User:Allixpeeke

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Pages I have improved[edit]

Categories I have improved[edit]

Pages or categories that must be added[edit]





Music[edit]


The Year 1812 (1880)[edit]

The Year 1812 (festival overture in E major, Op. 49 by Russian composer Pyotr Ilyich Tchaikovsky),[1] popularly known as the 1812 Overture or the Overture of 1812, is an overture written in 1880 to commemorate Russia's defense of its motherland against Napoleon's invading Grande Armée in 1812.  It has also become a common accompaniment to fireworks displays, including those in the United States during Independence Day celebrations.  The piece has no connection to the War of 1812 between the United States and the United Kingdom.

The overture debuted in Moscow on 20 August 1882,[2] conducted by Ippolit Al'tani under a tent near the unfinished Cathedral of Christ the Saviour, which also memorialised the 1812 defense of Russia.[3]  It was personally conducted by Tchaikovsky in 1891 at the opening of Carnegie Hall in New York City.[4]  The overture is best known for its climactic volley of cannon fire, ringing chimes, and brass fanfare finale.

This performance from the Skidmore College Orchestra is far more recent.  Both the original work and this performance are in the public domain.

Another rendition of the song appears in the film V for Vendetta.

See also[edit]

“Jim Calamaro”[edit]







Art[edit]


The Storming of the Bastille (1789)[edit]

Prise de la Bastille (The Storming of the Bastille) by Jean-Pierre Houël.  Water, Bibliothèque nationale de France.  Visible in the center is the arrest of Bernard René Jourdan, m de Launay (1740–1789).
Prise de la Bastille (The Storming of the Bastille).  Oil on canvas, Musée de l’Histoire de France, Versailles, France.  Storming of the Bastille and arrest of the Governor M. de Launay, July 14, 1789.

Stuff to add[edit]

Fête de la Fédération[edit]


La Vérité (1870)[edit]

La Vérité (Truth, 1870) by Jules Joseph Lefebvre.  Oil on canvas, Musée d'Orsay, Paris.  The painting is contemporary with the first small scale model made by Lefebvre’s fellow-Frenchman Frédéric Bartholdi for what became the Statue of Liberty, striking a similar pose, though fully clothed.

The culmination of Jules Joseph Lefebvre's public acclaim occurred when Lefebvre painted La Vérité (Truth) in 1870.[5]  The painting attracted rave reviews from both the critics and the public.[5]  The model who posed for the painting, Sophie Croizette, was the well-known actress at the time.[5]  The painting depicts Truth standing in the nude and holding the shining globe of above her head.  Later that year, Lefebvre received the Legion of Honor award in recognition of his artistic contribution.[5]

See also[edit]


La Liberté éclairant le monde (1886)[edit]

La Liberté éclairant le monde (Liberty Enlightening the World, completed in 1886), designed by Frédéric Bartholdi, is a colossal neoclassical sculpture on Liberty Island in the middle of New York Harbor, in Manhattan, New York City.  The statue, dedicated on 28 October 1886, was a gift to the United States from the people, not the government, of France.  (Unfortunately, the base, which was constructed by Americans, did utilise tax dollars.)

The statue is of a robed female figure representing Libertas, the Roman goddess of freedom, who bears a torch and a tabula ansata (a tablet evoking the law) upon which is inscribed the date of the United States Declaration of Independence: July 4, 1776.  A broken chain lies at her feet.  The statue is an icon of freedom.  It also served as a welcoming signal for immigrants to America arriving from abroad.

This statue is one inside of which people can go.  While visitors are permitted to ascend to the crown, public access to the balcony surrounding the torch has been barred for safety reasons since 1916.

Since construction, the torch has been changed.  The original torch is now located within the base of the monument.

Photographic images of the colossus[edit]

Illustrations[edit]

Recreations[edit]

Note[edit]

There is also an image of Lady Liberty in shackles, denoting the rise of the police state in the United States; I aim to locate this image when time permits.

