an incestuous relationship. If we were ignorant of the genetic implications, would it still be taboo? If so, why?
Nobody feels revulsion at the thought of how complicated a potential break-up might be. They probably should, but do we really think that would put someone off?
I think the taboo was based on the consequences of the entanglements you speak of becoming a problem. This is often how taboos start - an overgeneralization of an adverse advent without actual understanding its causes. Taboos are a form of traditionalized belief that has been strongly indoctrinated against. It's common for minor preadolescent siblings to sexually experiment with each other (or at least not rare!) according to past clinical studies. It's a learned aversion as are all other taboos.
Oh, religion shares the same roots as taboos based on the above definitions and the fact that taboos and religions co-exist together is more understandable in this context. Look how many of those taboos relate to sex in general and have a religious backing. It's not an accident.
You're talking about the two people involved, who are driven by their passion.
I'm talking about the society they're in.
It's the unfortunate consequences of that passion that could be the cause of their societies folkways as I postulated above. In smaller, more insular cultures individuals are more likely to have a stronger influence in the pattern of such a societies development. In our current Western culture the number of people who have that degree of influence is more circumscribed - but you can see how those people have an effect (U.S. presidents for example). A culture is a dynamic, emergent property of its environment and popular composition. Attempting to compartmentalize the actions of individuals from the their society is often fallacious.
I've heard claims that we are evo-psych "hard wired" to not want to have sex with people we grew up with.
Not sure I believe it.
There is no evidence to support such a conclusion that I have seen beyond anecdote from casual observation. The patterns of marriage practices I've learned about during my comparative anthropology studies would tend to discredit that.
My anthropology courses have taught me the opposite conclusion. Citings to real studies would be cool (for both of us).
Whether specific behavior among animals is "natural" or not is also a meaningful baseline, even if we humans are supposedly superior in our ways because we have higher cognitive abilities. I say "meaningful" in the sense that animal baseline behavior can help explain where much of our ingrained, hard to intellectualize/discuss "I don't know why but I just feel it should be thus" prejudices. The power of reason and behavioral pre-thought are very, very recent outcomes of our evolution.
I was in an independent study course. Probably would create differences without the lecture. And my materials were from the 60s mostly I think. :(
Being a poor student sucked. But I do recall some animal studies where they found that several species avoid consanguinity - of course your average male dog will fuck anything that moves - or doesn't! And bonobos (sp?) are pretty promiscuous but I don't know what their limits are.
So many species with different instincts.
I think I weasel worded that well enough to indicate I wasn't sure I believed it either.
It's something I read in dead-tree format 20 years ago; I'd never be able to find it even if I hadn't probably thrown out the periodical it was in.
I don't think that explains the revulsion we might feel at an incestuous relationship. If we were ignorant of the genetic implications, would it still be taboo? If so, why?
I think it would be.
Selection pressure favors healthy reproductive behavior. Even without knowing about the genetics, incest (particularly between siblings) produces fewer offspring, and the offspring produced has a higher infant mortality rate, is less fertile, and more prone to genetic disorders (especially of the immune system). Over several generations a lack of genetic diversity makes a breeding population more vulnerable to disease, environmental change, and mutation. The Vadoma "ostrich people" of Zimbabwe are one modern-day example: it is strictly against custom to marry outside of the tribe.
Selection pressure also favors beneficial social behavior. Consider the social implications of incestuous relationships in a primitive society consisting of a hundred individuals organized into family units. The established hierarchy of mother, father, sister, and brother breaks down when you have a sister-mother, father-grandfather, uncle-brother-father, or you're an aunt to yourself.
Most feelings of revulsion are associated with biologically unhealthy behaviours. This is the reason we find the thought of eating maggoty rotten meat so disgusting. So too with the tendency to recoil at the thought of incest with a close family member.


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Equal parts glamorous and geometric the Crystal Earrings showcase designer Hannah Davis' signature sparkle. These statement earrings are part of the Crystallized Collection, inspired by crystal formations and crafted with Perspex and wood. Pair with a casual look to add some extra shine to your ensemble.
Length: 2.5". Nickel free. Sterling silver posts.
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By ALICIA LEONARD
The DeFuniak Springs Planning Board passed, 2-1, a request for special approval for an additional preschool for First Baptist Church, Inc. (FBC) during a public hearing on Dec. 1. The passage paves the way for the request to come in front of the DeFuniak Springs City Council during their regularly scheduled meeting on Dec. 8 at 6 p.m.
