chunk_id
stringlengths 5
8
| chunk
stringlengths 1
1k
|
|---|---|
243_5 | He spent years researching the master key and technique deployed in paintings at Ajanta and Bagh Caves . As he could see that this invaluable cultural heritage was showing signs of getting ravaged by onslaught of time, he had a strong desire to make this treasure available for the future generations. With this background he had planned a detailed scheme, of having a replica of Ajanta caves. The scheme would provide training to the art-students as well as patronage to painters. He had commenced corresponding with Government authorities. The then Education Minister Madhukarrao Chaudhary and Defense Minister Yashwantrao Chavan were favorably inclined towards the scheme and had indicated their consent. Unfortunately, due to paucity of funds with Maharashtra Government, this scheme could not see the light of the day.
In July 1971, an exhibition of 40 of his paintings was held in India House, London. |
243_6 | He continued to wield his brush and pallet till the day he breathed his last on 5 January 1986.
Subsequently, his works have been auctioned by several art auction houses such as Christie's and SaffronArt.
Style
The following paragraph taken from his diary, sets tone to his Art-journey:
"India had art of long standing. The artistic value need not necessarily depend upon fulfilling the standards set by the latest fashion or theory or values current in Europe.
Our artistic activity came to a standstill practically with the loss of freedom and cultural decline. England forced upon India, European art ideals, methods and values. It is not that European culture has done India no good. Some great and eternal values like freedom, individual and collective, for general progress are the elements bound to lead men to progress. |
243_7 | Let us not be servile imitators of the dead past or living present of Europe. Let us find out whether we have anything to give – contribute. Let us free ourselves from the false notion that is holding on to Indian technique, period or school. This is the way to express the soul of India in art forms."
Similarly following quote from his diary defines his approach to technique and style:
"Mastery over technique gives discipline to the artist. The discipline, the control of the material which the mastery over the technique gives is very precious.....
Mere technique is not art. The artist must learn and then forget the technique."
Throughout his life he experimented with different styles. He tried various types of subjects from figurative compositions in Indian decorative style, genre, portraits, still-life, outdoor scenes - landscapes, abstract as well as non-objective paintings. All of these showed a continuous handling of color and forms with new experiments. |
243_8 | Style in The Early Period
He started with portraits, even before formal training in J. J. School of Art. He was successful in bringing perfect likeness and his portraits were known for his masterly treatment in realistic rendering. In J.J. School, he was introduced to the painting style based on academic realism. All the same, there was a deep influence of the great frescoes of Ajanta and especially Bagh Caves on his mind from very early age when he was in Indore. Influenced by Havell's book & Dean Gladston Solomon he ardently followed Bombay Revivalism and his work represented the Indian art. The fascination about Indian art and its decorative style was combined with the academic training of Bombay School. Iconographic paintings - ' Dattatreya', 'Trimurti', 'Samudra Manthan' |
243_9 | These paintings illustrate his mastery over pure, delicate, rhythmic yet powerful line acquired by his in depth study of Frescos Art. These were a very remarkable example of wall decoration on traditional lines.
He experimented illusionistic paintings in the academic style and made compositions in Indian decorative style. His work in the early period of his career was earmarked as replete with Iconographic paintings making subtle use of different styles. He belonged to the transition period. He was known to be the first modern artist from J.J. School of Art. |
243_10 | Given below are the illustrations of expert use of different styles as seen in some of his prize winning work during the early period –
‘Dadhi Manthan’ (Churning) - In the art world this work was distinctively noticed then for its theme. It depicted artistically the rhythmic movement of churning and included minute details such as the flowing movement of a background curtain etc. The color combination showed traces of Neo Rajput style. |
243_11 | ‘Love Pilgrimage’ was a large decorative panel of the divine couple - Shiva & his consort Uma and captured their lilting movement. This painting using hastmudra – hand gestures influenced by Ajanta frescos was considered an example of obsession with the Indian decorative style and ingenious mannerism. It recorded a new enterprise in decorative line and color and won the ‘Nizam silver medal’ for best work by student of any art school in India in Simla Fine Art exhibition. This painting was much appreciated for its line work reminding iconography of ancient Indian Art on the backdrop of Ancient Buddhist Art. It was eventually selected for the exhibition of Modern Indian Art arranged by the Indian Society of London at the New Burlington Galleries (1934).
Chandra Aradhana’ had semblance of Mughal style. |
243_12 | Mahiyari (1935 - Gold medal winning painting) This painting noted for its originality was a strikingly successful attempt to present a truly Indian subject using western style of painting. It was the first time that an effort was made to use Cubism which was an emerging French school of painting then. The beautifully executed face with lost look in her dreaming eyes and expressive face of one waiting for her beloved were captured effectively. Conducive attractive colours, setting Sunrays in the background, play of light & shadow on Mahiyari's multi coloured costume, western proportionality, colour scheme in Rajput style and the light but soft background of the sunlit buildings set off the graceful figure made this an aesthetic masterpiece of art. Critic Karl Khandalawala has noted - 'This painting presented an excellent illustration of how certain principles of Modern French Art can with great advantage be employed by the Indian artist without losing his individuality or becoming an |
243_13 | imitator.' |
243_14 | This artist was not tied down to the rigid principles of reality, which was the chief factor of the paintings of the Bombay school. After realistic phase, he tried to use bold impressionistic strokes. He simplified the forms by omitting unnecessary details - thus deviating from the traditional style executed with microscopic details. He used broad, bold and confident brush-strokes in the paintings. His handling showed rapidity, boldness and precision. For this purpose sometimes he used even flat tones and simplified forms. Through all his work he continued experimenting with feeling of space, arrangement of forms, aspects of light & color eventually to create a good design while keeping the effect of space intact. His efforts are revealed in his line, in individual figures or in the overall design. The experiments with space involved the use of unusual views and levels. |
243_15 | By training and as his core strength he was a muralist. In the paintings or line art, irrespective of size or color, distinctive features of mural paintings can be noticed. His work exhibits mastery over line and its spontaneity created a sense of volume in his drawing. His paintings show a powerful color-sense and a decorative quality. |
243_16 | Abstract Paintings
In his work there is integration between the past and the present. His work displays vital interest in Present - modern trends of the contemporary world, sustained with deeply rooted understanding of the past heritage - inspirations from Frescos of Ajanta & Bagh. He reformed his original style taking cognizance of new references and new directions. Thus started his foray into abstract paintings.
Exposure to modern works of art from the west left impressionistic influences with novel modes in his work. He achieved effects of vast space and good design through interesting arrangement of simplified forms and color orchestration. With his urge for innovation, he continued experimenting in treatment of form & arrangements.
His approach to abstract art was deep rooted in a stylized realism. He adopted specialties of modern paintings to create visual art. His work was marked with his perspective, fine sense of pattern and geometrical rhythm.Landscapes |
243_17 | Fascinated by the beauty of nature, he tried to explore it through his landscapes throughout his life. His landscapes showed a new view to reveal the beauty of nature. Most of his landscapes show the panoramic view revealing the vast space. His landscapes show simplified forms and sure, bold brush-strokes together with pleasant color-schemes derived from natural pigments. He chiefly experimented in aspects of light, space and color. Though his training emphasized on academic realism, his technique of landscape painting showed the influence of the Impressionism and Post-impressionism.
Color |
243_18 | His approach to color was scientific and his color-scheme shows strength and vitality. Limited palette and skillful use of greys derived from different colors was the result of inspiration from the ancient muralists of India. Particularly the cave paintings of Bagh provided inspiration for his experiments in tempera colors. He prepared his own colors from the pigments. It is for this reason his color scheme had become a distinguishing feature of his art work. He used water colors in opaque manner (gouache technique) like the Indian miniature painters. He used indigenous earth colors for chromatic luminosity.
