Portal:The arts

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T H E   A R T S   P O R T A L

The arts are a wide range of human practices of creative expression, storytelling, and cultural participation. They encompass multiple diverse and plural modes of thinking, doing, and being, in an extremely broad range of media. Both dynamic and a characteristically constant feature of human life, they have developed into innovative, stylized, and sometimes intricate forms. This is often achieved through sustained and deliberate study, training, and/or theorizing within a particular tradition, across generations, and even between civilizations. The arts are a vehicle through which human beings cultivate distinct social, cultural, and individual identities while transmitting values, impressions, judgements, ideas, visions, spiritual meanings, patterns of life, and experiences across time and space.

Prominent examples of the arts include:

They can employ skill and imagination to produce objects and performances, convey insights and experiences, and construct new environments and spaces.

The arts can refer to common, popular, or everyday practices as well as more sophisticated, systematic, or institutionalized ones. They can be discrete and self-contained or combine and interweave with other art forms, such as the combination of artwork with the written word in comics. They can also develop or contribute to some particular aspect of a more complex art form, as in cinematography. By definition, the arts themselves are open to being continually redefined. The practice of modern art, for example, is a testament to the shifting boundaries, improvisation and experimentation, reflexive nature, and self-criticism or questioning that art and its conditions of production, reception, and possibility can undergo.

As both a means of developing capacities of attention and sensitivity and as ends in themselves, the arts can simultaneously be a form of response to the world and a way that our responses and what we deem worthwhile goals or pursuits are transformed. From prehistoric cave paintings to ancient and contemporary forms of ritual to modern-day films, art has served to register, embody, and preserve our ever-shifting relationships to each other and to the world. (Full article...)

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  Featured articles are displayed here, which represent some of the best content on English Wikipedia.
  • Image 1 The equestrian statue of Edward Horner stands inside St Andrew's Church in the village of Mells in Somerset, south-western England. It was designed by the architect Sir Edwin Lutyens, as a memorial to Edward Horner, who died of wounds in the First World War. The sculpture was executed by Sir Alfred Munnings. Edward Horner was the only surviving son and heir of Sir John and Lady Frances Horner of Mells Manor and a member of an extended upper-class social group known as the Coterie, many of whom were killed in the war. The group included Diana Manners who Edward pursued unsuccessfully for several years, his future brother-in-law - Raymond Asquith Julian Grenfell, Patrick Shaw-Stewart and Charles Lister. Shortly after the war broke out, he was a yeomanry officer in the part-time Territorial Force but he was keen to join the fighting on the Western Front and obtained a transfer to a cavalry regiment through his family's connections. He was wounded in May 1915, losing a kidney, and did not return to the war until early 1917. He was assigned a staff post but again secured a transfer to the front line. Shortly after his return to the fighting, on 21 November 1917, he was wounded again; he died the same day. (Full article...)

    The equestrian statue of Edward Horner stands inside St Andrew's Church in the village of Mells in Somerset, south-western England. It was designed by the architect Sir Edwin Lutyens, as a memorial to Edward Horner, who died of wounds in the First World War. The sculpture was executed by Sir Alfred Munnings.