Planning Board members Jim Harman and Ryan Douglass recused themselves from the meeting and having the ability to vote due to a possible conflict of interest. Harman is a deacon at FBC and Douglass is on the committee for the FBC pre-school. Board member Roger Leatherberry was absent.
In a memorandum prepared by DeFuniak Springs Planning Director Greg Schoville and presented to the city Planning Board, Schoville noted that the church's request can only be granted by special approval in an R-1 single-family residential district where the structure is located. The memorandum stated, "Because the applicant has stated that the site and the exterior of the structure are to remain undisturbed (no site or building alteration), no site development plan has been provided." Schoville also stated "the FBC recently completed a traffic impact analysis for the development associated with the creation of First Christian Academy church school, and the structure at 174 Crescent is to be used for purposes (preschool) already permitted on another portion of the property, no new traffic study would seem necessary."
Schoville went over the memorandum with the Planning Board and added, "It has been brought to the city's attention that trees have been removed and there might be possible parking at the back of the residence and work did progress at the site or certain improvements since the application, without permits, but the staff has no objections as long as any other work on the building or possible parking, the applicants must submit plans for such improvements and cease improvements until a site plan or certificate of appropriateness is given."
Schoville's memo went on to explain the city's stance with the request, "Staff has no objections to the approval of the use exception subject to the following conditions: should any alterations to the building or site be contemplated, the owner will submit a site plan, meeting all code requirements for review, and a building permit, and a certificate of appropriateness (if required) will be applied for. A preliminary inspection by the Building Official will be required to ensure compliance with Life Safety and handicapped-access requirements. Water and sewer rates will be adjusted to commercial rates."
Planning Board Chairman B.B. Campbell Sr. opened the meeting to discussion among board members. Don Truitt said that from the photographs, it looked like a some things had been removed and, with the fence, it looked like the yard could be used as a parking lot and that they had received no request for approval for a parking lot. Schoville concurred and said the Board might want to ensure that the conditions of approval set forth included that all proper permitting be requested and approved before any other types of improvements were undertaken.
Clay Adkinson, representing Adkinson Law Firm for the Planning Board, clarified for the Planning Board members that allowing no site improvements without permits or certificates, were already set out under the special request and need not be duplicated.
Board member Kermit Wright brought to the attention of the Board that in a letter to the city planning department dated Nov. 10, Pastor Jerry. R. Chumley, noted that "The landscape is badly overgrown and will need to be addressed, i.e. trimmed and stump removal." Schoville responded that there were differing opinions on the tree removal in his office, one being that it was still a single-family residence and the other that it ceased to be, when the property was purchased by FBC. Schoville stated, "At that time, I made the call that the property was not subject, yet, to special requirements where the tree removal was concerned."
The public hearing was then opened to the audience. Chumley approached the Board. "I just wanted to say that our preschool was growing to the point that we are outgrowing the space that we have and this property became available. We decided to purchase it and hopefully use the space not just for our pre-school, but for our Sunday school, because we've outgrown our space, as well. We think it would be good for the kids, families, our community and for our church.
"We also thought we were following the proper steps to do this. It almost sounds like we were trying to slip something by (land clearing), but that is not the case. We felt like undergrowth and such needed to be done and did not think we needed special permission, since it was out property. The wheelchair ramp and the fence was not mentioned because last time we didn't need that for our property. We found out we needed the certificate of appropriateness and that was achieved when we realized we needed it." (Schoville later in the meeting concurred that a certificate of appropriateness had been granted and another needed certificate had been renewed.)
John Kinsey approached the Board next, "I don't come as an expert tonight, but as a resident of DeFuniak Springs and a self appointed ambassador of the historic element of DeFuniak Springs. I grew up in FBC and this is my home and these are my friends. I don't come here tonight to speak against them. I come very concerned about our historical district. We have a very special un-renewable resource here. I am very concerned in the sense that the very thing they have readily admitted tonight is already outgrowing their building and their infrastructure. They are outgrowing their schools and I am quite confident they will outgrow their new daycare, so, I am just wondering where they are going to go next?