Paintings
Some paintings by Mr Solegaonkar: |
243_19 | Awards
Govind Solegaonkar was the recipient of many awards including:
Topiwala Prize 1934 This prize was for the best composition on Indian History or Mythology
The Miss Dolly Cursetji First Prize 1934
Medals and Awards by Fine Art Society, Simla in 1933,1934
Gold medal of the Bombay Art Society 1935
The Bombay Government Fellow-ship in painting and commercial art 1935
The Lord Hardings senior most scholarship 1934
Patel Trophy winner of the Art Society of India 1953 |
243_20 | Exhibitions
Some of the exhibitions of Govind Solegaonkar's works are listed below:
Exhibits in All India Fine arts exhibition, Indore - 1928
Exhibits in All India Fine arts exhibition, Simla - 1932
Exhibition at the Burlington Gallery, London - 1933
Exhibits in Bombay Art Society's 44th annual exhibitions held, won Gold Medal - 1935
Exhibits in Exhibition organized by Bombay School of Art - 1936
Exhibits in Exhibition by 'Academy of Fine Arts, Calcutta - 1937
Exhibits in Bombay Art Society's Golden Jubilee year exhibition held in 1939
Show in Jehangir Art Gallery - Dec 1954, Jan 1957, Feb 1958, Nov 1962
Shows in Europe during his tour, including 3 Exhibitions in Belgium - 1958-60
Show in Taj Art Gallery - 1970
Show in India House, London July, 1971
Exhibits in Pravaha: Exhibition Highlighting Early Phase of Sir J.J. School of Art and the Progressive Art Movement, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (formerly Prince of Wales Museum of Western India) - 2017 |
243_21 | Displayed works
Govind Solegaonkar's works on display as of August 2017 include:
Bhojashala - Indian Parliament - Panel No 41
Mahiyari - Chhatrapati Shivaji Maharaj Vastu Sangrahalaya
Gandhiji - In Mahatma Gandhi's birthplace at Porbandar
Mural/Painting - Tata Institute Of Fundamental Research (TIFR)
References
1912 births
1986 deaths
20th-century Indian painters
Indian male painters
Sir Jamsetjee Jeejebhoy School of Art alumni
People from Sehore district
Painters from Madhya Pradesh |
244_0 | Alex Poole (born October 4, 1986) is an American multi-instrumentalist musician from Nashville, Tennessee. Poole has prolifically contributed to the Black Metal genre having led or contributed to a number of black metal bands including Chaos Moon, Manetheren, Krieg, Skaphe, Martrod, and Gardsghastr. He has also played live with a number of bands to fill in for missing guitarists or bassists over the years (e.g. Adzalaan, Benighted in Sodom, Dagger Lust, Heimnar, In Ruins, and Triumvir Foil).
Stage names
Alex Poole first recorded music under Alexander during his project, Troglodytic. After that, he used Esoterica as a pseudonym up until 2012 when he began releasing music under a band with the same name. At that point, he began using A. Poole as his stage name. Still later in his career in 2016, Poole began using his initials, A.P., as a pseudonym.
Music career |
244_1 | Early independent work in Nashville (2000 – 2011)
Poole began to independently record and release black metal in Nashville, Tennessee with his bands Troglodytic (2000 – 2004) and Coffin (2004). He recorded multiple EPs and demos between 2000 and 2004 which have a lo-fi quality and an ambient black metal style.
In 2004, Poole also started the first incarnations of Ringare and Chaos Moon. Poole started Ringare by playing all instruments and independently releasing an EP and a Demo. However, it wasn’t until 2019 when Swedish vocalist, Likpredikaren, joined Ringare that they release their first full length album, Under the Pale Moon, on Iron Bonehead Productions. Its symphonic black metal style has been compared to Dimmu Borgir, Deafheaven, and Wolves in the Throne Room. |
244_2 | Poole independently worked on Chaos Moon in the beginning as well. That changed in 2007 when he was joined by American vocalist, Mark Hunter, to record albums, Origin of Apparition and Languor Into Echoes, Beyond. The next big line-up change occurred a decade later in 2017 when Poole is joined by Eric Baker (vocals), Steven Blackburn (additional guitars), and Jack Blackburn (drums). Together, they released Eschaton Mémoire which achieved more notoriety than previous Chaos Moon releases. Spyros Stasis of PopMatters says, "It might have taken a while for Chaos Moon to reach this state, a surprising result considering how potent and promising the two early records of the band were. From these diamonds in the rough, Chaos Moon has further explored its sound, and with Eschaton Memoire Poole and company have reached the summit." Moreover, Jacob Buczarski of Mare Cognitum opines that Poole’s “rejection of traditional black metal tropes in favor his own signature method of building atmosphere |
244_3 | creates an experience that manages to be both meditative and punishing simultaneously.” Regarding Eschaton Mémoire, Decibel comments, “While guitarists Alex Poole and Steven Blackburn ensorcell the din and beauty of the two-part “The Pillar, the Fall, and the Key” songs are easy rabbit holes to fall into, Eric Baker growls and squawks an end-time message that paints a very dark picture. The Philadelphians are journeymasters, able to cast off into dreamland with the quickest of turns or descend into the vantablack abyss with ease, often within the same song.” |
244_4 | Collaborations and moving to philadelphia (2012 – 2015)
In 2012, Poole expanded his style with Esoterica which tended to have more Ambient music and Shoegazing components than Chaos Moon. Esoterica's first EPs, Idololatriae and Knell, were both released independently. This was followed up by their full-length album, Aseity, in 2013. On Aseity, Poole (vocals & guitars) was joined by Steven Blackburn (bass) and Jack Blackburn (drums) who would go on to become long-time collaborators with Poole. |
244_5 | It was about the same time Poole met Neil Jameson (vocalist of Krieg) in Pennsylvania in 2012. They collaborated on Lithotome together and had one release, Lithotome (2013), on Fall of Nature Records. Poole moved to Philadelphia shortly thereafter to join Krieg as a guitarist. In 2014, they released Transient on Candlelight Records and garnered notoriety among the Black Metal community. Regarding Transient, Grayson Haver Currin of Pitchfork noted, “It’s a full-band feat, motivated by the drums but pulled along by Alex Poole’s spectacularly assorted riffs. In the span of six minutes, he lands a perfectly slow, steely melody at the start and, near the middle, a grim, low-lying theme.” Over the years, Krieg has collaborated with a number of other metal bands – most notably producing The Body & Krieg (2015) from At a Loss Recordings and the Integrity/Krieg Split (2018) on Relapse Records. |
244_6 | Poole also created psychedelic black metal band, Skáphe, in 2014 and released the self-titled first album on Fallen Empire Records. The album review by James Parry-Smith of CVLT Nation states, “Within walls of atmosphere and bleaker-than-thou black metal do Skáphe craft their cavernous hell, using reverberation to invoke and catalyze sensations of claustrophobia and crushing despondency.” |
244_7 | During interviews about his inspiration, Poole discussed his use of hallucinogens to inspire his creativity. Regarding musical inspiration, Poole notes that Soundgarden’s album, Superunknown, was a major inspiration for his guitar work. He says, “On "Limo Wreck" the riff that begins at ~0:11, is probably my favorite single riff of all time. Its essence is easily the biggest influence for Skáphe.” Furthermore, during an interview with Eric Gallippo of Vice, Poole further describes the origin of Skáphe’s sound, “For me, it was writing something that was kind of abandoning guitar chords. Like, unlearning how to play and trying to create music based on not knowing how to create music. I wanted to explore horrible sounds but make them musical. Like, trying to get as close to absolute chaos without it losing its sensibility.” |
244_8 | From across the Atlantic Ocean, in one of Poole’s first major transatlantic collaborations, D.G. (Dagur Gíslason), frontman for Icelandic black metal band, Misþyrming, began contributing vocals to Skáphe. In 2016, they released Skaphe2 on Fallen Empire Records which received a positive review from Al Necro of CVLT Nation, “Deeply experimental, complex, and dissonant, Skáphe’s full-length foray into noise avant-garde black metal is the best modern black metal to have incarnated since the beginnings of black metal itself.” Scott Murphy of Heavy Blog Is Heavy describes Poole’s style, “Poole achieves this by weaving multiple BM stylings together without fancying any particular one. Thick, pummeling riffs verging on bestial black metal suddenly give way to eerie ambience that echoes in a cavernous manner.” |
244_9 | In 2019, H.V. Lyngdal, Icelandic vocalist from Wormlust, joined Skáphe to release Kosmískur Hryllingur (2019), which is Icelandic for “Cosmic Horror.” This album received some positive comments from Lars Gotrich of NPR who wrote, “Your mileage may vary (or be completely non-existent) when it comes to black metal made to sound like a collapsing black hole. But this collaboration understands that the darker depths of psychedelia can wield some brilliantly colored nightmares.”