    Edward Horner was the only surviving son and heir of Sir John and Lady Frances Horner of Mells Manor and a member of an extended upper-class social group known as the Coterie, many of whom were killed in the war. The group included Diana Manners who Edward pursued unsuccessfully for several years, his future brother-in-law - Raymond Asquith Julian Grenfell, Patrick Shaw-Stewart and Charles Lister. Shortly after the war broke out, he was a yeomanry officer in the part-time Territorial Force but he was keen to join the fighting on the Western Front and obtained a transfer to a cavalry regiment through his family's connections. He was wounded in May 1915, losing a kidney, and did not return to the war until early 1917. He was assigned a staff post but again secured a transfer to the front line. Shortly after his return to the fighting, on 21 November 1917, he was wounded again; he died the same day. (Full article...)
  • Image 2 Danie Mellor (born 13 April 1971) is an Australian artist who was the winner of 2009 National Aboriginal & Torres Strait Islander Art Award. Born in Mackay, Queensland, Mellor grew up in Scotland, Australia, and South Africa before undertaking tertiary studies at North Adelaide School of Art, the Australian National University (ANU) and Birmingham Institute of Art and Design. He then took up a post lecturing at Sydney College of the Arts. He works in different media including printmaking, drawing, painting, and sculpture. Considered a key figure in contemporary Indigenous Australian art, the dominant theme in Mellor's art is the relationship between Indigenous and non-Indigenous Australian cultures. Since 2000, Mellor's works have been included regularly in National Aboriginal & Torres Strait Islander Art Award exhibitions; in 2003 he was awarded a "highly commended", for his print Cyathea cooperi, and in 2009 he won the principal prize, for a mixed media work From Rite to Ritual. His other major exhibitions have included the Primavera 2005 show at the Museum of Contemporary Art, Sydney, and the inaugural National Indigenous Art Triennial (Culture Warriors) at the National Gallery of Australia in 2007. In 2012, his work was included in the National Museum of Australia's exhibition Menagerie: Contemporary Indigenous Sculpture as well as in the second National Indigenous Art Triennial, while international recognition came in 2013 with representation in the National Gallery of Canada's exhibition of international indigenous art. (Full article...)
    Danie Mellor (born 13 April 1971) is an Australian artist who was the winner of 2009 National Aboriginal & Torres Strait Islander Art Award. Born in Mackay, Queensland, Mellor grew up in Scotland, Australia, and South Africa before undertaking tertiary studies at North Adelaide School of Art, the Australian National University (ANU) and Birmingham Institute of Art and Design. He then took up a post lecturing at Sydney College of the Arts. He works in different media including printmaking, drawing, painting, and sculpture. Considered a key figure in contemporary Indigenous Australian art, the dominant theme in Mellor's art is the relationship between Indigenous and non-Indigenous Australian cultures.

    Since 2000, Mellor's works have been included regularly in National Aboriginal & Torres Strait Islander Art Award exhibitions; in 2003 he was awarded a "highly commended", for his print Cyathea cooperi, and in 2009 he won the principal prize, for a mixed media work From Rite to Ritual. His other major exhibitions have included the Primavera 2005 show at the Museum of Contemporary Art, Sydney, and the inaugural National Indigenous Art Triennial (Culture Warriors) at the National Gallery of Australia in 2007. In 2012, his work was included in the National Museum of Australia's exhibition Menagerie: Contemporary Indigenous Sculpture as well as in the second National Indigenous Art Triennial, while international recognition came in 2013 with representation in the National Gallery of Canada's exhibition of international indigenous art. (Full article...)
  • Image 3 Getting It: The Psychology of est, a non-fiction book by American clinical psychologist Sheridan Fenwick first published in 1976, analyzes Werner Erhard's Erhard Seminars Training or est. Fenwick based the book on her own experience of attending a four-day session of the est training, an intensive 60-hour personal-development course in the self-help genre. Large groups of up to 250 people took the est training at one time. In the first section of Fenwick's book, she recounts the est training process and the methods used during the course. Fenwick details the rules or "agreements" laid out by the trainers to the attendees, which include not talking to others or leaving the session to go to the bathroom unless during an announced break period. The second section is analytic: Fenwick analyzes the methods used by the est trainers, evaluates the course's potential effects, and discusses Erhard's background. Fenwick concludes that the program's long-term effects are unknown, the est training may not be appropriate for certain groups of people, and that a large proportion of participants report perceived positive effects. (Full article...)
    Getting It: The Psychology of est, a non-fiction book by American clinical psychologist Sheridan Fenwick first published in 1976, analyzes Werner Erhard's Erhard Seminars Training or est. Fenwick based the book on her own experience of attending a four-day session of the est training, an intensive 60-hour personal-development course in the self-help genre. Large groups of up to 250 people took the est training at one time.

    In the first section of Fenwick's book, she recounts the est training process and the methods used during the course. Fenwick details the rules or "agreements" laid out by the trainers to the attendees, which include not talking to others or leaving the session to go to the bathroom unless during an announced break period. The second section is analytic: Fenwick analyzes the methods used by the est trainers, evaluates the course's potential effects, and discusses Erhard's background. Fenwick concludes that the program's long-term effects are unknown, the est training may not be appropriate for certain groups of people, and that a large proportion of participants report perceived positive effects. (Full article...)
  • Image 4 Front of the church Old Pine Church, also historically known as Mill Church, Nicholas Church, and Pine Church, is a mid-19th century church located near to Purgitsville, West Virginia, United States. It is among the earliest extant log churches in Hampshire County, along with Capon Chapel and Mount Bethel Church. The church was constructed in 1838 to serve as a nondenominational "union church". As many of the Mill Creek valley's earliest settlers were of German descent, Old Pine Church may also have been built as a meeting place for Schwarzenau Brethren adherents, known as "Dunkers" or "Dunkards". The church is believed to have also been a meeting place for German Methodist settlers. By 1870, the church was primarily used by the Brethren denomination, and in 1878, the church's congregation split into White Pine Church of the Brethren and Old Pine Church congregations. Both congregations continued to use the church until 1907. (Full article...)