"To me, I am all for growth and am proud and what they are doing, but I want to protect our unrenewable resource. I don't want anymore parking lots instead of historical homes, or the the bulldozers cranked up to plow down Crescent Street, because we need a new larger building. I want to know what is their plan for one year from now or five or 10 years from now? I want to know. They will grow. God is blessing them and I am proud of that, but not at the cost of our Historic District. People do not come to DeFuniak Springs to see me or Mayor Carpenter, they come to see our beautiful, one-of-a-kind town. They don't come to see FBC, they come to see our beautiful homes, not parking lots. I am just speaking for the homes that can't speak for themselves."
Campbell then opened the discussion back to the board. Schoville reminded the Board that he had approved the project, with special attention paid to the conditions applied under the special request. Wright motioned, after some discussion over the conditions, to approve the plan, emphasizing no changes to the outside of the building. Keturiah Baldwin seconded the motion and the special request went up for a vote. Wright and Baldwin voted yes and Truitt dissented. Campbell did not vote, since he was only allowed to do so if there was a tie vote between the other board members. This issue will now move to the DeFuniak Springs City Council on Nov. 8 at 6 p.m. Mayor Carpenter said that although it was not a scheduled public hearing, the Council would accept input from citizens attending the meeting.


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Mom Houston
News, tips and fun stuff for savvy Houston parents.
Monthly Archive for September, 2011
Viral video: This is how teachers should stop a fight
There's a lot to love in this (now viral) video of a teacher stopping a fight in his classroom before it could really even get started. It's unclear what the boys were fighting about. They seem to just yell "bro" at each other a lot. The teacher's reaction is extremely clear. A few of my […] [Read More]
USDA wants to take potatoes out of school lunches
When parents tell their kids to eat their vegetables they don't often mean French fries. Now the U.S. Department of Agriculture wants to do the same thing. Under new school lunch guidelines, potatoes would be cut altogether from school breakfasts. Starchy vegetables including corn, peas, lima beans and potatoes, would be limited to just two […] [Read More]
Video: Kids cage fighting while drunk people cheer them on
Recently I wrote about the American Academy of Pediatrics calling boxing an unsafe sport for children. A sport designed to have two kids in an enclosed area hit each other as hard as they can is not a good activity, AAP says. Well, I wonder what they'd say about this: A video of two boys […] [Read More]
Moms against Schweddy Balls
The Alec Baldwin skit on Saturday Night Live in which he plays Pete Schweddy, the owner of a holiday bakery selling "Schweddy Balls," among other "treats" has been commemorated by Ben & Jerry's with ice cream. The Schweddy Balls ice cream is available for sale for a limited time. It's a vanilla ice cream with […] [Read More]
Teen Mom recap: reality show breakdown and 'spoilers' for next season
Editor's note: In a series of guest entries Stephanie Sylverne is recapping MTV's reality show Teen Mom. On the third season of Teen Mom we saw Amber, Maci, Farrah, and Catelynn transform from semi-anonymous teenage moms to bonafide MTV reality stars. The financial struggles they faced on 16 and Pregnant are long behind them, as […] [Read More]
ADHD drug may delay puberty in boys
The active ingredient in ADHD medications such as Ritalin has been shown to reduce the size of male monkey testes and delay their descent, according to a study published online at the Proceedings of the National Academy of Sciences. The study was originally designed to look at the genetic and behavioral toxicity of methylphenidate hydrochloride, […] [Read More]
Ariel Winter of Modern Family too curvy for her dress?
Ariel Winter, the actress who plays the brainy youngest daughter on Modern Family, has discovered at a very young age what older women already know: when you're big up top, people are going to pay attention. The 13-year-old's dress at the Emmy awards last night caused some controversy over the amount of cleavage it showed. […] [Read More]
Study finds whooping cough vaccine falters after three years
A preliminary study shows whooping cough may be making a comeback in part due to the fact that the vaccine does not work as well three years after it's administered, according to the Associated Press. A preliminary study suggests the vaccine against whooping cough falters after only about three years, adding support to school rules […] [Read More]
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Meaning & Origins
Occasional variant spelling of Lindsay.
|2,626th in the U.S.
French: from the personal name Privat, Latin Privatus (from privatus 'private citizen', i.e. not a public official). This was the name of several early saints, including a bishop of Mende, martyred in the 3rd century.
