This document provides an overview of Jewish history from the 1850s through the 1870s based on passages from the Bible and other sources. It mentions Bezalel being chosen by God to have skill in crafts based on Exodus 31:1-4. It also references Abraham being called by God to leave his home based on Genesis 12:1. Finally, it discusses Solomon planting gardens and groves with fruit trees based on Ecclesiastes 2:5.
The document references several biblical passages from Genesis and Ecclesiastes describing God speaking to Moses and Abram, as well as a brief mention of "The Salon Years 1864-1868". It then quotes Ecclesiastes 2:5 about laying out gardens and groves with every kind of fruit tree.
1) The poem describes the night of Jesus's birth, with the inns full and streets empty as Mary gives birth in a stable while Joseph paces outside.
2) Shepherds in the fields are visited by angels announcing Jesus's birth, and they and wise men come to see the newborn king laying in the manger.
3) The poem asks the reader to look upon the baby Jesus in the manger and see not just a child, but the price God paid by sending his son to live and die for humanity, taking our sins upon himself.
The document appears to be a collection of journal entries and Bible passages about covenants between God and mankind. It includes quotes of people questioning their worthiness to receive God's grace and blessings. It also recounts the story from Genesis of God establishing an everlasting covenant with Abram, involving Abram sacrificing animals and God passing between their halves, as well as a passage from Numbers about God blessing the Israelites and putting his name on them. The overarching theme is unbreakable covenants between God and his people.
These documents contain several Christmas carols that celebrate the birth of Jesus Christ. The carols describe the joyful news of Jesus's birth being announced by angels to shepherds, his role as the savior and king, and people from all nations coming to worship the newborn baby in the manger. The carols call readers to join in celebrating and worshipping Jesus on Christmas.
The poem describes the town of Bethlehem as still and quiet under the night sky, with the stars shining above. Though the streets are dark, the light of hope still shines in the town on this special night. It speaks of how silently God gave the gift of his son Jesus, and though no ear heard his coming, meek souls will receive him as the dear Christ enters the world. It asks the holy child of Bethlehem to descend and be born in us today, casting out sin, as we hear the glad tidings of Christmas from the angels and welcome our Lord Emmanuel.
The document contains several poems describing different aspects of Christmas celebrations and the nativity story. The poems describe shepherds coming to see the baby Jesus, kings following a star to find Jesus, everyone being asleep in Bethlehem except for travelers arriving to see the newborn child, and lights shining throughout the world as a symbol of peace.
The document contains the lyrics to several Christmas carols that tell the story of Jesus' birth. The carols describe the shepherds watching their flocks when they receive news of Jesus' birth from angels, the three wise men following a star to find the newborn king, and Mary and Joseph's journey to Bethlehem on a donkey with the baby Jesus.
The document recounts the story of the birth of Jesus Christ on Christmas Day. It describes how Mary and Joseph traveled to Bethlehem where Jesus was born in a manger, as the inn had no room. Shepherds in the fields were visited by angels announcing the birth, and came to see the baby with gifts. It celebrates that because of Jesus' birth on Christmas Day, man will live forevermore and have hope and peace.
The document references several biblical passages from Genesis and Ecclesiastes describing God speaking to Moses and Abram, as well as a brief mention of "The Salon Years 1864-1868". It then quotes Ecclesiastes 2:5 about laying out gardens and groves with every kind of fruit tree.
1) The poem describes the night of Jesus's birth, with the inns full and streets empty as Mary gives birth in a stable while Joseph paces outside.
2) Shepherds in the fields are visited by angels announcing Jesus's birth, and they and wise men come to see the newborn king laying in the manger.
3) The poem asks the reader to look upon the baby Jesus in the manger and see not just a child, but the price God paid by sending his son to live and die for humanity, taking our sins upon himself.
The document appears to be a collection of journal entries and Bible passages about covenants between God and mankind. It includes quotes of people questioning their worthiness to receive God's grace and blessings. It also recounts the story from Genesis of God establishing an everlasting covenant with Abram, involving Abram sacrificing animals and God passing between their halves, as well as a passage from Numbers about God blessing the Israelites and putting his name on them. The overarching theme is unbreakable covenants between God and his people.