See also[edit]


All is Vanity (1892)[edit]

All is Vanity (1892) by C. Allan Gilbert, evoking the inevitable decay of life and beauty toward death.

From Wikipedia:

In conventional parlance, vanity sometimes is used in a positive sense to refer to a rational concern for one's personal appearance, attractiveness and dress and is thus not the same as pride. However, it also refers to an excessive or irrational belief in one's own abilities or attractiveness in the eyes of others and may in so far be compared to pride. The term Vanity originates from the Latin word vanitas meaning emptiness, untruthfulness, futility, foolishness and empty pride.[6] Here empty pride means a fake pride, in the sense of vainglory, unjustified by one's own achievements and actions, but sought by pretense and appeals to superficial characteristics.
In many religions, vanity is considered a form of self-idolatry, in which one rejects God for the sake of one's own image, and thereby becomes divorced from the graces of God. The stories of Lucifer and Narcissus (who gave us the term narcissism), and others, attend to a pernicious aspect of vanity. In Western art, vanity was often symbolized by a peacock, and in Biblical terms, by the Whore of Babylon. In secular allegory, vanity was considered one of the minor vices. During the Renaissance, vanity was invariably represented as a naked woman, sometimes seated or reclining on a couch. She attends to her hair with comb and mirror. The mirror is sometimes held by a demon or a putto. Other symbols of vanity include jewels, gold coins, a purse, and often by the figure of death himself.
Often we find an inscription on a scroll that reads Omnia Vanitas ("All is Vanity"), a quote from the Latin translation of the Book of Ecclesiastes.[7] Although that phrase, itself depicted in a type of still life, vanitas, originally referred not to obsession with one's appearance, but to the ultimate fruitlessness of man's efforts in this world, the phrase summarizes the complete preoccupation of the subject of the picture.
"The artist invites us to pay lip-service to condemning her," writes Edwin Mullins, "while offering us full permission to drool over her. She admires herself in the glass, while we treat the picture that purports to incriminate her as another kind of glass—a window—through which we peer and secretly desire her."[8] The theme of the recumbent woman often merged artistically with the non-allegorical one of a reclining Venus.
In his table of the Seven Deadly Sins, Hieronymus Bosch depicts a bourgeois woman admiring herself in a mirror held up by a devil. Behind her is an open jewelry box. A painting attributed to Nicolas Tournier, which hangs in the Ashmolean Museum, is An Allegory of Justice and Vanity. A young woman holds a balance, symbolizing justice; she does not look at the mirror or the skull on the table before her. Vermeer's famous painting Girl with a Pearl Earring is sometimes believed to depict the sin of vanity, as the young girl has adorned herself before a glass without further positive allegorical attributes.[9] All is Vanity, by Charles Allan Gilbert (1873–1929), carries on this theme. An optical illusion, the painting depicts what appears to be a large grinning skull. Upon closer examination, it reveals itself to be a young woman gazing at her reflection in the mirror.
Such artistic works served to warn viewers of the ephemeral nature of youthful beauty, as well as the brevity of human life and the inevitability of death.

Vanitas[edit]


Tank Man (1989)[edit]

The Tank Man, or the Unknown Protester, is the nickname of a heroic, anonymous man who stood on Chang'an Avenue in front of a column of tanks on 5 June 1989, the morning after the Chinese military had suppressed the Tiananmen Square protests of 1989 by force.  The man achieved widespread international recognition due to the videotape and photographs taken of the incident.  Some have identified the man as Wang Weilin (王維林),[10] but the name has not been confirmed and little is known about him or of his fate after the confrontation that day.  It is not even known whether this brave individual is alive.  In April 1998, Time included the "Unknown Rebel" in a feature titled Time 100: The Most Important People of the Century.[11]