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Lynda, Lyndsey, Lyndia, Lyndi, Lyndee, Lyndie, Lyndy, Lynde, Lyndsie, Lyndsi
Privette, Privitera, Prevatt, Privott, Prevatte, Prevette, Previte, Privitt, Privatt, Prive


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Custom Built-In
Keep coats and gear out of sight in a spacious built-in.
The front hall is abuzz with the activity of guest, kids and pets. To keep life organized and orderly, a well-designed custom built-in can be as efficient as a dedicated mudroom. Art on the side of the cabinet creates a decorated, layered look.
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Recipe by Terry McIntire
"There were no microwaves when my mom made this, so she did it on the stove top. She never gave us the recipe and I have discovered it through trial and error. You never forget the taste! I started with a recipe in a microwave cookbook and have adjusted the ingredients over time. If anyone is home when you are cooking, you will have company in the kitchen! Serve with Caesar salad, oven-baked garlic butter French bread and red wine. Microwave temperatures vary, so keep checking to see if these power levels work for you."
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1 (8 ounce) package
uncooked elbow macaroni
1 pound
ground beef
1 cup
diced onion
1 cup
sliced celery
1 tablespoon
minced garlic
1 (14.5 ounce) can
diced tomatoes
1 (10 ounce) can
tomato sauce
1 tablespoon
1 tablespoon
1 teaspoon
dried oregano
1/4 teaspoon
caraway seed
1 pinch
cayenne pepper, or to taste
1 teaspoon
Exactly what I had hoped it would be, thank you! My only change (ingredient wise) was that the diced tomatos had basil, oregano and garlic already mixed in which added fantastic flavor! I opted to saute the garlic, a little more celery and little less onion, browned the beef and simmered all together on the stovetop. (My microwave tends to go on the fritz so I prefer the stovetop.) Before serving I sprinkled a bit of parmesan cheese on the top. Fabulous.
I made this on the stovetop & it was easy and tasted fairly nice ... initially. I reheated it the next day and it wasn't good. I threw this recipe away.
82 Ratings
I"m giving this 5 stars because I, myself, made a couple of goofs. I did an "oops" with the cayenne pepper, which doesn't bother my family much, and the tomato sauce I had were 8oz cans so I felt like it could have been better with a little more tomato sauce. Oh, since I made it on my stove, I sauteed the onions & celery. Then browned the ground beef. Then added it all together in a large skillet and let it simmer a few minutes. It was good and I will be making it again . Thanks!
Great! The only thing that was not so tasty was the caraway, which I will omit in the future. The caraway overpowers the taste of the recipe.
Not the fanciest meal out there but very good nonetheless. I omitted the celery, sugar, paprika, caraway seed and cayenne and added in black pepper, tomato paste, garlic powder, extra can of tomatoes and basil. I had about 1 1/2 pounds of ground beef. I cooked this on the stovetop, not in the microwave.
This was good. This is one of the better goulash recipies out there.
I made this on the stovetop. And this recipe was really good. The leftovers were even better. I will forsure make again.
This was so good,my boys loved it. I didn't make it in the microwave,I used my crock pot.I put everything in the crock pot except the noodles and let it simmer while I was at work,then added the noodles when I got home.
* Percent Daily Values are based on a 2,000 calorie diet.
Mom's Goulash in the Microwave
Serving Size: 1/6 of a recipe
Servings Per Recipe: 6
Amount Per Serving
Calories: 327
Calories from Fat: 88
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Comments about Hadley Hooded Shearling Sheepskin Coat:
This coat is classic and timeless. Looks like the high end coat that it is. Very flattering. Love the cuffs and the hood is huge so it frames your face and hair without smashing your hair style You can see and feel the quality of the coat as well. Ordering was a breeze, received a 10% Military Discount too. That was really NICE. Received the coat in two days and love it. I am a coat freak, I live in Washingtn state and it's a necessity 8 months out of the year.
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Gorgeous Coat
By DeeDee
from Virginia
I am a size 8 and the Medium fits very well and contours the body without bulk. It has enough room in the chest and across the back. I can turn the cuffs up for my exact arm length.
