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T H E A R T S P O R T A L

An artist's palette

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

Prominent examples of the arts include architecture, visual arts (including ceramics, drawing, filmmaking, painting, photography, and sculpting), literary arts (including fiction, drama, poetry, and prose), performing arts (including dance, music, and theatre), textiles and fashion, folk art and handicraft, oral storytelling, conceptual and installation art, criticism, and culinary arts (including cooking, chocolate making and winemaking). They can employ skill and imagination to produce objects, performances, convey insights and experiences, and construct new environments and spaces.

The arts can refer to common, popular or everyday practices as well as more sophisticated and systematic, or institutionalized ones. They can be discrete and self-contained, or combine and interweave with other art forms, such as the combination of artwork with the written word in comics. They can also develop or contribute to some particular aspect of a more complex art form, as in cinematography.

By definition, the arts themselves are open to being continually re-defined. The practice of modern art, for example, is a testament to the shifting boundaries, improvisation and experimentation, reflexive nature, and self-criticism or questioning that art and its conditions of production, reception, and possibility can undergo.

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

Outline of performing arts
Outline of the visual arts

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A Handful of Dust is a novel by the British writer Evelyn Waugh. First published in 1934, it is often grouped with the author's early, satirical comic novels for which he became famous in the pre-World War II years. Commentators have, however, drawn attention to its serious undertones, and have regarded it as a transitional work pointing towards Waugh's Catholic postwar fiction.

The protagonist is Tony Last, a contented but shallow English country squire, who, having been betrayed by his wife and seen his illusions shattered one by one, joins an expedition to the Brazilian jungle, only to find himself trapped in a remote outpost as the prisoner of a maniac. Waugh incorporated several autobiographical elements into the plot, including his own recent desertion by his wife. In 1933–34 he travelled into the South American interior, and a number of incidents from the voyage are incorporated into the novel. Tony's singular fate in the jungle was first used by Waugh as the subject of an independent short story, published in 1933 under the title "The Man Who Liked Dickens". (Full article...)
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An ashcan comic is a form of the American comic book originally created solely to establish trademarks on potential titles and not intended for sale. The practice was common in the 1930s and 1940s when the comic book industry was in its infancy, but was phased out after updates to US trademark law. The term was revived in the 1980s by Bob Burden, who applied it to prototypes of his self-published comic book. Since the 1990s, the term has been used to describe promotional materials produced in large print runs and made available for mass consumption. In the film and television industries, the term 'ashcan copy' has been adopted for low-grade material created to preserve a claim to licensed property rights. (Full article...)
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Title page of the 1656 publication of the libretto

L'incoronazione di Poppea (SV 308, The Coronation of Poppaea) is an Italian opera by Claudio Monteverdi. It was Monteverdi's last opera, with a libretto by Giovanni Francesco Busenello, and was first performed at the Teatro Santi Giovanni e Paolo in Venice during the 1643 carnival season. One of the first operas to use historical events and people, it describes how Poppaea, mistress of the Roman emperor Nero, is able to achieve her ambition and be crowned empress. The opera was revived in Naples in 1651, but was then neglected until the rediscovery of the score in 1888, after which it became the subject of scholarly attention in the late 19th and early 20th centuries. Since the 1960s, the opera has been performed and recorded many times.

The original manuscript of the score does not exist; two surviving copies from the 1650s show significant differences from each other, and each differs to some extent from the libretto. How much of the music is actually Monteverdi's, and how much the product of others, is a matter of dispute. None of the existing versions of the libretto, printed or manuscript, can be definitively tied to the first performance at the Teatro Santi Giovanni e Paolo, the precise date of which is unknown. Details of the original cast are few and largely speculative, and there is no record of the opera's initial public reception. Despite these uncertainties, the work is generally accepted as part of the Monteverdi operatic canon, his last and perhaps his greatest work. (Full article...)
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Tomb of Antipope John XXIII

The Tomb of Antipope John XXIII is the marble-and-bronze tomb monument of Antipope John XXIII (Baldassare Cossa, c. 1360–1419), created by Donatello and Michelozzo for the Florence Baptistry adjacent to the Duomo. It was commissioned by the executors of Cossa's will after his death on December 22, 1419 and completed during the 1420s, establishing it as one of the early landmarks of Renaissance Florence. According to Ferdinand Gregorovius, the tomb is "at once the sepulchre of the Great Schism in the church and the last papal tomb which is outside Rome itself".