The man stood in the middle of the wide avenue, directly in the path of a column of approaching Type 59 tanks.  He held two shopping bags, one in each hand.[12]  As the tanks came to a stop, the man gestured towards the tanks with his bags.  In response, the lead tank attempted to drive around the man, but the man repeatedly stepped into the path of the tank in a show of nonviolent action.[11]  After repeatedly attempting to go around rather than crush the man, the lead tank stopped its engines, and the armored vehicles behind it seemed to follow suit.  There was a short pause with the man and the tanks having reached a quiet, still impasse.  Having successfully brought the column to a halt, the man climbed onto the hull of the buttoned-up lead tank and, after briefly stopping at the driver's hatch, appeared in video footage of the incident to call into various ports in the tank's turret.  He then climbed atop the turret and seemed to have a short conversation with a crew member at the gunner's hatch.  After ending the conversation, the man descended from the tank.  The tank commander briefly emerged from his hatch, and the tanks restarted their engines, ready to continue on.  At that point, the man, who was still standing within a meter or two from the side of the lead tank, leapt in front of the vehicle once again and quickly reestablished the man–tank standoff.  Video footage shows that two figures in blue attire (identities also unknown) then pulled the man away and disappeared with him into a nearby crowd; the tanks continued on their way.[11]  Whether the man ultimately escaped, was imprisoned, was tortured, or was executed remains unknown.

Internationally, the image of the lone man in front of the tank is widely considered one of the iconic images of the 20th century.[13][14][15]  Five photographers managed to capture the event on film and get their pictures published in its aftermath, the first four capturing the event from relatively the same angle and released soon after the event,[13], and the fifth released on 4 June 2009 depicting the event from the ground level.[16]

The most used photograph of the event was taken by Jeff Widener of the Associated Press, from a sixth floor balcony of the Beijing Hotel, about half a mile (800 meters) away from the scene.  Widener was injured and suffering from flu.  The image was taken using a Nikon FE2 camera[17] through a Nikkor 400mm 5.6 ED IF lens and TC-301 teleconverter.  Low on film, a friend hastily obtained a roll of Fuji 100 ASA color negative film, allowing him to make the shot.[13]  Although he was concerned that his shots were not good, his image was syndicated to a large number of newspapers around the world, and was said to have appeared on the front page of all European papers.[13]  Widener won the Pulitzer Prize.[18]

Another version was taken by Stuart Franklin of Magnum Photos from the fifth floor of the Beijing Hotel.  His has a wider field of view than Widener's, showing that the man was blocking a long line of tanks, not merely a few.  His roll of film was smuggled out of the country by a French student, concealed in a box of tea.[13]

Charlie Cole, who was on the same balcony as Stuart Franklin and working for Newsweek, hid his roll of film containing Tank Man in a Beijing Hotel toilet, sacrificing an unused roll of film and undeveloped images of wounded protesters when the PSB raided his room, destroyed the two rolls of film just mentioned, and forced him to sign a confession.  Cole was able to retrieve the roll with Tank Man and have it sent to Newsweek.[19][13]  He won a World Press Award for a similar photo.[20]  It was featured in Life's "100 Photographs That Changed the World" in 2003.

Arthur Tsang Hin Wah of Reuters took several shots from room 1111[18] of the Beijing Hotel, but only the shot of Tank Man climbing the tank was chosen.[13]  It was not until several hours later that the photo of the man standing in front of the tank was finally chosen.  When the staff noticed Widener's work, they re-checked Wah's negative to see if it was of the same moment as Widener's.  Recently (March 20, 2013), in an interview by the Hong Kong Press Photographers Association (HKPPA), Wah told the story and added further detail.  He told HKPPA that on the night of June 3, 1989, he was beaten by students while taking photos and was bleeding.  A "foreign" photographer accompanying him suddenly said "I am not gonna die for your country" and left.  Wah returned to the hotel.  When he decided to go out again, the public security stopped him, so he stayed in his room, stood next to the window, and eventually witnessed the Tank Man standoff, of which he took several shots on June 4, 1989.[18]

On June 4, 2009, in connection with the 20th anniversary of the protests, Associated Press reporter Terril Jones revealed a photo he took showing the Tank Man from ground level, a different angle than all of the other known photos of the Tank Man.  Jones has written that he was not aware of what he had captured until a month later when printing his photos.[21]