Expanding international collaborations (2016 – Present)
2016 saw the creation of one of the most diverse international black metal groups: Martrod. Alex Poole (guitars) joined H.V. Lyngdal (additional guitars) from Iceland, Thorns (drums) from Italy, and MKM (vocals) from France. They released Transmutation of Wounds on Terratur Possessions Records in 2016. |
244_10 | The following year, Poole returned to recording with long-time collaborators, the Blackburn brothers, to form Entheogen. Entheogen was different from their previous projects in that Steven Blackburn performed all the guitar work while Poole focused only on vocals. Their album, Without Veil, nor Self, was released on Fallen Empire Records in 2017. A review from Angry Metal Guy describes the sound of Entheogen’s record the following way: “The album alternates between chaotic spasms of sound akin to Krallice and atmospheric wisps laced with half-melodies and eerie warmth.”
After hearing Icelandic band, Wormlust, Poole reached out to H.V. Lyngdal (vocalist) to form Gudveiki, which is an Icelandic word that translates to “God Disease.” Poole returned to guitar. The Blackburn brothers also contributed. They released one album, Vaengfor, on Fallen Empire Records in 2018. Vaengfor has more death metal influences than Poole’s previous releases. |
244_11 | In 2019, Poole (guitar and keyboards) again joined forces with the Blackburn brothers. This time, they were joined by Swedish musicians, Glomd (vocals) and Swartadauþuz (additional guitars and backing vocals) to create the experimental/symphonic black metal band, Gardsghastr. They released Slit Throat Requiem on Profound Lore Records in 2019. Regarding the album, Maxen of GRIMM comments, “On Slit Throat Requiem the dark elements are cast into the magical cauldron to form a haunting sensation. The quintet equally balance the aggression and the cold ambient surroundings. The song stretches to further soundscapes where the moonlight crescendo and the enchanting tremolo pickings dominantly allures the listener. While the nightmarish rasps conjures up the images of haunted medieval castles, the music transports you to the ghostly landscapes.” Moreover, Heaviest of Art concludes, “Slit Throat Requiem is a fantastic return to the glorious era of late nineties Symphonic Black Metal that many |
244_12 | listeners have been clutching to for nearly two decades.” |
244_13 | In 2020, Poole recorded all instruments for his new occult black metal band, Haxanu. The mysterious L.C. added vocals to the record, and they released the album, Snare of All Salvation, on Amor Fati Productions. Some of the reviews have been positive such as Dutch Pierce of Decibel who says,” These days stateside black metal multi-instrumentalist Alex Poole stands as one of the world’s elite black metal magi. His uncompromising approach to creating exclusively final form black metal albums combined with his prolific output and philosophical creativity represent the pillars of his genius.” The review from Invisible Oranges notes, “Snare of All Salvation balances itself on a razor's edge, bringing duality into a monist reality: atmosphere is aggression, hostility is ambiance. Poole's mastery of black metal precedes him, with his work in Chaos Moon, Ringarë, Gardsghastr, and more acting as part of a greater thesis on the genre, and Häxanu's more vitriolic approach is yet another strong |
244_14 | point made within Poole's oeuvre. Compared to his other works, Häxanu presents itself as a more bellicose cousin to its creator's other works -- a faster, sharper manifestation of Poole's creativity -- and yet Snare of All Salvation still nestles itself comfortably within his greater discography.” |
244_15 | However, the album received criticism from Dave “That Metal Guy” Campbell from Metal-Temple for being too repetitive and traditional. He noted, “Some staunch purists want to make the same music of their forefathers, while others are interested in branching out into new, uncharted territories. I am sorry to say that HAXANU falls into the former of this group, and because they have nothing to offer that hasn’t been offered before, I have to rate it the way that I did.”
Discography
Troglodytic
Personnel:
Alex Poole – All Instruments
Demos
As Sadness Remains (2003, Independently Released)
Anathematized (2004, Independently Released)
EP
War and Death (2004, Independently Released)
Coffin
Personnel:
Alex Poole – All Instruments
Demos
Shadows of (2004, Independently Released)
EP
Final Conflict of Nothing (2004, Independently Released)
Ringare
Personnel:
Alex Poole – Guitars and Keyboards
Likpredikaren – Vocals |
244_16 | Demo
Di’nguruthos Promo (2004, Independently Released)
Where Cold Dwells and Autumn Once Lay (2019, Forgotten Centuries)
Sorrow Befell (2020, Iron Bonehead Productions)
EP
Promo 2006 (2006, Independently Released)
Studio Album
Under Pale Moon (2019, Iron Bonehead Productions)
Chaos Moon
Personnel:
Alex Poole – All Instruments except on Eschaton Mémoire.
Studio album
Origin Of Apparition (2007, Wraith Productions)
Languor Into Echoes, Beyond (2007, Ars Magna Recordings)
Resurrection Extract (2014, I, Voidhanger Records)
Eschaton Mémoire (2017, Blood Music)
EP
The Ouroboros Worm (2011, Plastik Musik)
Plaguebearer's Gift (2013, Independently Released)
Amissum (2015, Hellthrasher Productions)
Manetheren
Personnel:
Azlum – All Instruments until Thorns began playing drums in 2011
Alex Poole – Vocals (2008 – 2011)
Eric Baker - Vocals (2015 – present)
Thorns (Gionata Potenti) – Drums (2011 – present) |
244_17 | Studio album
Solitary Remnants (2008, Funeral Moonlight Productions)
Time (2012, Debemur Morti Productions)
The End (2017, Avantgarde Music)
Esoterica
Personnel:
Alex Poole – All Instruments and Vocals except on Aseity.
EP
Idololatriae (2012)
Knell (2012)
Studio album
Aseity (2013, Forever Plagued Records)
Splits
New World Black Metal (2012, Plastik Musik) - split with Krieg / Bitter Peace / Esoterica / The Many
To the Dream Plateau of Hideous Revelation (2013, Aurora Australis Records) - split with Ævangelist / Esoterica
Ars Hmu
Personnel:
Alex Poole – bass
Likpredikaren – Vocals
Swartadauþuz – Guitars
Demo
The Dawn of Black Pansophy (2012, Purity Through Fire)
Krieg
(See Krieg for full discography)
Personnel:
Alex Poole – Guitars
Shawn Riley – Guitars
Bill Durrant – Bass
Jason Dost – Drums
Neil Jameson – Vocals
Studio album
Transient (2014, Candlelight Records)
A Small Death: Sessions 2003 (2017, Children of the Night Records) |
244_18 | Collaboration/Split
The Body & Krieg (2015, At A Loss Recordings)
Integrity/Krieg (2018, Relapse Records)
Lithotome
Personnel:
Alex Poole - Guitars
N. Imperial – Vocals
Nathan Kite (The Many) – Keyboards/Ambience/Sampling
Steven Blackburn – Bass
Jack Blackburn – Drums
Studio album
Lithotome (2013, Fall of Nature Records)
Skaphe
Personnel:
Alex Poole – Guitars
Jack Blackburn – Drums
D.G. (Dagur Gíslason) – Vocals
Studio album
Skaphe (2014, Fallen Empire Records)
Skaphe2 (2016, Fallen Empire Records)
Skaphe3 (2020, Mystiskaos Records)
Collaboration
Kosmískur hryllingur (2019, Mystiskaos Records) - Collaboration between Skaphe (Alex Poole & Dagur Gíslason) and Wormlust (H.V Lyngdal)
Martrod
Personnel:
Alex Poole – Guitars
EP
Transmutation of Wounds (2016, Terratur Possessions Records)
Entheogen
Personnel:
Alex Poole - Vocals
Studio album
Without Veil, nor Self (2017, Fallen Empire Records) |
244_19 | Gudveiki
Personnel:
Alex Poole - Guitars and Keyboards
Studio album
Vaengfor (2018, Fallen Empire Records)
Gardsghastr
Personnel:
Alex Poole – Guitars and Keyboards
Studio album
Slit Throat Requiem (2019, Profound Lore Records)
Haxanu
Personnel:
Alex Poole – All Instruments
Studio album
Snare of All Salvation (2020, Amor Fati Productions)
References |
244_20 | External links
Amor Fati Productions at Amor Fati Productions
At A Loss Recordings at AT A LOSS RECORDINGS
Avantgarde Music at Home
Blood Music at Blood Music
Candlelight Records at Home
Fallen Empire Records at Fallen Empire Records
Fall of Nature Records at Fall Of Nature Records
Forever Plagued Records at New Black Metal Music & Bands-News & Sales Announcements
I, Voidhanger Records at I, Voidhanger Records
Iron Bonehead Productions at Iron Bonehead Productions – Black and Death Metal underground label
Mystiskaos Records at Artists | Mystískaos
Plastik Musik at THE MANY / Plastik Musik
Profound Lore Records at
Relapse Records at Relapse Records Official Store
Terratur Possessions Records at Terratur Possessions | Webstore, Mailorder and Distro |
244_21 | 1986 births
American black metal musicians
American heavy metal guitarists
American heavy metal musicians
American heavy metal singers
American multi-instrumentalists
American male guitarists
21st-century American male musicians
21st-century American guitarists
Living people |
245_0 | José Brocca (Professor José Brocca Ramón, 1891 – 1950) was a pacifist and humanitarian of the Spanish Civil War, who allied himself with the Republicans but sought nonviolent ways of resisting the Nationalist rebels.