Cossa had a long history of cooperation with Florence, which had viewed him as the legitimate pontiff for a time during the Western Schism. The tomb monument is often interpreted as an attempt to strengthen the legitimacy of Cossa's pontificate by linking him to the spiritually powerful site of the Baptistry. The evocation of papal symbolism on the tomb and the linkage between Cossa and Florence have been interpreted as a snub to Cossa's successor Pope Martin V or vicarious "Medici self-promotion", as such a tomb would have been deemed unacceptable for a Florentine citizen. (Full article...)
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The Cathedral of the Immaculate Conception of the Holy Virgin Mary is a neo-Gothic Catholic Church at Moscow's center, that serves as the cathedral of the Catholic Archdiocese of Moscow. Located in the Central Administrative Okrug, it is one of three Catholic churches in Moscow and the largest in Russia.

The construction of the cathedral was approved in 1894 by the Ministry of Internal Affairs under Russian Empire. Groundbreaking was in 1899; construction work began in 1901 and was completed ten years later. Three-aisled and built from red brick, the cathedral is based on a design by architect Tomasz Bohdanowicz-Dworzecki. The style was influenced by Westminster Abbey and Milan Cathedral. With the help of funds from Catholic parishes in Russia and its neighbouring states, the church was consecrated as a chapel for Moscow's Polish parish in 1911. In the aftermath of the Russian Revolution in 1917, the Provisional Government was overthrown by the Bolsheviks and Russia eventually became part of the Soviet Union in 1922. Because the promotion of state atheism was a part of Marxist–Leninist ideology, the government ordered many churches closed; the cathedral was closed in 1938. During World War II, it was threatened with demolition, and was used after the war for civil purposes, as a warehouse and then a hostel. Following the fall of communism in 1991, it returned to being a church in 1996. In 2002 it was elevated to the status of cathedral. Following an extensive and costly programme of reconstruction and refurbishment, the cathedral was reconsecrated in 2005. (Full article...)
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"Say Hello to My Little Friend" is the eleventh episode of the American television police procedural fantasy drama Awake, which originally aired on NBC on May 10, 2012. Written by Leonard Chang and series creator Kyle Killen, "Say Hello to My Little Friend" earned a Nielsen rating of 0.9, being watched by 2.51 million viewers upon its initial broadcast in the United States. Directed by recurring guest actress Laura Innes, the episode generally received positive reviews, with many critics claiming that it was the best episode of the series since "Pilot" and that Jason Isaacs' performance deserved an Emmy Award.

Awake centers on Michael Britten (Isaacs), a detective living in two separate realities after a car crash. In one reality, in which he wears a red wristband, his wife Hannah Britten (Laura Allen) survived the collision, and in another reality, in which he wears a green wristband, his son Rex Britten (Dylan Minnette) survived. In this episode, Michael passes out during a bungee jump while he is at a carnival with Rex and Emma (Daniela Bobadilla). He is unable to switch realities, consistently hallucinates and realizes that Ed Hawkins (Kevin Weisman), a detective who is working with Michael's former partner Bird (Steve Harris), was attempting to kill him in the crash. Meanwhile, Hannah deals with Emma's new baby by trying to convince her parents to let her keep the baby. (Full article...)
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Original poster, depicting the death of Scarpia

Tosca is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa. It premiered at the Teatro Costanzi in Rome on 14 January 1900. The work, based on Victorien Sardou's 1887 French-language dramatic play, La Tosca, is a melodramatic piece set in Rome in June 1800, with the Kingdom of Naples's control of Rome threatened by Napoleon's invasion of Italy. It contains depictions of torture, murder, and suicide, as well as some of Puccini's best-known lyrical arias.