These documents contain several Christmas carols that celebrate the birth of Jesus Christ. The carols describe the joyful news of Jesus's birth being announced by angels to shepherds, his role as the savior and king, and people from all nations coming to worship the newborn baby in the manger. The carols call readers to join in celebrating and worshipping Jesus on Christmas.
The poem describes the town of Bethlehem as still and quiet under the night sky, with the stars shining above. Though the streets are dark, the light of hope still shines in the town on this special night. It speaks of how silently God gave the gift of his son Jesus, and though no ear heard his coming, meek souls will receive him as the dear Christ enters the world. It asks the holy child of Bethlehem to descend and be born in us today, casting out sin, as we hear the glad tidings of Christmas from the angels and welcome our Lord Emmanuel.
The document contains several poems describing different aspects of Christmas celebrations and the nativity story. The poems describe shepherds coming to see the baby Jesus, kings following a star to find Jesus, everyone being asleep in Bethlehem except for travelers arriving to see the newborn child, and lights shining throughout the world as a symbol of peace.
The document contains the lyrics to several Christmas carols that tell the story of Jesus' birth. The carols describe the shepherds watching their flocks when they receive news of Jesus' birth from angels, the three wise men following a star to find the newborn king, and Mary and Joseph's journey to Bethlehem on a donkey with the baby Jesus.
The document recounts the story of the birth of Jesus Christ on Christmas Day. It describes how Mary and Joseph traveled to Bethlehem where Jesus was born in a manger, as the inn had no room. Shepherds in the fields were visited by angels announcing the birth, and came to see the baby with gifts. It celebrates that because of Jesus' birth on Christmas Day, man will live forevermore and have hope and peace.
The document contains lyrics that discuss God's deep love for humanity in sending his son Jesus to die for our sins. It expresses how Jesus' death and resurrection allows believers to boast in him rather than their own works. The lyrics call for Emmanuel to come and bring peace to Israel and bind all mankind together, ending divisions.
The document discusses how an angelic message brought light and joy to shepherds in Bethlehem on the night Jesus was born. The shepherds were in darkness and silence until the angel announced the birth of the Savior. Though their circumstances did not change, the shepherds' lives were transformed by the message of hope. True joy comes from finding sustenance in God through all difficulties, not from avoiding problems, as his provision brings relief even in suffering. Spiritual nourishment from God's grace allows believers to find joy despite life's hardships.
In the passage from Genesis, Jacob adopts Joseph's sons Ephraim and Manasseh as his own, blessing Ephraim over the firstborn Manasseh. Several other passages show God's compassion for Ephraim, such as delivering Israel from Egypt, calling Ephraim his firstborn, and lamenting over Ephraim's idolatry and sins while still longing to save them. The document concludes by emphasizing God's great compassion and love shown through sending his Son to die for humanity's sins in order to offer salvation to all.
Candidates with unlimited opportunitiesScott Odigie
ย
This document outlines opportunities available to believers that provide unlimited potential for advancement. It discusses 6 key opportunities: 1) Eternal economy and government not subject to worldly systems. 2) Receiving God's blessing which orchestrates destiny beyond material concerns. 3) The indwelling of the Holy Spirit for fellowship with God. 4) Fulfilling one's predestined purpose rather than existing by chance. 5) Authority over all the enemy's power so nothing can harm believers. 6) Possessing the nature and capacity of the Spirit rather than limitations of physical nature. In conclusion, the document encourages considering what God can do through believers.
O little town of Bethlehem,
How still we see thee lie!
Above thy deep and dreamless sleep
The silent stars go by;
Yet in thy dark streets shineth
The everlasting Light;
The hopes and fears of all the years
Are met in thee to-night.
For Christ is born of Mary,
And gathered all above,
While mortals sleep, the angels keep
Their watch of wondering love.
O morning stars, together
Proclaim the holy birth!
And praises sing to God the King,
And peace to men on earth.
How silently, how silently,
The wondrous gift is given!
So God imparts to human hearts
The blessings of his heaven.
No ear may hear his coming,
But in this world of sin,
Where meek souls will receive him, still
The dear Christ enters in.
Where children pure and happy
Pray to the blessed Child,
Where misery cries out to thee,
Son of the mother mild;
Where charity stands watching
And faith holds wide the door,
The dark night wakes, the glory breaks,
And Christmas comes once more.