So soft and cuddly
By 303girl
from Boulder, Colorado
This is my dream coat. The inside is silky soft shearling and the outside is is super pliable soft suede. The chocolate color is rich and a perfect neutral to be worn with nearly any color. I have extremely long arms, and was thrilled to find that these sleeves actually come down to the middle of my hands. I have a hard time buying anything with long sleeves, as 9 out of 10 items will have sleeves that are too short. It's a drag. But this coat's sleeves are very long. If you have shorter arms, you can cuff the coat, which is actually cuter than having the sleeves un-cuffed. I was pleasantly surprised that I can wear this while driving. It's pliable and doesn't bunch up, so it's very comfortable. The length is great if you live in a colder area, and want a coat that also keeps your rear warm. I have a pretty casual style, so I'm happy that this coat amps up any outfit - especially jeans with boots. But I think I'd also wear this in a dressier situation too. I love this coat, and kind of hesitated to write this review, because I don't want everyone else to get it too :)


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o Explain why an animal model was chosen, and the drawbacks of other approaches. While scientists often discuss why a particular model was chosen, they rarely talk about why other possibilities were rejected.
• Engage patients and patient advocacy groups. People living with disease hold particular interest in learning about new research.
• Promote appropriateness of use of animal models within the scientific community. Regulations require justification of the use of animals.However, scientists assume a moral and ethical responsibility when agreeing to do animal research, Nelson said, and should understand that the use of animals in research is a privilege, not a right.
Mark Henderson, science editor for The Times in London, described how the media discourse on animal experimentation has changed in the United Kingdom. Ten to 15 years ago, there was a significant amount of opposition to the use of animals in research, he said, and few scientists who engaged in animal experimentation were willing to publicly discuss their research. This meant journalists had few sources for a scientific viewpoint on studies involving animals.
Henderson noted that media coverage at the time tended to report negative representations of animal research more often. These included the use of graphic images of animals during experimentation. Henderson noted that many of the pictures published were taken quite a long time ago and from sources outside the United Kingdom.
Some of the media, he noted, has always tried to portray animal research accurately, but this has proven difficult as again, there were few scientists willing to discuss the use of animals. It was also difficult to obtain up-to-date images of the work that was actually done in labs. As a result, the political climate toward animal experimentation in the United Kingdom was lukewarm, Henderson noted.
Around 2002 to 2003, a number of things came together that changed the conversation about animal research in the United Kingdom. The Science Media Center was formed to support scientists working in engaging the public.1 From a "safety in numbers" perspective, a single voice became the immediate magnet for the protests, but hundreds of researchers talking about animal research made it much harder to single individuals out, Henderson observed.
Nelson mentioned that individuals living with disease are knowledgeable about the use of animals in research and can also take part in public


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The Honeymooners
Trivia, Quotes, Notes and Allusions
Quotes (194)
Ed: Hey, I was just looking out the window upstairs. I see two guys shoving a dead horse into a truck.
Alice: They were here to fix the television set.
Ed: There's not a horse in the set?
Trixie: Yeah, stupid. He was killed in a Gene Autry picture.
Ralph: You're not going to become a cover girl! Alice: And what's wrong with being a cover girl? Ralph: Because all the cover girls I ever saw were uncovered!
Delivery boy: (after he enters the Kramdens' apartment) Here's the medicine from the drug store.
Alice: Oh, thanks, honey. Wait a minute, I'll give you a tip. (Alice looks for small change to give the boy, but finds none.) Oh, gee. I don't have any change. Um... here, how about a banana?
Delivery boy: No, thanks. I'm not a monkey.
Alice: Well, how about a nice tangerine?
Delivery boy: No, thanks.
Trixie: What's the matter? Don't you like fruit?
Delivery boy: No, it ain't that. See, everywhere I go, I never get money anymore. They always offer me grapes and pears and apples and tangerines. If this keeps up, I'll have to trade in my bicycle for a push cart.
(Ralph and Alice are arguing about the Nortons).
Ralph : They're going upstairs! Alice : They're staying down here! Ralph : They're going upstairs! Alice : They going upstairs over my dead body! Ralph : Don't tempt me!
Ralph: After Ed says something stupid to a customer I suspected it at first, now i'm sure: YOU'RE NUTS!!
RALPH(to Ed)"Ya stoop,you forgot the frankfurter.Now suppose I had been a customer,and you did that?"
Ed: Listen, don't take it rough, will you? Maybe I can get a job for you with me in the sewer. All you gotta do is past the test. Ralph: What test? Ed: Can you float?
Alice: Only myself to blame. My mother warned me.
Notes (143)
Length: 8 minutes 45 seconds.