Puccini saw Sardou's play when it was touring Italy in 1889 and, after some vacillation, obtained the rights to turn the work into an opera in 1895. Turning the wordy French play into a succinct Italian opera took four years, during which the composer repeatedly argued with his librettists and publisher. Tosca premiered at a time of unrest in Rome, and its first performance was delayed for a day for fear of disturbances. Despite indifferent reviews from the critics, the opera was an immediate success with the public. (Full article...)
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Le Père Goriot (French pronunciation: [lə pɛʁ ɡɔʁjo], "Old Goriot" or "Father Goriot") is an 1835 novel by French novelist and playwright Honoré de Balzac (1799–1850), included in the Scènes de la vie privée section of his novel sequence La Comédie humaine. Set in Paris in 1819, it follows the intertwined lives of three characters: the elderly doting Goriot, a mysterious criminal-in-hiding named Vautrin and a naive law student named Eugène de Rastignac.

Originally published in serial form during the winter of 1834–35, Le Père Goriot is widely considered Balzac's most important novel. It marks the first serious use by the author of characters who had appeared in other books, a technique that distinguishes Balzac's fiction. The novel is also noted as an example of his realist style, using minute details to create character and subtext. (Full article...)
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"The Last Temptation of Krust" is the fifteenth episode of the ninth season of the American animated television series The Simpsons. It first aired on the Fox network in the United States on February 22, 1998. It was written by Donick Cary and directed by Mike B. Anderson. Comedian Jay Leno makes a guest appearance. In the episode, Bart convinces Krusty the Clown to appear at a comedy festival organized by Jay Leno, but Krusty's old material does not go over well with the audience and he receives bad reviews. He briefly retires from comedy but returns with a new, better-received gimmick. He soon returns to his old ways, selling out to a motor-vehicle company.

The production team's decision to write an episode about stand-up comedy was influenced by comedy festivals. The writing staff initially had trouble getting Krusty's offensive bad jokes through network censors, but convinced them this was simply a way to emphasize his old and dated comedic material. The "Canyonero" sequence was modeled after Ford commercials and was given its own segment at the end of the episode because the production staff liked it so much. (Full article...)
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Plate 3: Lo mismo (The same). A man about to cut off the head of a soldier with an axe.

The Disasters of War (Spanish: Los desastres de la guerra) is a series of 82 prints created between 1810 and 1820 by the Spanish painter and printmaker Francisco Goya (1746–1828). Although Goya did not make known his intention when creating the plates, art historians view them as a visual protest against the violence of the 1808 Dos de Mayo Uprising, the subsequent Peninsular War of 1808–1814 and the setbacks to the liberal cause following the restoration of the Bourbon monarchy in 1814. During the conflicts between Napoleon's French Empire and Spain, Goya retained his position as first court painter to the Spanish crown and continued to produce portraits of the Spanish and French rulers. Although deeply affected by the war, he kept private his thoughts on the art he produced in response to the conflict and its aftermath.

He was in poor health and almost deaf when, at 62, he began work on the prints. They were not published until 1863, 35 years after his death. It is likely that only then was it considered politically safe to distribute a sequence of artworks criticising both the French and restored Bourbons. In total over a thousand sets have been printed, though later ones are of lower quality, and most print room collections have at least some of the set. (Full article...)
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Manchester Cenotaph in 2017, in its new location near the town hall; looking south

Manchester Cenotaph is a war memorial in St Peter's Square, Manchester, England. Manchester was late in commissioning a First World War memorial compared with most British towns and cities; the city council did not convene a war memorial committee until 1922. The committee quickly achieved its target of raising £10,000 but finding a suitable location for the monument proved controversial. The preferred site in Albert Square would have required the removal and relocation of other statues and monuments, and was opposed by the city's artistic bodies. The next choice was Piccadilly Gardens, an area already identified for a possible art gallery and library; but in the interests of speedier delivery, the memorial committee settled on St Peter's Square. The area within the square had been had been purchased by the City Council in 1906, having been the site of the former St Peter's Church; whose sealed burial crypts remained with burials untouched and marked above ground by a memorial stone cross. Negotiations to remove these stalled so the construction of the cenotaph proceeded with the cross and burials in situ.