Variations of the scene were also recorded by BBC film crews and transmitted across the world.  One witness recounts seeing Chinese tanks early on June 4 crushing vehicles and people, just one day before this man stood in front of the tank column.[22]

Unfortunately, the memory of the event appears to have faded in China, especially among younger Chinese people, due to lack of public discussion.[23]  Images of the protest on the Internet have been censored in China.[24]  When undergraduate students at Beijing University, which was at the center of the incident, were shown copies of the iconic photograph some years afterwards, they "were genuinely mystified."[25]  One of the students thought that the image was "artwork."  It is noted in the documentary Frontline: The Tank Man, that he whispered to the student next to him "89"—which led the interviewer to surmise that the student may have concealed his knowledge of the event.  One theory as to why the "Unknown Rebel" (if still alive) has never come forward is that he is unaware of his international recognition.[24]

Art based on Tank Man[edit]

A fictionalised version of the fate of both the Tank Man and a soldier in the tank is told in Lucy Kirkwood's 2013 play Chimerica.

See also[edit]


They’re Made Out of Meat (2009)[edit]

They’re Made Out of Meat (2009) by Alexander S. PeakDigital art inspired by the Terry Bisson short story, “They’re Made Out of Meat.”

"They're Made Out of Meat" is a Nebula Award-nominated short story by Terry Bisson.  It was originally published in OMNI.[27]  It consists entirely of dialogue between two characters, sentient beings capable of travelling faster than light who are on a mission to "contact, welcome and log in any and all sentient races or multibeings in this quadrant of the Universe."  They converse briefly on their bizarre discovery of carbon-based life, which they refer to incredulously as "thinking meat".  They agree to "erase the records and forget the whole thing", marking the Solar System "unoccupied".[28]

They’re Made Out of Meat is a work of digital or computer art designed in 2009 by Alexander S. Peak.  It was inspired by the Terry Bisson story of the same name, and depicts the two beings as orbs of energy, one fuchsia and the other teal.  Peak, who described the short story as "brilliant", was inspired by the anti-collectivist themes of the story and how it "showcases the inherent irrationality of prejudice".[29]

See also[edit]


Art by Sascha Grosser[edit]

Note:  Titles presented of Grosser's works are assumed to be correct, but have not been verified.  The year each work was produced is also uncertain.

Other art[edit]

Other digital and computer art[edit]






Images I may wish to alter and incorporate into my coat of arms, should I ever bother to create one[edit]

Note:  Files below not showing up are on Wikipedia.

Notes[edit]

  • No crests, because crests are stupid and lame.  That said, if I were to have a crest, it would totally be a bat.
  • It would make sense to create a banner of arms to accompany my coat of arms.  (See also heraldic flag.)
  • Motto in English:  Peace, Love, Anarchy, Natural Law, Free Markets
  • Motto in Latin:  Pax, Amor, Anarchia, Ius Naturale, Liberarum Mercatis (or should that last one be Libera Foro?)

See also[edit]

Category:Coats of arms    Category:Heraldic shields    w:Tincture (heraldry)    w:Rule of tincture    w:Escutcheon (heraldry)    w:Banner of arms    w:Heraldic flag    w:Heraldic badge    Category:Coats of arms of departments of France    Category:Special or fictional coats of arms    Category:Historical coats of arms    Mises    Category:Disputed coats of arms    Category:Coats of arms by topic    Category:SVG coat of arms elements and Category:Coat of arms elements to be classified    stuff    Category:Symbols   

Stuff to be possibly added[edit]

Statues[edit]

Photos[edit]

Maps[edit]

Music[edit]

Religious[edit]

Documents[edit]

Libertarian[edit]

V for Vendetta[edit]

Science[edit]

Space[edit]

Sol[edit]

People[edit]

Lady Godiva[edit]

Montesquieu[edit]

Voltaire[edit]

Garrison[edit]

Presidents[edit]

Scientists, mathematicians, and inventors[edit]

Art by animals[edit]

Animals making art in art[edit]