"The Turkey" would eventually be expanded and redone as the 1956 episode "Two-Family Car."
This is an antecedent of the later performances called "The Adoption" (3/55 and 1/66).
A favorite theme of Gleason's, this was a reworking of the first season's "Booby Prize Boob," as well as the basis for the Classic episode, "The $99,000 Answer."
This would be the third and final Honeymooners sketch (to have surfaced) performed without an appearance by Art Carney, and the only one during its CBS tenure. Norton would be featured in every sketch from here forward.
Length: 7 minutes 8 seconds.
Length: 8 minutes 18 seconds.
This was a rewrite of the season-one DuMont episode, "Where Are My Blades?"
Trivia (69)
Watch for the hysterical scene where Ralph is tapping a piece of steak on the table and it snaps in half.
When Alice is entering the bedroom she utters "I wish you'd fix this door." talking about the locked door she cannot enter.
Watch for the shadow go across the wall outside the Kramden's front door when an officer is speaking to Ralph.
When Ralph burns his foot and is hopping around the room, Trixie is standing there cracking up at his antics. Joyce Randolph evidently forgot that this was not a dress rehearsal. Ralph directs an angry ad lib at her, so she instantly realizes that she is out of character and leaves, after which Ralph and Alice save the scene ad libbing.
Watch for when Ralph is talking to Norton about his lucky jacket. Jackie's's fly is wide open while he sits on the chair, he then gets up, he walks around and says:
"You know something pal, there comes a time in every guys life when he could use a lucky jacket like that."
Keep an eye on Ralph's coffee cup. In order to make steam, baking soda and vinegar were used with dry ice, causing the cup to eventually bubble over.
Notice that Ralph's best-friend Norton is not yet a brother Raccoon.
This was Ralph and Ed's very first harebrained business venture.
Allusions (7)
This episode title is a reference to William Shakespeare's play of Hamlet, Act III, Scene I, where the phrase reads as follows: "To be, or not to be: that is the question."
Norton asks to watch Captain Video on Ralph's TV. The show was an actual series (full title, Captain Video and His Video Rangers) appearing on The DuMont Television Network.
ED NORTON: The armature sprocket is causing interference, which in turn causes the combustion line to interfere with the flow in the Dynaflow.
Norton's referring to a "Dynaflow" in his diagnosis of the malfunctioning vacuum cleaner was most likely an in-joke reference to the Variable Pitch Dynaflow Drive which was an exclusive feature of the 1956 Buick Wagon Estate model. Buick was the sponsor of The Honeymooners for the 1955-1956 season.
Alice (Audrey Meadows): Don't count your chickens before they're hatched. This is a reference to Aesop's fable entitled "The Milkmaid and Her Pail", where Patty the Milkmaid was going to the market carrying a pail of milk on her head. Her mother would say this quote after the pail fell off her head with all of the milk spilled on the ground.
Alice (Audrey Meadows): Parting is such sweet sorrow. This phrase was derived from William Shakespeare's play of Romeo and Juliet, Act II, Scene 2.
Title: The title is play on the name given to Miami Beach, Florida as "The Sun and Fun Capital of the World" at the begin of each color Honeymooners show which was filmed there.
Title: The title is a reference to the song "We're Off To See The Wizard" in the classic 1939 version of The Wizard of Oz.


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text: Why choose Essex? | Course Finder | Video Gallery | About us Doctorate in Psychoanalytic Psychotherapy Doctorate in Psychodynamic Psychotherapy Doctorate in Analytical Psychology Our professional doctorates are made up of two parts: a clinical training component followed by a research component. The clinical training component consists of psychotherapy training that has led to registration with the British Psychoanalytic Council (BPC)… Read More »


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Hang tight!
Recipe by QUIRKYIQ
"I have been making this stew for more than 20 years. It's a dish I use to celebrate the harvest season. It may be a bit labor-intensive, but it is worth every minute! Experiment with different root vegetables, and use the dumplings in other hearty stews or soups. They are so yummy!"