His parents were Spanish and Italian. He was born in Almería, Andalucia in 1891. His father, originally from Milan, was stationed there as the Italian Consul. |
245_1 | A forgotten history
Many people's perception of the Spanish Civil War is one of two monolithic 'sides': a war of the Republicans against the Nationalists. In fact it was by no means as simple as that, and although it was the Republican cause that was more seriously undermined by internal power struggles, there were many factions and sub-groups within both the main groupings. Almost completely overlooked by mainstream historians, there was also a vigorous element of pacifism, and the work of the Spanish arm of the organisation War Resisters' International (WRI) is almost totally forgotten in popular history and neglected by academics. Similarly, and perhaps inevitably, the history of military assistance, particularly through the International Brigades, is far better documented than the role of people dedicated to non-violence, civilian initiatives and what today we would call non-governmental organisations.
Viator |
245_2 | As with many families, civil war meant uncertainty, movement and separation; but José Brocca's children regarded their formative years as having been spent in the small town of Viator, near Almería, and it is to Viator that family members have returned in order to visit the area with which they feel Brocca is most closely associated. Brocca was a school director at Viator in the early 1930s, and he earned a reputation as a respected community leader. For example, he was instrumental in defying local commercial interests who wanted to prevent a project to bring water to a public fountain in the village. There was once a plaque at the water fountain in Viator commemorating this event, but it has since disappeared. A lifelong internationalist and political activist, Brocca was involved in setting up Escuelas Laicas (secular schools), an initiative which became part of the Republican policy programme. |
245_3 | Andalucia was quickly caught up in the violence and confusion of the Civil War, and one infamous incident was the shelling of the port of Almería by the Kriegsmarine. As is both metaphorically and literally the way with civil war, brother fought against brother. Brocca's five children were: Arnulfo, Helio, Irma Leticia, Olga Teresa and Humberto. Arnulfo, the eldest, found himself on the rebel side, rose quickly through the ranks, and eventually had a distinguished post-war career as a senior officer in the regular Spanish army, mainly in La Coruňa, before retiring to Huelva then Seville to live with his daughter and family. Humberto was drawn in on the Republican side and died of wounds and sickness contracted on the battlefields.
In spite of the horrors of war and the divisive nature of this war in particular, the four surviving brothers and sisters held warm memories of their childhood in Viator, and kept in touch in the post-war years. |
245_4 | Throughout his life Arnulfo, the decorated war hero, veteran of some of the fiercest battles, and highly respected officer in the post-war army of Francoist Spain, spoke of his pacifist father as the 'greatest man who ever lived'. This is no paradox: it is testament to the courage and strength of character of both men, indicative of the complexities of civil war, and a victory for humanity over mere politics. It tells us that even in the most challenging circumstances the lasting strengths of the family can conquer the transient demands of the state. Helio died in 1968, Olga in 2004, Arnulfo in 2005 and Irma in 2009. |
245_5 | Brocca aligned himself with the socialist segment of the complex political spectrum in Spain, and represented Spanish pacifists at international meetings of the peace movement (the Orden del Olivo and War Resisters' International). He was a colleague of anarcha-feminist doctor Amparo Poch y Gascón. He believed that pacifists had to support the Republican cause, but he was first and foremost a humanitarian. There is a local story in Viator which suggests that he helped a Catholic priest escape assassination by giving him his car. From 1933 to 1937 Professor Brocca was in Madrid, where his work included being a school inspector and teaching at the university, while the family home continued to be in Viator. It is believed that at one stage Brocca also spent some time in Buenos Aires, Argentina, where his brother was living.
A challenge to pacifism |
245_6 | Many active pacifists in Europe and the USA found it difficult or impossible to take a neutral view of the Spanish Civil War (Prasad, 2005). Some prominent members of pacifist organisations, like Dr. Albert Einstein, had already renounced pacifism altogether, as a reaction to Hitler's rise to power in Germany. Fenner Brockway resigned from WRI in the early days of the Spanish Civil War (although after World War II with the onset of the Cold War and the nuclear threat he re-affirmed a commitment to pacifism). José Brocca's opinion of the position in Spain was that:
'...the people have had no alternative but to meet violence with violence. It is regrettable, but the entire responsibility for the tragic and bloody days we are enduring lies with those who...have let loose destruction and slaughter to defend, not ideals, but out-of-date and hateful privileges, tending to a set-back to medieval barbarism' (quoted in Brown, 1937). |
245_7 | Brocca's activism in response to the armed insurrection in Spain was widely quoted by pacifists in the UK and elsewhere as representing a role model. Herbert Runham Brown, Hon. Secretary of the WRI, asked 'What should I do if I were in Spain?' and in answer reproduced parts of a letter from Brocca in which he stated: |
245_8 | 'In Barcelona, in Valencia, in the province of Cáceres and in Madrid I have acted, and continue to act, in such interesting tasks as stimulating, directing and organising the peasants so that instead of abandoning their agricultural work, even in those areas abandoned by the fascists in their flight, they work to avoid interruption in production and provision of supplies for the towns; in establishing and organising schools and homes for the children of those citizens who have fallen or who are fighting on the various fronts, and in general taking advantage of all opportunities to spread among the combatants our humanitarian ideals and our repugnance to oppression and cruelty' (Brown, 1937). |
245_9 | Brocca relinquished his government post in Madrid in order to dedicate himself to organising activities such as the purchase and distribution of food and clothing, which was imported through a dock at Valencia financed by the WRI for this purpose; and in Madrid he organised a women's committee to distribute food and collect information on people who were not able to reach relief centres (Bennett, 2003).
War children
During the war the French Catalan town of Prats-de-Mollo-la-Preste (near Perpignan) in the Pyrenees was the location of a refuge financed by the War Resisters' International and run by Professor Brocca and his wife. Helio, Irma and Olga were also there for a time, but were then sent, in the care of Brocca's sister-in-law, to stay with sympathisers in Rouen, until the defeat and occupation of France during the Second World War necessitated their escape from Normandy back to the south. |
245_10 | The Prats-de-Mollo refuge housed children separated from their families, orphans and widows who had escaped from Spain; according to Hunter (1939), at any one time approximately forty people were in residence, and the care of an extra person would always take priority over the purchase of any little 'luxuries'. During his time there Professor Brocca became expert in finding pathways through the Pyrenees and crossed the border many times on various missions which took him in both directions. In effect, the refuge became part of an 'underground railroad' (Agirre, April 1996). |
245_11 | According to Bennett (2003) Brocca disliked traditional orphanages and children's institutions, which to him resembled prisons. Before the war he and Amparo Poch presented the Republican government's Ministry of Health with a plan for 'homes' that would be designed to shelter twenty-five children in the care of a surrogate mother and father. Under wartime conditions, the number of twenty-five was often exceeded, but Bennett records that as well as establishing several children's colonies in southern France, with WRI support Brocca settled five hundred children in Mexico. While the majority of the children came from Republican families, there is evidence in the Sayre Papers (Swarthmore College Peace Collection) that Brocca did not turn away orphans or lost children whose parents were Nationalists.