    Front of the church

    Old Pine Church, also historically known as Mill Church, Nicholas Church, and Pine Church, is a mid-19th century church located near to Purgitsville, West Virginia, United States. It is among the earliest extant log churches in Hampshire County, along with Capon Chapel and Mount Bethel Church.

    The church was constructed in 1838 to serve as a nondenominational "union church". As many of the Mill Creek valley's earliest settlers were of German descent, Old Pine Church may also have been built as a meeting place for Schwarzenau Brethren adherents, known as "Dunkers" or "Dunkards". The church is believed to have also been a meeting place for German Methodist settlers. By 1870, the church was primarily used by the Brethren denomination, and in 1878, the church's congregation split into White Pine Church of the Brethren and Old Pine Church congregations. Both congregations continued to use the church until 1907. (Full article...)
  • Image 5 The FP is a 2011 American comedy film written and directed by Brandon and Jason Trost. The film focuses on two gangs, the 248 and the 245, fighting for control of Frazier Park (the FP). The gangs settle their disputes by playing Beat-Beat Revelation, a music video game similar to Dance Dance Revolution. Gang member JTRO (Jason Trost) trains to defeat L Dubba E (Lee Valmassy), the leader of a rival gang. The film also features Caitlyn Folley, Art Hsu, Nick Principe and Dov Tiefenbach. Jason Trost conceived The FP when he was 16, and developed it into a short film starring himself, Valmassy, Principe, DeBello, Brandon Barrera, Diane Gaeta, Kris Lemche and Torry Haynes in 2007. After seeing the finished film, Barrera suggested that Trost make a feature-length version. In the expanded production, Gaeta, Lemche, and Haynes were replaced with Folley, Hsu, and Bryan Goddard, respectively. Principal photography took place in Frazier Park, California in September 2008. Ron Trost—Brandon and Jason Trost's father—served as special effects supervisor and executive producer of the film, and his property was the primary filming location. (Full article...)
    The FP is a 2011 American comedy film written and directed by Brandon and Jason Trost. The film focuses on two gangs, the 248 and the 245, fighting for control of Frazier Park (the FP). The gangs settle their disputes by playing Beat-Beat Revelation, a music video game similar to Dance Dance Revolution. Gang member JTRO (Jason Trost) trains to defeat L Dubba E (Lee Valmassy), the leader of a rival gang. The film also features Caitlyn Folley, Art Hsu, Nick Principe and Dov Tiefenbach.

    Jason Trost conceived The FP when he was 16, and developed it into a short film starring himself, Valmassy, Principe, DeBello, Brandon Barrera, Diane Gaeta, Kris Lemche and Torry Haynes in 2007. After seeing the finished film, Barrera suggested that Trost make a feature-length version. In the expanded production, Gaeta, Lemche, and Haynes were replaced with Folley, Hsu, and Bryan Goddard, respectively. Principal photography took place in Frazier Park, California in September 2008. Ron Trost—Brandon and Jason Trost's father—served as special effects supervisor and executive producer of the film, and his property was the primary filming location. (Full article...)
  • Image 6 John Vanbrugh (1664–1726), author of The Relapse, by Godfrey Kneller The Relapse, or, Virtue in Danger is a Restoration comedy from 1696 written by John Vanbrugh. The play is a sequel to Colley Cibber's Love's Last Shift, or, The Fool in Fashion. In Cibber's Love's Last Shift, a free-living Restoration rake is brought to repentance and reform by the ruses of his wife, while in The Relapse, the rake succumbs again to temptation and has a new love affair. His virtuous wife is also subjected to a determined seduction attempt, and resists with difficulty. (Full article...)
    John Vanbrugh (1664–1726), author of The Relapse, by Godfrey Kneller


    The Relapse, or, Virtue in Danger is a Restoration comedy from 1696 written by John Vanbrugh. The play is a sequel to Colley Cibber's Love's Last Shift, or, The Fool in Fashion.