Other[edit]



External links[edit]

  • Arturo Espinosa Rosique
    • His work appears to all be released under Attribution-NonCommercial-ShareAlike 2.0 Generic licenses



References[edit]

  1. Tchaikovsky Research : The Year 1812, Op. 49 (TH 49). Archived from the original on November 6, 2013. Retrieved on September 3, 2009.
  2. Lax, Roger () The Great Song Thesaurus, Oxford: Oxford University Press, p. 230 ISBN: 978-0-19-505408-8.
  3. Felsenfeld, Daniel. Tchaikovsky: A Listener's Guide, p. 54 (Amadeus Press, 2006).
  4. Matz, Carol () A Night at the Symphony, New York City: Alfred Publishing, p. 45 ISBN: 978-0-7390-4107-9.
  5. a b c d Whitmore, Janet (Ph.D.). Jules-Joseph Lefebvre (1836 - 1911). Rehs Galleries, Inc.. Retrieved on 2014-02-28.
  6. Words Latin-English Dictionary;Perseus Word Lookup
  7. James Hall, Dictionary of Subjects & Symbols in Art (New York: Harper & Row, 1974), 318.
  8. Edwin Mullins, The Painted Witch: How Western Artists Have Viewed the Sexuality of Women (New York: Carroll & Graf Publishers, Inc., 1985), 62–3.
  9. http://essentialvermeer.20m.com/cat_about/necklace.htm
  10. "Man who defied tanks may be dead", Los Angeles Times, (3 June 1990).
    Robin Munro and Mickey Spiegel, Detained in China and Tibet: a directory of political and religious prisoners (Asia Watch Committee, 1994), p. 194. ISBN 978-1-56432-105-3.
  11. a b c The Unknown Rebel Time profile. Retrieved January 10, 2006.
  12. Langely, Andrew () Tiananmen Square: Massacre Crushes China's Democracy Movement, Compass Point Books, pp. 45 ISBN: 978-0-7565-4101-9.
  13. a b c d e f g Witty, Patrick. Behind the Scenes: Tank Man of Tiananmen. The New York Times LENS Blog. Retrieved on 2014-03-01.
  14. Floor Speech on Tiananmen Square Resolution. Nancy Pelosi, Speaker of the U.S. House of Representatives. June 3, 2009.
  15. Corless, Kieron (May 24, 2006). "Time In – Plugged In – Tank Man". Error: journal= not stated. Retrieved on June 4, 2012.
  16. Witty, Patrick. Behind the Scenes: A New Angle on History. The New York Times LENS Blog. Retrieved on 2014-03-01.
  17. Alfano, Sean (June 4, 2009). ""Tank Man": The Picture That Almost Wasn't". Error: journal= not stated. CBS News.
  18. a b c Arthur Tsang Hin Wah interview, March 20, 2013
  19. Pictures I Like: Tankman, Charlie Cole, 1989. The Shrine of Dreams (2012-06-20). Retrieved on 2014-03-01.
  20. 1989, Charlie Cole, World Press Photo of the Year, World Press Photo of the Year, World Press Photo.
  21. Jones, Terril (2009). "Tank Man". Pomona College Magazine 41 (1).
  22. Picture Power: Tiananmen StandoffBBC News.  October 7, 2005.
  23. Legacy of June Fourth.
  24. a b Macartney, Jane (2009-05-30). "Identity of Tank Man of Tiananmen Square remains a mystery". The Times.
  25. The Tank Man: Interview: Jan Wong. Frontline. PBS (2006-04-11). Retrieved on 2014-03-01.
  26. a b c JWho wants to be Tank Man?. Call of the Mall. Retrieved on 2014-03-01.
  27. Bisson, Terry (4 1991). "They're Made Out of Meat". OMNI.
  28. Bisson, Terry. They're Made out of Meat. Terry Bisson SF Story Showcase. Retrieved on 2009-12-10.
  29. Peak, Alexander S.. Fiction. alexpeak.com. Retrieved on 2014-02-28.