Escape and exile |
245_12 | After the Civil War had officially ended Professor Brocca refused to leave Prats-de-Mollo until all the children in his care had been returned to safety with their families in Spain. By this time his own life was seriously threatened by the occupying Nazis and their collaborators in Vichy France.
The Prats-de-Mollo refuge was near the route of one of the four main frontier crossings now being used by hundreds of thousands of Spanish refugees as the Republican collapse became inevitable. It was not an easy journey, involving mountain tracks impassable to motor transport. Amparo Poch y Gascón was one who used this route (Rodrigo 2002). She stayed at Prats-de-Mollo for some time before finally reaching Toulouse, where she was to live the rest of her life in exile, and it is reasonable to assume that she was given shelter at the WRI's refuge. |
245_13 | Since Prats-de-Mollo was also the location of one of the large concentration camps set up by the Nazis in this part of occupied France, and since Brocca had been crossing the frontier repeatedly to contact and make possible the flight of anti-militarists and other threatened people out of Spain (Agirre, April 1996), it was clear that his life was now in even greater danger than ever before, and an offer of asylum in the UK was made at the instigation of prominent British pacifists such as Runham Brown, George Lansbury, Grace Beaton, Ruth Fry, and Lord Ponsonby. Brown and Lansbury had initiated a unique arrangement with the British Home Secretary whereby the WRI as a body could act as sponsor for refugees it wished to bring over from Spain and other continental countries where there was a risk of persecution, the WRI itself being underwritten by a panel of guarantors whose names and standing were accepted by the Home Office (Prasad, 2005). However, before Brocca could respond to this |
245_14 | offer he was arrested and imprisoned. |
245_15 | Eventually, thanks to the influence of WRI, and with the active help of the French Resistance, Brocca escaped from the concentration camp and left France, finally arriving in Mexico on 17 October 1942 aboard the Portuguese vessel SS Nyassa, a ship well known to many refugees of both the Spanish Civil War and World War II. Evidence in the written archives is sketchy about the period between Brocca's escape from arrest and his arrival in Mexico, but family testimony suggests that for some considerable time neither he nor his wife knew whether the other had survived. The Nazi occupation meant that making enquiries was extremely difficult, despite the best efforts of WRI to establish contact via agencies such as the Red Cross. After many further severe difficulties his wife and one of his sons (Helio) later joined him, having been separated from him for some years. They settled in San Luis Potosí and Mexico City where members of Helio's family still live. Funds towards their airline and |
245_16 | boat fares were raised by supporters in the UK, and there was also considerable support from the USA coordinated by John Nevin Sayre of the Fellowship of Reconciliation in New York State. Brocca's other children settled in Wales (Olga), Sweden (Irma) and Spain (Arnulfo). |
245_17 | Professor Brocca never saw Spain again, but died suddenly in June 1950 at the age of 59. He is buried in Mexico City.
Democracy and optimism
In the early 1970s, with the gradual liberalisation that preceded the death of Franco in 1975, and Spain's subsequent transition to democracy, Brocca's widow Rosa García López was able to return to Spain, living for part of that time with relatives in Madrid and with her sister Maria García López who ran a small newspaper and magazine shop in Calle Ecuador, in the 'Casablanca' district of the port city of Vigo, Galicia. Rosa was also able to spend some time reunited with her daughter Olga Brocca Smith and her family in the village of Pyle, near Bridgend, Wales. Olga and her husband were peace activists to the end of their lives. |
245_18 | In his book White Corpuscles in Europe (1939) the American writer Allan A. Hunter views the close of the Spanish Civil War and the opening of World War II from across the Atlantic, and despite the desolate outlook in Europe sees some grounds for optimism in the work of humanitarians including Philippe Vernier (France), Friedrich Siegmund-Schultze (Germany), Pierre Ceresole (Switzerland), Muriel Lester (England), George Lansbury MP (former leader of the UK Labour Party) - and José Brocca, Spain. On page 76, Hunter states:
'Professor Brocca seems to recognise that to fight fascism with the weapons fascists use is self-defeating. If we do as the fascists do then we only endorse fascism. To prevent fascism we have to prevent the desperation, the poverty, the chaos and the ignorance out of which fascism is produced'.
Scott H. Bennett writes of him:
'Brocca's story demonstrates that pacifist courage is no less heroic than the military kind'.
See also
List of peace activists |
245_19 | Sources and references |
245_20 | Books and pamphlets
Bennett, Scott H. (2003) Radical Pacifism: The War Resisters League and Gandhian Nonviolence in America, 1915-1963, Syracuse NY, Syracuse University Press, , pp. 67–68.
Brown, Herbert Runham (1937) Spain: A Challenge to Pacifism, pamphlet, London, War Resisters' International/ The Finsbury Press, pp. 5–6.
Hunter, Allan A. (1939) White Corpuscles in Europe (foreword by Aldous Huxley), Chicago and New York, Willett, Clarke and Company, pp. 71–82.
Poch, Amparo, et al., (1938) Notre Travail en France, pamphlet (in French), London, War Resisters' International.
Prasad, Devi (2005) War is a Crime Against Humanity (foreword by George Willoughby), London, War Resisters' International, , pp. 167, 179, 198, 205, 207, 212, 217, 230, 260, 462, 463, 482, 504. Prof. Brocca is pictured seated, far left, in photographs 7 and 8 on pp. 522 and 523, and standing, far left, in photograph 27 on page 531. |
245_21 | Sanchez, Antonio Molina (1990) Cuevas del Almanzora y Garrucha, 1880–1890, Apuntes Para Su Historia, Almeria, Grafika Ediciones. The bibliography cites a report by Professor J. Brocca dated 1921.
Romeu Alfaro, Fernanda, and Rahona Saure, Alexia (2017) Memoria en Sombra: La Internacional de Resistentes a la Guerra (IRG/WRI) y La Guerra Civil Espanola, (Prologo de Stasa Zajovic), , Barcelona, Ediciones de Intervencion Cultural / El Viejo Topo. |
245_22 | Also of interest is the Spanish language biography of Amparo Poch y Gascón, an anarchist and feminist doctor who worked with Professor Brocca. She was co-founder of the famous Mujeres Libres organisation and sometime member of the Republican government:
Rodrigo, Antonina (2002) Una Mujer Libre: Amparo Poch y Gascón: Médica Anarquista (A Free Woman - Amparo Poch y Gascón : Anarchist Doctor), Barcelona, Flor del Viento Ediciones (see, in particular, pages 78, 79, and 105). |
245_23 | This book contains a reproduction of an advertisement from the journal Solidaridad Obrera (17 July 1936) for a 'grand international meeting against war' on 18 July at the Plaza Monumental (bull ring), Barcelona, organised by Las Juventudes Libertarias (The Libertarian Youth). The speakers were to be: Fidel Miro, for Libertarian Youth; Max Muller, for the Swedish Young Anarcho-Syndicalists; Professor Brocca, for the War Resisters' International; Dra. Amparo Poch, for the War Resisters' Feminine Section; Hem Day, for the International Committee for Anarchist Defence; Dr. Félix Martí Ibáñez, for the Practical Idealists; Manuel Perez, for the Anarchists of Barcelona; Augustin Souchy, for the International Anti-Militarist Bureau, and Federica Montseny for the CNT. Cuartillas (notes) were to be read from: Diego Abad de Santillán, Georges Pioch and Bart de Ligt, with Delso de Miguel presiding, for the Libertarian Youth. |
245_24 | In the 1937 pamphlet by Runham Brown (see reference above), it is mentioned that this peace rally was cancelled because Franco flew to the mainland from Canarias on the very day of the proposed rally, and the Spanish Civil War began. |
245_25 | Articles and external links
Article by Xabi Agirre in Peace News (April 1996)
Article in Green Peace News (May 1996)
Article by Xabi Agirre in Peace News (Aug./Sept. 1996)
Article from The Wise Elephant ()
Article in German
Movimiento de Objección de Conciencía (2002) 'En Legítima Desobedencia: Tres Decadas de Objección, Insumisión y Antimilitarismo'
El Mundo, article in Spanish mentioning Brocca's work, by the prominent British historian and Hispanic specialist Professor Henry Kamen
Article in German, quoting Jose Brocca
Bart de Ligt: El Gran Olvidado (Bart de Ligt: The Great Forgotten One); article (in Spanish) by Cthuchi Zamarra, mentioning, in passing, Jose Brocca's work in Spain.