    In Cibber's Love's Last Shift, a free-living Restoration rake is brought to repentance and reform by the ruses of his wife, while in The Relapse, the rake succumbs again to temptation and has a new love affair. His virtuous wife is also subjected to a determined seduction attempt, and resists with difficulty. (Full article...)
  • Image 7 The World Before the Flood, 1828, 140 by 202.3 cm (55.1 by 79.6 in) The World Before the Flood is an oil-on-canvas painting by the English artist William Etty, first exhibited in 1828 and currently in the Southampton City Art Gallery. It depicts a scene from John Milton's Paradise Lost in which, among a series of visions of the future shown to Adam, he sees the world immediately before the Great Flood. The painting illustrates the stages of courtship as described by Milton; a group of men select wives from a group of dancing women, drag their chosen woman from the group, and settle down to married life. Behind the courting group, an oncoming storm looms, foreshadowing the destruction which the dancers and lovers are about to bring upon themselves. When first exhibited at the 1828 Royal Academy Summer Exhibition the painting attracted large crowds, and strongly divided critical opinion. It was greatly praised by many critics, who counted it among the finest works of art in the country. Other reviewers condemned it as crude, tasteless, offensive and poorly executed. (Full article...)

    The World Before the Flood, 1828, 140 by 202.3 cm (55.1 by 79.6 in)

    The World Before the Flood is an oil-on-canvas painting by the English artist William Etty, first exhibited in 1828 and currently in the Southampton City Art Gallery. It depicts a scene from John Milton's Paradise Lost in which, among a series of visions of the future shown to Adam, he sees the world immediately before the Great Flood. The painting illustrates the stages of courtship as described by Milton; a group of men select wives from a group of dancing women, drag their chosen woman from the group, and settle down to married life. Behind the courting group, an oncoming storm looms, foreshadowing the destruction which the dancers and lovers are about to bring upon themselves.

    When first exhibited at the 1828 Royal Academy Summer Exhibition the painting attracted large crowds, and strongly divided critical opinion. It was greatly praised by many critics, who counted it among the finest works of art in the country. Other reviewers condemned it as crude, tasteless, offensive and poorly executed. (Full article...)
  • Image 8 Tom Swift and His Motor Cycle (1910), the first Tom Swift book Tom Swift is the main character of six series of American juvenile science fiction and adventure novels that emphasize science, invention, and technology. Inaugurated in 1910, the sequence of series comprises more than 100 volumes. The first Tom Swift – later, Tom Swift Sr. – was created by Edward Stratemeyer, the founder of the Stratemeyer Syndicate, a book packaging firm. Tom's adventures have been written by various ghostwriters, beginning with Howard Garis. Most of the books are credited to the collective pseudonym "Victor Appleton". The 33 volumes of the second series use the pseudonym Victor Appleton II for the author. For this series, and some later ones, the main character is "Tom Swift Jr." New titles have been published again from 2019 after a gap of about ten years, roughly the time that has passed before every resumption. Most of the series emphasized Tom's inventions. The books generally describe the effects of science and technology as wholly beneficial, and the role of the inventor in society as admirable and heroic. Translated into many languages, the books have sold more than 30 million copies worldwide. Tom Swift has also been the subject of a board game and several attempted adaptations into other media. (Full article...)
    Book cover showing title, and author "Victor Appleton". The title is surmounted by a drawing of a boy in a curly brimmed hat. Around the title are pictures of a plane, a car, a boat and a motor cycle.
    Tom Swift and His Motor Cycle (1910), the first Tom Swift book


    Tom Swift is the main character of six series of American juvenile science fiction and adventure novels that emphasize science, invention, and technology. Inaugurated in 1910, the sequence of series comprises more than 100 volumes. The first Tom Swift – later, Tom Swift Sr. – was created by Edward Stratemeyer, the founder of the Stratemeyer Syndicate, a book packaging firm. Tom's adventures have been written by various ghostwriters, beginning with Howard Garis. Most of the books are credited to the collective pseudonym "Victor Appleton". The 33 volumes of the second series use the pseudonym Victor Appleton II for the author. For this series, and some later ones, the main character is "Tom Swift Jr." New titles have been published again from 2019 after a gap of about ten years, roughly the time that has passed before every resumption. Most of the series emphasized Tom's inventions. The books generally describe the effects of science and technology as wholly beneficial, and the role of the inventor in society as admirable and heroic.