Having picked a site, it was originally proposed to choose an architect by open competition, but the memorial committee was criticised in the local press when it reserved the right to overrule the judgement of the independent assessor. A sub-committee therefore approached Sir Edwin Lutyens directly, who produced, in a matter of weeks, a variation of his design for the Cenotaph in London. The memorial consists of a central cenotaph and a Stone of Remembrance flanked by twin obelisks, all features characteristic of Lutyens' works. Raised steps either side of the Stone of Remembrance provided east-facing tribunes for the colour party in memorial parades. The cenotaph is topped by an effigy of a fallen soldier and decorated with relief carvings of the imperial crown, Manchester's coat of arms and inscriptions commemorating the dead. The structures, based on classical architecture, use abstract, ecumenical shapes rather than overt religious symbolism. In submitting the design, Lutyens stated that he envisaged the crypts and cross as remaining in place; as the cenotaph could stand on the foundations of the former church tower and the cross would serve to "consecrate the site", while there would be no explicit religious symbolism on the cenotaph itself. (Full article...)
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Mells War Memorial is a First World War memorial by Sir Edwin Lutyens in the village of Mells in the Mendip Hills of Somerset, south-western England. Unveiled in 1921, the memorial is one of multiple buildings and structures Lutyens designed in Mells. His friendship with two prominent families in the area, the Horners and the Asquiths, led to a series of commissions; among his other works in the village are memorials to two sons—one from each family—killed in the war. Lutyens toured the village with local dignitaries in search of a suitable site for the war memorial, after which he was prompted to remark "all their young men were killed".

The memorial takes the form of a marble column topped by a sculpture of Saint George slaying a dragon, an image Lutyens used on two other public war memorials. At the base of the column, the names of the village's war dead are inscribed on stone panels. The memorial is flanked by identical rubble walls in local stone, on top of which grows a yew hedge. Low stone benches protrude from the walls to allow wreaths to be laid. Additional panels were fixed to the wall after the Second World War to commemorate that conflict. The memorial was unveiled on 26 June 1921 by Brigadier-General Arthur Asquith, whose brother is among those commemorated on it. It is a grade II* listed building and since 2015 has been part of a national collection of Lutyens' war memorials. (Full article...)
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LaBelle during a 2012 interview

Leah LaBelle Vladowski (September 8, 1986 – January 31, 2018) was an American singer. She rose to prominence in 2004 as a contestant on the third season of American Idol, placing twelfth in the season finals. In 2007, LaBelle began recording covers of R&B and soul music for her YouTube channel. These videos led to work as a backing vocalist starting in 2008 and a record deal in 2011 with Epic in partnership with I Am Other and So So Def Recordings. LaBelle released a sampler, three singles, and a posthumous extended play (EP).

Born in Toronto, Ontario, and raised in Seattle, Washington, LaBelle began pursuing music as a career in her teens. As a child, she performed in the Total Experience Gospel Choir and the musical Black Nativity. In 2005, LaBelle attended the Berklee College of Music for a year before dropping out and moving to Los Angeles. While in college, she collaborated with Andreao Heard on a demo. Following the advice of an industry contact, LaBelle released her music through her YouTube channel. Keri Hilson hired LaBelle as a backing vocalist after hearing her rendition of "Energy", which led to her working for other artists on their tours. (Full article...)
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Theatrical release poster

Bride of Frankenstein is a 1935 American science fiction horror film, and the first sequel to Universal Pictures' 1931 film Frankenstein. As with the first film, Bride of Frankenstein was directed by James Whale and stars Boris Karloff as the Monster. The sequel features Elsa Lanchester in the dual role of Mary Shelley and the titular character at the end of the film. Colin Clive reprises his role as Henry Frankenstein, and Ernest Thesiger plays the role of Doctor Septimus Pretorius.