Un Brigadista de Paz (A Brigader of Peace); Article by Andres Bedia.
WRI archives at the International Institute of Social History, Amsterdam
Papers of John Nevin Sayre, held in the Swarthmore College Peace Collection, Pennsylvania; Series B, Box 42, Spain |
245_26 | Academic paper by Scott H. Bennett, presented to the International Conference on the Spanish Civil War, Madrid 2006 (in Spanish)
Fernanda Romeu Alfaro, Memoria en sombra: los pacifistas en la guerra civil Espanola, El Viejo Topo n 287, Dec. 2011
Housman's Bookshop, Caledonian Road, London
War Resisters' International |
245_27 | Spanish language article on Wikipedia.Es
Notes
1891 births
1950 deaths
People from Almería
Spanish people of the Spanish Civil War
Spanish pacifists
Spanish people of Italian descent |
246_0 | "Every Time" is a song by American singer Janet Jackson from her sixth studio album, The Velvet Rope (1997). It was released as the album's sixth and final single in November 1998. The song has been described as a ballad that lyrically delves into the protagonist's fear of love. Jackson only performed it on the last Japanese date of The Velvet Rope Tour in Tokyo. |
246_1 | Critical response
Billboard magazine's review was positive, stating, "'Every Time' ranks with [Jackson's] most memorable ballads, such as "Let's Wait Awhile" and "Again", calling on the things that make Janet so effective with this type of delicate material: Her voice quivers with emotion as she practically whispers about the promise and fear of an imminent romance, while steadfast writer/producer team Jimmy Jam and Terry Lewis wrap her vocal around a beautiful and sensuous chorus. This song sounds so perfect with the more civil pace of fall, it's an easy decision across the board, at top 40, AC, and R&B. Absolutely destined to be one of her greats." |
246_2 | A reviewer from Birmingham Evening Mail wrote, "Gorgeous ballad featuring Miss Jackson's quivering vocals, a piano, strings and some understated percussion." J.D. Considine for Entertainment Weekly deemed it as one of the album’s most affecting moments, noting "when the chords in the chorus to ”Every Time” modulate into melancholy as Jackson observes that ”every time I fall in love/It seems to never last”." Andrew Le from Renowned for Sound website, called the song "tender, angelic", and also commented that it was "far superior than the overrated, soppy saccharine Again, as it has an even better piano hook and more intimate vocal performance".
Chart performance
The single peaked at number fifty-two in Australia, number sixty-seven in Germany, and number ninety-five in France. But in Iceland it peaked at number 5. In the US it failed to chart on the Billboard Hot 100, but peaked at number twenty-five on the Bubbling Under Hot 100 Singles chart. |
246_3 | Music video
The accompanying music video was filmed in the then-new Therme Vals spa in Vals, Graubünden, in the Swiss Alps, with direction by Matthew Rolston in association with Howard Schatz, an expert in underwater photography. It was premiered on October 5, 1998, on HBO, and was subsequently exhibited twice a day leading up to the broadcast of the concert special for The Velvet Rope Tour one week later. The music video shows Jackson partially nude in water. A strong theme of green is seen in the video through lighting, the fabric surrounding Jackson's body and her contact lenses. The video was featured on the limited bonus-DVD edition of 2001's All for You as well as the 2004 DVD From Janet to Damita Jo: The Videos. |
246_4 | Britney Spears' "Everytime" has been compared to Jackson's video for "Every Time", with a critic noting, "The original pop queen Janet bared all in a blue lagoon for her “Every Time” video. A little less glam, Britney’s tub scene in her “Everytime” video proved dark foreshadowing into her troubled world." Rihanna's "Stay" music video was also compared to both Spears and Jackson's "Everytime" videos, saying "Rihanna isn’t the first pop star to brood in a bathtub. Janet Jackson and Britney Spears also bared their emotion immersed in water".
Track listings
US promo CD single
"Every Time" (album version) – 4:17
"Every Time" (Call Out Hook) – 0:21
UK CD single
"Every Time" (album version) – 4:17
"Every Time" (Jam & Lewis Disco Remix) – 4:10
"Accept Me" – 4:07
European 12-inch single
"Every Time" (album version) – 4:17
"Every Time" (Jam & Lewis Disco Remix) – 4:10
"Every Time" (Jam & Lewis Disco Remix Instrumental) – 4:10 |
246_5 | Japanese CD single
"Every Time" (album version) – 4:17
"I Get Lonely" (Jason's Special Sauce Dub) – 6:44
"I Get Lonely" (The Jason Nevins Radio Remix) – 3:13
Charts
Release history
References
1990s ballads
1997 songs
1998 singles
Janet Jackson songs
Music videos directed by Matthew Rolston
Pop ballads
Song recordings produced by Jimmy Jam and Terry Lewis
Songs written by Janet Jackson
Songs written by Jimmy Jam and Terry Lewis
Virgin Records singles |
247_0 | Johann Dzierzon, or Jan Dzierżon or Dzierżoń , also John Dzierzon (16 January 1811 – 26 October 1906), was a Polish apiarist who discovered the phenomenon of parthenogenesis in bees.
Dzierzon came from a Polish family in Silesia. Trained in theology, he combined his theoretical and practical work in apiculture with his duties as a Roman Catholic priest, before being compulsorily retired by the Church and eventually excommunicated over the question of papal infallibility. In 1905, he was reconciled with the Catholic Church.
His discoveries and innovations made him world-famous in scientific and bee-keeping circles, and he has been described as the "father of modern apiculture".
Nationality/ethnicity |
247_1 | Dzierzon came from Upper Silesia. Born into a family of ethnic Polish background which did not speak German but a Silesian dialect of the Polish language, he has been variously described as having been of Polish, German, or Silesian nationality. Dzierzon himself wrote: "As for my nationality, I am, as my name indicates, a Pole by birth, as Polish is spoken in Upper Silesia. But as I came to Breslau as a 10-year-old and pursued my studies there, I became German by education. But science knows no borders or nationality."
It was at gymnasium and at the theological faculty that he became acquainted with German scientific and literary language, which he subsequently used in his scientific writings, rather than his native Polish-Silesian dialect. He used Silesian-Polish in some press publications, in his private life, and in pastoral work, alongside literary Polish.
Dr. Jan Dzierzon considered himself a member of the Polish nation. |
247_2 | Dzierzon's manuscripts, letters, diplomas and original copies of his works were given to a Polish museum by his nephew, Franciszek Dzierżoń. Following the 1939 German invasion of Poland, many objects connected with Dzierzon were destroyed by German gendarmes on 1 December 1939 in an effort to conceal his Polish roots. The Nazis made strenuous efforts to enforce a view of Dzierżoń as a German.
Life |
247_3 | Dzierzon was born on 16 January 1811 in the village of Lowkowitz (Polish: Łowkowice), near Kreuzburg (Kluczbork), where his parents owned a farm. He completed Polish elementary school before he was sent to a Protestant school located a mile from his village. In 1822 he moved to Breslau (Wrocław), where he attended middle school (gymnasium). In 1833 he graduated from the Breslau University Faculty of Catholic Theology. In 1834 he became chaplain in Schalkowitz (Siołkowice). In 1835, as an ordained Roman Catholic priest, he took over a parish in Karlsmarkt (Karłowice), where he lived for 49 years.