    Translated into many languages, the books have sold more than 30 million copies worldwide. Tom Swift has also been the subject of a board game and several attempted adaptations into other media. (Full article...)
  • Image 9 A portrait of H.D. by Man Ray, c. 1917 Hilda Doolittle (September 10, 1886 – September 27, 1961) was an American modernist poet, novelist, and memoirist who wrote under the name H.D. throughout her life. Her career began in 1911 after she moved to London and co-founded the avant-garde Imagist group of poets with American expatriate poet and critic Ezra Pound. During this early period, her minimalist free verse poems depicting Classical motifs drew international attention. Eventually distancing herself from the Imagist movement, she experimented with a wider variety of forms, including fiction, memoir, and verse drama. Reflecting the trauma she experienced in London during the Blitz, H.D.'s poetic style from World War II until her death pivoted towards complex long poems on esoteric and pacifist themes. H.D. was born in Bethlehem, Pennsylvania, to wealthy and educated parents who relocated to Upper Darby in 1896. Discovering her bisexuality, she had her first same-sex relationship while attending Bryn Mawr College between 1904 and 1906. After years of friendship, H.D. became engaged to Pound and followed him to London in 1911, where he championed her work. Their relationship soon fell apart, however, and H.D. instead married the Imagist poet Richard Aldington in 1913. In 1918, she met the novelist Bryher, who became her romantic partner and close friend until her death. An associate literary editor of the Egoist journal between 1916 and 1917, H.D. was published by The English Review and The Transatlantic Review. During World War I, both her brother and father died, and she separated from Aldington. She was treated by Sigmund Freud during the 1930s, as she sought to address and understand both her war trauma and bisexuality. (Full article...)

    A portrait of H.D. by Man Ray, c. 1917

    Hilda Doolittle (September 10, 1886 – September 27, 1961) was an American modernist poet, novelist, and memoirist who wrote under the name H.D. throughout her life. Her career began in 1911 after she moved to London and co-founded the avant-garde Imagist group of poets with American expatriate poet and critic Ezra Pound. During this early period, her minimalist free verse poems depicting Classical motifs drew international attention. Eventually distancing herself from the Imagist movement, she experimented with a wider variety of forms, including fiction, memoir, and verse drama. Reflecting the trauma she experienced in London during the Blitz, H.D.'s poetic style from World War II until her death pivoted towards complex long poems on esoteric and pacifist themes.

    H.D. was born in Bethlehem, Pennsylvania, to wealthy and educated parents who relocated to Upper Darby in 1896. Discovering her bisexuality, she had her first same-sex relationship while attending Bryn Mawr College between 1904 and 1906. After years of friendship, H.D. became engaged to Pound and followed him to London in 1911, where he championed her work. Their relationship soon fell apart, however, and H.D. instead married the Imagist poet Richard Aldington in 1913. In 1918, she met the novelist Bryher, who became her romantic partner and close friend until her death. An associate literary editor of the Egoist journal between 1916 and 1917, H.D. was published by The English Review and The Transatlantic Review. During World War I, both her brother and father died, and she separated from Aldington. She was treated by Sigmund Freud during the 1930s, as she sought to address and understand both her war trauma and bisexuality. (Full article...)
  • Image 10 The composer in 1968 Noye's Fludde is a one-act opera by the British composer Benjamin Britten, intended primarily for amateur performers, particularly children. First performed on 18 June 1958 at that year's Aldeburgh Festival, it is based on the 15th-century Chester "mystery" or "miracle" play which recounts the Old Testament story of Noah's Ark. Britten specified that the opera should be staged in churches or large halls, not in a theatre. By the mid-1950s Britten had established himself as a major composer, both of operas and of works for mixed professional and amateur forces – his mini-opera The Little Sweep (1949) was written for young audiences, and used child performers. He had previously adapted text from the Chester play cycle in his 1952 Canticle II, which retells the story of Abraham and Isaac. Noye's Fludde was composed as a project for television; to the Chester text Britten added three congregational hymns, the Greek prayer Kyrie eleison as a children's chant, and an Alleluia chorus. A large children's chorus represents the pairs of animals who march into and out of the ark, and proceedings are directed by the spoken Voice of God. Of the solo sung roles, only the parts of Noye (Noah) and his wife were written to be sung by professionals; the remaining roles are for child and adolescent performers. A small professional ensemble underpins the mainly amateur orchestra which contains numerous unconventional instruments to provide particular musical effects; bugle fanfares for the animals, handbell chimes for the rainbow, and various improvisations to replicate musically the sounds of a storm. (Full article...)