Taking place immediately after the events of the earlier film, it is rooted in a subplot of the original Mary Shelley novel, Frankenstein; or, The Modern Prometheus (1818). Its plot follows a chastened Henry Frankenstein as he attempts to abandon his plans to create life, only to be tempted and finally coerced by his old mentor Dr. Pretorius, along with threats from the Monster, into constructing a mate for the Monster. (Full article...)
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"Favorite Son" is an episode of the American science fiction television series Star Trek: Voyager. First broadcast on UPN on March 19, 1997, it was the 20th episode of the third season. Lisa Klink wrote and Marvin V. Rush directed the episode. Set in the 24th century, the show follows the adventures of the crew of the starship USS Voyager after they are stranded in the Delta Quadrant, far from the rest of the Federation.

In the episode, Ensign Harry Kim (Garrett Wang) experiences déjà vu and develops a rash when the Voyager enters a new sector of the Delta Quadrant. Mostly female aliens known as Taresians tell him that he is not human but is a member of their species. On discovering this is a ruse by the female aliens to attract and kill their men during reproduction, the crew rescues Kim and restores him to his original state. Deborah May and Kristanna Loken play two of the Taresians, Patrick Fabian portrays a man tricked by them and Irene Tsu appears as Kim's mother. (Full article...)

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Nias

Credit: Photo: Ludwig Borutta; Restoration: Lise Broer

Megaliths, some decorated, were a part of the culture of the island of Nias off the western coast of Sumatra, Indonesia. Among the many uses of these large stones were statues, seats for the chieftains, and tables where justice was done. Additionally, some stones commemorated the deaths of important people. In this 1915 photo, such a stone is hauled upwards, reportedly taking 525 people three days to erect in the village of Bawemataloeo.

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Did you know...

... that The Fairman Rogers Four-in-Hand (pictured) was the first painting to demonstrate, based on systematic photographic analysis, how horses move?
... that Cheyenne artist Bently Spang satirized anthropologists' depictions of Native Americans as a "lost culture" with a museum exhibit showcasing ordinary objects?
... that Bagyi Aung Soe, now recognized as one of Burma's most important modern artists, lived in poverty and was considered by some to be mad?

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In this month

5 May 1726 – Handel's opera Alessandro premieres at the King's Theatre in London with Italian castrato singer Senesino in the title role
12 May 1926 – Dmitri Shostakovich's Symphony No. 1, which he composed at the age of 19 while a student at Leningrad Conservatory, receives its first performance
22 May 1844 – Impressionst painter and printmaker Mary Cassatt (self-portrait pictured) is born in Allegheny, Pennsylvania
26 May 1897 – Bram Stoker's novel Dracula, which later became the subject of numerous theatrical, film and television interpretations, is published by Constable & Co.
29 May 1913 – Igor Stravinsky's ballet The Rite of Spring premieres in Paris and causes a riot in the audience between supporters and opponents of the work

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Sylvanus Morley was an American archaeologist, epigrapher, and Mayanist scholar who made significant contributions towards the study of the pre-Columbian Maya civilization in the early 20th century. He is particularly noted for his extensive excavations of the Maya site of Chichen Itza. He also published several large compilations and treatises on Maya hieroglyphic writing, and wrote popular accounts on the Maya for a general audience. To his contemporaries he was one of the leading Mesoamerican archaeologists of his day; although more recent developments in the field have resulted in a re-evaluation of his theories and works, his publications (particularly on calendric inscriptions) are still cited. Overall, his commitment and enthusiasm for Maya studies would generate interest and win the necessary sponsorship and backing to finance projects which would ultimately reveal much about the Maya of former times. His involvement in clandestine espionage activities at the behest of the U.S. Office of Naval Intelligence was another, surprising, aspect of his career, which came to light only well after his death. (Full article...)