Scientific career |
247_4 | In his apiary, Dzierzon studied the social life of honeybees and constructed several experimental beehives. In 1838 he devised a movable-comb beehive, which allowed manipulation of individual honeycombs without destroying the structure of the hive – a derivative duplicate of the successful movable frame hive, first invented in 1814 by Ukrainian inventor and apiarist Petro Prokopovych. The correct distance between combs had been described as 1½ inches from the center of one top bar to the center of the next one. In 1848 Dzierzon introduced grooves into the hive's side walls, replacing the strips of wood for moving top bars. The grooves were 8 × 8 mm – the exact average between ¼ and ⅜ inch, which is the range called the "bee space." His design quickly gained popularity in Europe and North America. On the basis of the aforementioned measurements, (May 1852) in Thuringia and L.L. Langstroth (October 1852) in the United States designed their frame-movable hives. |
247_5 | In 1835 Dzierzon discovered that drones are produced from unfertilized eggs. Dzierzon's paper, published in 1845, proposed that while queen bees and female worker bees were products of fertilization, drones were not, and that the diets of immature bees contributed to their subsequent roles. His results caused a revolution in bee crossbreeding and may have influenced Gregor Mendel's pioneering genetic research. The theory remained controversial until 1906, the year of Dzierzon's death, when it was finally accepted by scientists at a conference in Marburg. In 1853 he acquired a colony of Italian bees to use as genetic markers in his research, and sent their progeny "to all the countries of Europe, and even to America." In 1854 he discovered the mechanism of secretion of royal jelly and its role in the development of queen bees. |
247_6 | With his discoveries and innovations, Dzierzon became world-famous in his lifetime. He received some hundred honorary memberships and awards from societies and organizations. In 1872 he received an honorary doctorate from the University of Munich. Other honors included the Austrian Order of Franz Joseph, the Bavarian Merit Order of St. Michael, the Hessian Ludwigsorden, the Russian Order of St. Anna, the Swedish Order of Vasa, the Prussian Order of the Crown, 4th Class, on his 90th birthday, and many more. He was an honorary member of the German Academy of Sciences Leopoldina. He also received an honorary diploma at Graz, presented by Archduke Johann of Austria. In 1903 Dzierzon was presented to Emperor Franz Joseph I of Austria. In 1904 he became an honorary member of the Schlesische Gesellschaft für vaterländische Kultur ("Silesian Society for Fatherland Culture"). |
247_7 | Dzierzon's questioning of papal infallibility caused him to be retired him from the priesthood in 1869.<ref>{{cite journal |title=Meyers Konversations-Lexikon, 4th edition |volume= 5 |location=Leipzig |year=1885–89 |page= 268 |url=http://susi.e-technik.uni-ulm.de:8080/Meyers2/seite/werk/meyers/band/5/seite/0268/meyers_b5_s0268.html |access-date=February 6, 2007|language=de}}</ref> This disagreement, along with his public engagement in local politics, led to his 1873 excommunication. In 1884 he moved back to Lowkowitz, settling in the hamlet An der Grenze, (Granice Łowkowskie). Of his new home, he wrote:In every direction, one has a broad and pleasant view, and I am pretty happy here, despite the isolation, as I am always close to my beloved bees – which, if one's soul be receptive to the works of the Almighty and the wonders of nature, can transform even a desert into a paradise. From 1873 to 1902 Dzierzon was in contact with the Old Catholic Church, but in April 1905 he was |
247_8 | reconciled with the Roman Catholic Church. |
247_9 | He died in Lowkowitz on 26 October 1906 and is buried in the local graveyard.
Legacy
Johann Dzierzon is considered the father of modern apiology and apiculture. Most modern beehives derive from his design. Due to language barriers, Dzierzon was unaware of the achievements of his contemporary, L.L. Langstroth, the American "father of modern beekeeping", though Langstroth had access to translations of Dzierzon's works. Dzierzon's manuscripts, letters, diplomas and original copies of his works were given to a Polish museum by his nephew, Franciszek Dzierżoń.
In 1936 the Germans renamed Dzierzon's birthplace, Lowkowitz, Bienendorf ("Bee Village") in recognition of his work with apiculture. At the time, the Nazi government was changing many Slavic-derived place names such as Lowkowitz. After the region came under Polish control following World War II, the village would be renamed Łowkowice. |
247_10 | Following the 1939 German invasion of Poland, many objects connected with Dzierzon were destroyed by German gendarmes on 1 December 1939 in an effort to conceal his Polish roots. The Nazis made strenuous efforts to enforce a view of Dzierżoń as a German.
After World War II, when the Polish government assigned Polish names to most places in former German territories which had become part of Poland, the Silesian town of Reichenbach im Eulengebirge (traditionally known in Polish as Rychbach) was renamed Dzierżoniów in the man's honor. |
247_11 | In 1962 a Jan Dzierżon Museum of Apiculture was established at Kluczbork. Dzierzon's house in Granice Łowkowskie (now part of Maciejów village) was also turned into a museum chamber, and since 1974 his estates have been used for breeding Krain bees. The museum at Kluczbork houses 5 thousand volumes of works and publications regarding bee keeping, focusing on work by Dzierzon, and presents a permanent exhibition regarding his life presenting pieces from collections from National Ethnographic Museum in Wrocław, and Museum of Silesian Piasts in Brzeg
In 1966 a Polish-language plate was added to his German-language tombstone.
Selected works
Dzierzon's works include over 800 articles, most published in Bienenzeitung but also in several other scientific periodicals, and 26 books. They appeared between 1844 and 1904, in German and Polish. The most important include: |
247_12 | 15 November 1845: Chodowanie pszczół – Sztuka zrobienica złota, nawet z zielska, in: , Issue 20, Pszczyna (Pless).
1848–1852: Theorie und Praxis des neuen Bienenfreundes. ("Theory and Practice of the Modern Bee-friend")
1851 and 1859: Nowe udoskonalone pszczelnictwo księdza plebana Dzierżona w Katowicach na Śląsku – 2006 reprint
1852: Nachtrag zur Theorie und Praxis des neuen Bienenfreundes (Appendix to "Theory and Practice"), C. H. Beck'sche Buchhandlung, Nördlingen,
1853: Najnowsze pszczelnictwo. Lwów
Magazines published by Dzierzon:
1854–1856: Der Bienenfreund aus Schlesien ("The Bee-friend from Silesia")
1861–1878: Rationelle Bienenzucht ("Rational apiculture") |
247_13 | Articles published by Dzierzon since 1844 in Frauendörfer Blätter, herausgegeben von der prakt. Gartenbau-Gesellschaft in Bayern, redigirt von Eugen Fürst ("Frauendorf News" of the Bavarian Gardeners Society) were collected by Rentmeister Bruckisch from Grottkau (Grodków) and re-published under the titles:Neue verbesserte Bienen-Zucht des Johann Dzierzon ("New improved bee-breeding, of John Dzierzon"), Brieg 1855Neue verbesserte Bienen-Zucht des Pfarrers Dzierzon zu Carlsmarkt in Schlesien ("New improved bee-breeding, of priest Dzierzon at Carlsmarkt in Silesia"), Ernst'sche Buchhandlung, 1861Lebensbeschreibung von ihm selbst, vom 4. August 1885 (abgedruckt im Heimatkalender des Kreises Kreuzburg/OS 1931, S. 32–28), 1885 (Dziergon's own biography, reprinted in 1931)Der Zwillingsstock ("Semi-detached beehive"), E. Thielmann, 1890 |
247_14 | English translations:
Dzierzon's rational bee-keeping; or The theory and practice of dr. Dzierzon of Carlsmarkt'', Translated by H. Dieck and S. Stutterd, ed. and revised by C. N. Abbott, Published by Houlston & sons, 1882
See also
List of Poles
List of Roman Catholic scientist-clerics
Notes
References
Further reading
L. Brożek "Jan Dzierżon. Studium monograficzne" Opole 1978
W. Kocowicz i A. Kuźba "Tracing Jan Dzierżon Passion" Poznań 1987
A. Gładysz "Jan Dzierżon, pszczelarz o światowej sławie" Katowice 1957
H. Borek i S. Mazak "Polskie pamiątki rodu Dzierżoniów" Opole 1983
W. Chmielewski "World-Famous Polish Beekeeper – Dr. Jan Dzierżon (1811–1906) and his work in the centenary year of his death" in Journal of Apicultural Research, Volume 45(3), 2006
S. Orgelbrand "Encyklopedia ..." 1861
“ABC and XYZ of Bee Culture” 1990, article Dzierzon p. 147
External links |
247_15 | Rational Bee-keeping online English translation of Jan Dzierzon's book (London: Houlston & sons, 1882)
Jan Dzierżon at History of Kluczbork
Jan Dzierżon Museum in Kluczbork
Jan Dzierżon Museum in Kluczbork
Church Records of Lowkowitz, Silesia from 1765–1948, where Johann Dzierzon was born in 1811 and died in 1906
Beekeeping pioneers
1811 births
1906 deaths
People from Kluczbork
People from the Province of Silesia
German beekeepers
German entomologists
19th-century German zoologists
University of Breslau alumni
Polish entomologists
19th-century Polish Roman Catholic priests
19th-century Polish zoologists
Catholic clergy scientists
Recipients of the Order of Franz Joseph
Recipients of the Order of St. Anna
Recipients of the Order of Vasa |
248_0 | The historic town of Rocky Point was on the south side of the Missouri River in Fergus County, Montana, in the Missouri Breaks. Rocky Point was located at a natural ford on the Missouri River.