    The composer in 1968

    Noye's Fludde is a one-act opera by the British composer Benjamin Britten, intended primarily for amateur performers, particularly children. First performed on 18 June 1958 at that year's Aldeburgh Festival, it is based on the 15th-century Chester "mystery" or "miracle" play which recounts the Old Testament story of Noah's Ark. Britten specified that the opera should be staged in churches or large halls, not in a theatre.

    By the mid-1950s Britten had established himself as a major composer, both of operas and of works for mixed professional and amateur forces – his mini-opera The Little Sweep (1949) was written for young audiences, and used child performers. He had previously adapted text from the Chester play cycle in his 1952 Canticle II, which retells the story of Abraham and Isaac. Noye's Fludde was composed as a project for television; to the Chester text Britten added three congregational hymns, the Greek prayer Kyrie eleison as a children's chant, and an Alleluia chorus. A large children's chorus represents the pairs of animals who march into and out of the ark, and proceedings are directed by the spoken Voice of God. Of the solo sung roles, only the parts of Noye (Noah) and his wife were written to be sung by professionals; the remaining roles are for child and adolescent performers. A small professional ensemble underpins the mainly amateur orchestra which contains numerous unconventional instruments to provide particular musical effects; bugle fanfares for the animals, handbell chimes for the rainbow, and various improvisations to replicate musically the sounds of a storm. (Full article...)
  • Image 11 The Ecstatic is the fourth studio album by American rapper Mos Def, released on June 9, 2009, by the independent record label Downtown Records. After venturing further away from hip hop with an acting career and two poorly received albums, Mos Def signed a recording contract with Downtown and recorded The Ecstatic primarily at the Record Plant in Los Angeles. He worked with producers such as Preservation, Mr. Flash, Oh No, and Madlib, with the latter two reusing instrumentals they had produced on Stones Throw Records. The work of Stones Throw rapper MF Doom was also cited by Mos Def as an influence, while singer Georgia Anne Muldrow, formerly of the record label, performed as one of the album's few guest vocalists, along with rappers Slick Rick and Talib Kweli. Described by music journalists as a conscious and alternative hip hop record, The Ecstatic features an eccentric, internationalist quality. Mos Def's raps about global politics, love, war, spirituality, and social conditions are informed by the zeitgeist of the late 2000s, Black internationalism, and Pan-Islamic ideas, incorporating a number of Islamic references throughout the album. Its loosely structured, lightly reverbed songs use unconventional time signatures and samples taken from a variety of international musical styles, including Afrobeat, soul, Eurodance, jazz, reggae, Latin, and Middle Eastern music. Mos Def titled the album after one of his favorite novels, Victor LaValle's The Ecstatic (2002), believing its titular phrase evoked his singular musical vision. For the album's front cover, a still from Charles Burnett's 1978 film Killer of Sheep was reproduced in red tint. (Full article...)
    The Ecstatic is the fourth studio album by American rapper Mos Def, released on June 9, 2009, by the independent record label Downtown Records. After venturing further away from hip hop with an acting career and two poorly received albums, Mos Def signed a recording contract with Downtown and recorded The Ecstatic primarily at the Record Plant in Los Angeles. He worked with producers such as Preservation, Mr. Flash, Oh No, and Madlib, with the latter two reusing instrumentals they had produced on Stones Throw Records. The work of Stones Throw rapper MF Doom was also cited by Mos Def as an influence, while singer Georgia Anne Muldrow, formerly of the record label, performed as one of the album's few guest vocalists, along with rappers Slick Rick and Talib Kweli.