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1 pound
boneless country-style pork ribs, cut into 1-inch chunks
2 tablespoons
vegetable oil
2 cups
chopped onions
cloves garlic, crushed
1 1/2 pounds
potatoes, peeled and cubed
2 quarts
2 teaspoons
beef bouillon granules
4 large
carrots, peeled and cut into 1/2-inch pieces
1 1/2 tablespoons
chili powder
1 teaspoon
dried marjoram
1/2 teaspoon
dried thyme
bay leaves
1/8 teaspoon
ground nutmeg
1 teaspoon
1/8 teaspoon
ground black pepper
6 tablespoons
all-purpose flour, sifted
1/4 cup
yellow cornmeal
2 teaspoons
white sugar
1 1/2 teaspoons
baking powder
1/4 teaspoon
dried sage, crumbled
1/4 teaspoon
dried thyme
1/2 teaspoon
2 tablespoons
vegetable shortening
1/2 cup
milk, or as needed
We really loved this recipe but I revised it a bit for use in the crock pot. I used the same ingredients but added a green pepper. I browned the meat in a skillet then sauteed the onion and garlic and placed all of the ingredients in a crock pot but I cut the amount of water down to 3 cups. I cooked it on high for 4 hours and added the dumpling mix and cooked it an additional 20 min until dumplings were done. I doubled the dumpling recipe but found that it was the consistency of pancake batter so I would reduce the amount of milk next time. Perhaps just add milk until it reached the desired consistency. The flavor was absolutely fantastic.
I followed the directs exactly since I'm not a real cook and ended up with pork soup thickened with corn meal. 2 qts. is way too much fluid. I compared this to my mother's stew recipe (using 1 lb. more meat) and it only uses 3 c. liquid. 1/2 c. milk for the dumplings makes a thin batter like another reviewer said and mine just disintegrated in the stew and made a medium thick gravy with all that fluid. I would also cut back on the thyme since marjoram is similar.
I will say I liked the taste and will try it again using 3 cups of water or broth and adding milk to the dumpling mixture a little at a time until it reached bisquick dough consistency.
15 Ratings
Loved the flavor. However, my dumplings disintegrated in the stew. I cooked the dumplings according to the time in the recipe. Next time, I will not cook the dumplings as long.
This was really delicious. I made this in the crockpot. I followed all the directions as stated except I cut the amount of water in half.
I also took the suggestion of the other reviewers and added just enough water to make a dough and it worked like a charm.
Thank you so much for sharing your great recipe.
This was absolutely awesome. I made this recipe exactly as written. I did let the the dumpling dough sit for a few minutes before adding to the stew. I used the mixing spoon and made huge dumplings. They did disintegrate just a bit, but this added to the stew and made an awesome gravy. The actual dumpling was delicious. I will definitely make again. Thanks so much for sharing.
Just made this tonight! I didn't have bouillon, so used 1 quart of beef broth. Also just mixed the dumpling mixture until it was the right consistency. Came out very good and hubby loved it! Something tasty and different to make on a cold night. Thanks for the great recipe!
Great stew! I have made it twice so far. I added parsnips and sweet potatoes also. I used less milk and the dumplings were perfect. You might want to double the dumpling recipe. We ran out.
This is honestly the best stew I've ever had. I used just enough milk so that the dumpling mixture would be a bit thicker and I used fresh sage rather than dried. I think this stew will cure all ails! Move aside chicken-noodle soup!
* Percent Daily Values are based on a 2,000 calorie diet.
Pork Rib Stew with Sage Cornmeal Dumplings
Serving Size: 1/6 of a recipe
Servings Per Recipe: 6
Amount Per Serving
Calories: 364
Calories from Fat: 134
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Now here's what we should be eating for St. Patrick's Day!
See how to make an authentic Mexican pork stew in green tomatillo salsa.
See how to make a hearty, low-fat beef stew.


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A Bunch Of Bands, Including The Incredible Wye Oak, Are Playing At The U.S. Open
Those of you who've decided to take in some Grand Slam tennis in Queens over the coming weeks might be surprised by the fact that at certain times during the U.S. Open you can catch musicians and other artists performing on the grounds of the USTA Billie Jean King National Tennis Center . Highlights include the stellar Baltimore duo Wye Oak, which performs on the grounds this Thursday at 6 p.m., former Railroad Jerk/White Hassle frontman Marcellus Hall, who takes the stage on Labor Day, and the soulful Yes In My Backyard alums Ava Luna. (Full schedule here .) After the jump, a video of the "living statues" who will also be walking around the grounds in their bronzed/1930s-styled glory for your picture-taking convenience, provided that the weather doesn't get so hot again that their body paint won't melt off.
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