In prehistoric times, American bison trailed down through the breaks to Rocky Point to cross the river. During the Missouri River steamboat era (1860s to 1880s), the buffalo trail system leading to and from the ford caused Rocky Point to become a steamboat landing, which received freight for mining camps in the Judith Mountains (to the south) and in the Little Rocky Mountains (to the north) and also for Fort Maginnis built in 1880. In the 1870s and 1880s, Rocky Point had a store, hotel, two saloons, a feed stable, a blacksmith shop and a ferry. Due to its remote location in the Missouri Breaks, in the 1870s and 1880s Rocky Point became a refuge for outlaws who turned to rustling cattle and horses until rancher-vigilantes took punitive action in 1884. |
248_1 | From 1886 to 1936 it had a post office nearby which was known as Wilder, and so the community of Rocky Point was sometimes also called Wilder. The community at the Rocky Point ford continued through the homesteading years from 1900 to 1918, but faded away when the ferry ceased to function in the 1920s, and it finally disappeared in 1936 when the Army Corps of Engineers condemned and bought up land adjacent to the Missouri River that might possibly be affected by Fort Peck Dam, then being built.
Today some historic but deteriorating structures still remain on the site, which is now on the Charles M. Russell National Wildlife Refuge operated by the U.S. Fish and Wildlife Service. Being on public lands, the Rocky Point ford area may be approached by "dirt" roads and visited, but the roads become impassable when wet.
Before 1900 – steamboat landing, wood hawk yard, Missouri River crossing point and ferry
Prehistoric crossing point on the Missouri |
248_2 | At Rocky Point the Missouri River flows over a Bearpaw shale reef. This provided a rocky bottom and a low-water ford. This geologic feature made Rocky Point a crossing point on the Missouri for migrating bison since prehistoric times. The migrating herds established trails from the broad grassy plains on the north and south of the river, down through the breaks to the site of Rocky Point.
Steamboat landing – 1860s to the 1880s |
248_3 | With the discovery of gold in the Montana Territory in the early 1860s, the Missouri River became the main thoroughfare by which passengers and freight, particularly bulky freight, was moved by steamboats between the gold fields in the territory and the "states". In Montana the river ran through the Missouri Breaks for hundreds of miles. The breaks are steeply eroded badlands that severely limit access to the Missouri River. Rocky Point naturally became a steamboat landing because of its system of prehistoric buffalo trail system that led from the ford up through the breaks to the plains that lay north and south of the river. |
248_4 | The steamboat era lasted from the mid-1860s until the coming of the railroad in the mid to late 1880s. After 1874, when the Northern Pacific Railroad reached Bismarck, the riverboats usually brought freight from that river port to the terminus port at Fort Benton. Rocky Point's steamboat landing received and sent only the freight and passengers generated by local demand in the surrounding sparsely settled area. Steamboats had to get up to Ft. Benton on the spring rise in the Missouri River flow, caused by the outflow of snowmelt from the mountains. High water was in June, after which the level in the river fell. During low-water periods many larger boats bound for Fort Benton were forced to unload at points lower down on the river. These unloaded cargoes were either freighted overland, picked up by smaller boats or stored until the next high-water season. Some of this interrupted freight traffic during low water seasons on the Missouri brought business to the Rocky Point landing, but |
248_5 | in low water the steamboats attempted to reach Cow Island landing, further up the river, because from Cow Island there was a better freight route up Cow Creek to Fort Benton. |
248_6 | Gold discoveries in the Judith Mountains, at Maiden, and in the Little Rocky Mountains increased interest in Rocky Point as a landing point for the mill machinery coming by boat. The mines in the Judith Mountains, to the southwest of Rocky Point, were discovered in 1880. The gold strikes in the Little Rockies (a small outlier mountain range on the eastern Montana plains) was first made as a placer gold strike in 1884, but this placer strike only lasted a few years.
By 1881 Rocky Point was the designated Missouri River steamboat landing point for people and goods coming and going from Fort Maginnis, away.
The Northern Pacific Railroad completed its line through the southern portion of Montana in 1883, which severely reduced steamboat traffic to Fort Benton. In 1887 the Great Northern Railroad built through the area just north of the Missouri River breaks, and this finally terminated steamboat traffic on the Missouri.
Wood hawk yards – 1860s to the 1880s |
248_7 | Wood hawk yards developed along the Missouri River to supply fuel to passing steamboats. At these remote locations men known as wood hawks would harvest trees from cottonwood groves along the river and stack the wood in cords along the river banks. Steamboats traveling on the Missouri would stop and buy the cords of wood to burn for fuel.
The flat on the south side of the river near Rocky Point became one of the many wood hawk camps along the river. In 1868 Lohmire and Lee were located there. In 1871 fugitives from an Indian encounter sought refuge at a woodchopper's cabin there.
Buffalo hide hunters – late 1870s to 1883 |
248_8 | After 1876, military campaigns against Indian tribes reduced the danger from roving and hostile bands of Indians on the Eastern Montana plains. Buffalo hides had a market because they were used for belting for industrial machines. As the threat from Indian bands decreased, commercial market hunters for buffalo, sometimes called "hide hunters", began to roam over the Eastern Montana prairie and kill buffalo in large numbers, taking only the hide. Commercial hunters in the vicinity of Rocky Point brought their hides down to the steamboat landing, where a middleman—usually a local merchant—bought the hides and then shipped them east by steamboat. By 1883 there were so few buffalo left that the day of the commercial market hunter came to an end.
Missouri River crossing point for cattle herds |
248_9 | As cattle replaced buffalo on the plains of eastern Montana, the ford at Rocky Point became a crossing point for large cattle herds. A large rancher trailing a herd to the ford at Rocky Point during a drought had this experience:"At last we were nearing the Missouri River, intending to cross at Rocky Point. The wind was from the north and cattle smelled the water and broke for it. No power on earth could stop the poor thirsty beasts; bellowing and lowing they ran pell-mell for the water, with the cowboys in hot pursuit. There was a point of quicksand in the river just above the ford and before the men could prevent it the cattle had plunged into it and were miring down. A small steamboat tied at the landing used their donkey engine to help drag out some of them, but we lost seventy head in spite of our best efforts. After this mishap we crossed the herd without further trouble and from here on there was more water and better grass."
Ferry |
248_10 | The trail system down to the ford at Rocky Point made it a natural point to have a ferry. As long as Rocky Point was used as a Missouri River crossing point in the breaks, the ferry continued, from the 1880s to the late 1920s.
By 1885 John Tyler was the ferryman. Stock detective Charles Siringo journeyed from Lewistown, Montana, to the Little Rocky Mountains, and described his crossing of the Missouri River at Rocky Point:"I arrived in Rocky Point on the south bank of the Big Muddy river three hours after dark. Here I found old man Tyler and his son running the ferry and keeping a small Indian trading store."
In 1907 Elmer Turner bought the ferry at Rocky Point from Tyler, and he ran the Ferry until 1927 when he dismantled it and used the lumber in buildings at Rocky Point.
Gumbo mud in the Missouri Breaks |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.