    Described by music journalists as a conscious and alternative hip hop record, The Ecstatic features an eccentric, internationalist quality. Mos Def's raps about global politics, love, war, spirituality, and social conditions are informed by the zeitgeist of the late 2000s, Black internationalism, and Pan-Islamic ideas, incorporating a number of Islamic references throughout the album. Its loosely structured, lightly reverbed songs use unconventional time signatures and samples taken from a variety of international musical styles, including Afrobeat, soul, Eurodance, jazz, reggae, Latin, and Middle Eastern music. Mos Def titled the album after one of his favorite novels, Victor LaValle's The Ecstatic (2002), believing its titular phrase evoked his singular musical vision. For the album's front cover, a still from Charles Burnett's 1978 film Killer of Sheep was reproduced in red tint. (Full article...)
  • Image 12 Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released as a double album on June 20, 1966, by Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded. Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited (both 1965). Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique mixture of the visionary and the colloquial". It was one of the first double albums in rock music. (Full article...)
    Blonde on Blonde is the seventh studio album by American singer-songwriter Bob Dylan, released as a double album on June 20, 1966, by Columbia Records. Recording sessions began in New York in October 1965 with numerous backing musicians, including members of Dylan's live backing band, the Hawks. Though sessions continued until January 1966, they yielded only one track that made it onto the final album—"One of Us Must Know (Sooner or Later)". At producer Bob Johnston's suggestion, Dylan, keyboardist Al Kooper, and guitarist Robbie Robertson moved to the CBS studios in Nashville, Tennessee. These sessions, augmented by some of Nashville's top session musicians, were more fruitful, and in February and March all the remaining songs for the album were recorded.

    Blonde on Blonde completed the trilogy of rock albums that Dylan recorded in 1965 and 1966, starting with Bringing It All Back Home and Highway 61 Revisited (both 1965). Critics often rank Blonde on Blonde as one of the greatest albums of all time. Combining the expertise of Nashville session musicians with a modernist literary sensibility, the album's songs have been described as operating on a grand scale musically, while featuring lyrics one critic called "a unique mixture of the visionary and the colloquial". It was one of the first double albums in rock music. (Full article...)
  • Image 13 Lucien Fugère in the title role, 1894 Falstaff (Italian pronunciation: [ˈfalstaf]) is a comic opera in three acts by the Italian composer Giuseppe Verdi. The Italian-language libretto was adapted by Arrigo Boito from the play The Merry Wives of Windsor and scenes from Henry IV, Part 1 and Part 2, by William Shakespeare. The work premiered on 9 February 1893 at La Scala, Milan. Verdi wrote Falstaff, the last of his 26 operas, as he approached the age of 80. It was his second comedy, and his third work based on a Shakespeare play, following Macbeth and Otello. The plot revolves around the thwarted, sometimes farcical, efforts of the fat knight Sir John Falstaff to seduce two married women to gain access to their husbands' wealth. (Full article...)

    Lucien Fugère in the title role, 1894

    Falstaff (Italian pronunciation: [ˈfalstaf]) is a comic opera in three acts by the Italian composer Giuseppe Verdi. The Italian-language libretto was adapted by Arrigo Boito from the play The Merry Wives of Windsor and scenes from Henry IV, Part 1 and Part 2, by William Shakespeare. The work premiered on 9 February 1893 at La Scala, Milan.

    Verdi wrote Falstaff, the last of his 26 operas, as he approached the age of 80. It was his second comedy, and his third work based on a Shakespeare play, following Macbeth and Otello. The plot revolves around the thwarted, sometimes farcical, efforts of the fat knight Sir John Falstaff to seduce two married women to gain access to their husbands' wealth. (Full article...)
  • Image 14 Music for a Time of War is a 2011 concert program and subsequent album by the Oregon Symphony under the artistic direction of Carlos Kalmar. The program consists of four compositions inspired by war: Charles Ives' The Unanswered Question (1906), John Adams' The Wound-Dresser (1989), Benjamin Britten's Sinfonia da Requiem (1940) and Ralph Vaughan Williams' Symphony No. 4 (1935). The program was performed on May 7, 2011, at the Arlene Schnitzer Concert Hall in Portland, Oregon, and again the following day. Both concerts were recorded for album release. On May 12, the Oregon Symphony repeated the program at the inaugural Spring for Music Festival, at Carnegie Hall. The performance was broadcast live by KQAC and WQXR-FM, the classical radio stations serving Portland and the New York City metropolitan area, respectively. The concerts marked the Oregon Symphony's first performances of The Wound-Dresser as well as guest baritone Sanford Sylvan's debut with the company. In October 2011 the recording of the Portland performances was released on CD by PentaTone Classics. The recording debuted at number 31 on Billboard's Classical Albums chart. The album earned three recognitions from the National Academy of Recording Arts and Sciences for the 2013 Grammy Awards. Producer Blanton Alspaugh received the award for Producer of the Year, Classical for his contributions to Music for a Time of War and other recordings. (Full article...)
    Music for a Time of War is a 2011 concert program and subsequent album by the Oregon Symphony under the artistic direction of Carlos Kalmar. The program consists of four compositions inspired by war: Charles Ives' The Unanswered Question (1906), John Adams' The Wound-Dresser (1989), Benjamin Britten's Sinfonia da Requiem (1940) and Ralph Vaughan Williams' Symphony No. 4 (1935). The program was performed on May 7, 2011, at the Arlene Schnitzer Concert Hall in Portland, Oregon, and again the following day. Both concerts were recorded for album release. On May 12, the Oregon Symphony repeated the program at the inaugural Spring for Music Festival, at Carnegie Hall. The performance was broadcast live by KQAC and WQXR-FM, the classical radio stations serving Portland and the New York City metropolitan area, respectively. The concerts marked the Oregon Symphony's first performances of The Wound-Dresser as well as guest baritone Sanford Sylvan's debut with the company.

    In October 2011 the recording of the Portland performances was released on CD by PentaTone Classics. The recording debuted at number 31 on Billboard's Classical Albums chart. The album earned three recognitions from the National Academy of Recording Arts and Sciences for the 2013 Grammy Awards. Producer Blanton Alspaugh received the award for Producer of the Year, Classical for his contributions to Music for a Time of War and other recordings. (Full article...)
  • Image 15 J. Howard Miller's "We Can Do It!" poster from 1943 "We Can Do It!" is an American World War II wartime poster produced by J. Howard Miller in 1943 for Westinghouse Electric as an inspirational image to boost female worker morale. The poster was little seen during World War II. It was rediscovered in the early 1980s and widely reproduced in many forms, often called "We Can Do It!" but also called "Rosie the Riveter" after the iconic figure of a strong female war production worker. The "We Can Do It!" image was used to promote feminism and other political issues beginning in the 1980s. The image made the cover of the Smithsonian magazine in 1994 and was fashioned into a US first-class mail stamp in 1999. It was incorporated in 2008 into campaign materials for several American politicians, and was reworked by an artist in 2010 to celebrate the first woman becoming prime minister of Australia. The poster is one of the ten most-requested images at the National Archives and Records Administration. (Full article...)
    J. Howard Miller's "We Can Do It!" poster from 1943

    "We Can Do It!" is an American World War II wartime poster produced by J. Howard Miller in 1943 for Westinghouse Electric as an inspirational image to boost female worker morale.

    The poster was little seen during World War II. It was rediscovered in the early 1980s and widely reproduced in many forms, often called "We Can Do It!" but also called "Rosie the Riveter" after the iconic figure of a strong female war production worker. The "We Can Do It!" image was used to promote feminism and other political issues beginning in the 1980s. The image made the cover of the Smithsonian magazine in 1994 and was fashioned into a US first-class mail stamp in 1999. It was incorporated in 2008 into campaign materials for several American politicians, and was reworked by an artist in 2010 to celebrate the first woman becoming prime minister of Australia. The poster is one of the ten most-requested images at the National Archives and Records Administration. (Full article...)
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The Ugly Duchess
The Ugly Duchess
A 1513 portrait of an unknown Duchess, perhaps Margaret, Countess of Tyrol, by Flemish artist Quentin Matsys. She holds a red flower in her right hand, at the time a symbol of engagement, indicating that she is trying to attract a suitor. This portrait inspired the appearance of the Duchess in Alice's Adventures in Wonderland. The painting is Matsys' best-known work, and developed half of a diptych. The painting is in the National Gallery in London.
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Portrait of Caspar Friedrich by Gerhard von Kügelgen

Caspar David Friedrich (1774–1840) was a 19th-century German Romantic landscape painter, generally considered the most important of the movement. He is best known for his mid-period allegorical landscapes, which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's work characteristically sets the human element in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension". Friedrich was born in the Swedish Pomeranian town of Greifswald, where he began his studies in art as a youth. Later, he studied in Copenhagen until 1798, before settling in Dresden. Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers (1788–1856) spoke of him as a man who had discovered "the tragedy of landscape". However, his work fell from favour during his later years, and he died in obscurity. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. (Full article...)

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U.S. Army Band – Lo How a Rose
"Lo, How a Rose E'er Blooming", an 1894 English translation of the 16th-century German Christmas carol, "Es ist ein Ros entsprungen". Performed by the chorus of the U.S. Army Band, c. 2010.
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Ani DiFranco
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