O holy Child of Bethlehem!
Descend to us, we pray;
Cast out our sin and enter in,
Be born in us to-day.
We hear the Christmas angels
The great glad tidings tell;
O come to us, abide with us,
Our Lord Emmanuel!
This document discusses the origins and evolution of various religious and theological terms. It explores how words like "JEHOVAH", "Passover", and "Scapegoat" were developed to translate Hebrew concepts, and how terms like "Atonement" and "Beautiful" came to be used. It also comments that language is always changing through a natural process of evolution and variation, so there is no absolute right or wrong in linguistics.
The document discusses Reuven Rubin, a 20th century artist, and is presented by an independent scholar, Myrna Teck. Teck hopes to make the art of Reuven Rubin contagious to the reader through her discussion, believing a love of art cannot be taught but can only be caught or inspired in others. She presents the first part of her discussion on Rubin's art.
This document summarizes a talk given by Alexandra Eveleigh on the emergence of participatory archives from 2007-2008. It discusses how participatory archives actively engage users in co-creating historical meaning by liberating archival practice from hierarchical structures. Success depends on attracting different types of participants, from seasoned researchers to newcomers, and providing a variety of intrinsic and extrinsic motivation types and tasks. Managing this spectrum of participation is key to challenging archival authority while upholding quality control.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
Participatory Digitisation: The 21st Century Archive as Conversation
Alexandra Eveleigh's presentation at the ARA Public Services Quality Group Forum, 3 November 2010
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
This document discusses three topics related to art: the Age of Enlightenment and Haskalah movement, the establishment of the State of Israel, and how a love of art cannot be taught but must be caught or experienced. It aims to make an appreciation of art contagious to the reader.
Digital Preservation For Real Archivists Sslh 200980gb
ย
The document discusses challenges in digital preservation for archivists and provides recommendations. Key challenges include hardware and software obsolescence which can make digital content inaccessible within just a few years. The document recommends developing procedures for documenting file formats and storage media, making multiple copies of digital content across different systems, and researching preservation tools and services to help address these challenges without overcomplicating solutions. Archivists are encouraged not to feel limited by a lack of expertise with digital preservation and to document their processes to help future generations of record keepers.
This document discusses harvests, markets, and quotes several Bible passages. It also discusses the author's passion for art and painting, how putting one's soul into their work allows them to find others who understand them. The document ends by saying the love of art cannot be taught, it can only be caught, and hopes to make the art of painting contagious.
The document traces the origins and history of the Jewish people from biblical times through the Ottoman Empire. It discusses how Judaism was established through texts like the Torah given to Moses on Mount Sinai. Key events included the division of Israel into two kingdoms after King Solomon, conquests by Assyria, Babylon, Greece and Rome, and the eventual diaspora of Jewish people across Europe and elsewhere during Ottoman rule. The document sets up discussion of the Jewish claim to the land of Israel based on biblical promises and their identity as a people with shared culture, religion and history across millennia despite being scattered.
Ezekiel was a priest from Judah who prophesied during and after the Babylonian exile in the 6th century BC. He emphasized reminding Judah of their sins that led to exile, prophesying judgment on gentile nations, and encouraging the people by prophesying future restoration. God's glory, or power over judgment, was a key theme. Ezekiel experienced visions as dreams to communicate spiritual truths. He commonly referred to the people of Israel as the "House of Israel." His call involved God instructing him to eat a scroll and then speak God's words to the rebellious people.
Antiochus IV Epiphanes, the Seleucid King of Syria, attacked Jerusalem in 168 BC. He looted and plundered the Temple, stopping the daily sacrifices and desecrating the holy place by setting up an abomination of desolation. Antiochus outlawed Jewish religious practices, massacred Jews, and decreed death for those who possessed copies of the Torah or circumcised their sons. This sparked the Maccabean Revolt led by Judas Maccabeus, which resulted in the reclamation of the Temple and the festival of Hanukkah.
Jesus Christ is described as the โmorning starโ in 2 Peter 1:19 (phosphoros) and in Revelation 2:28 (aster proinos), and He identifies Himself as โthe bright morning starโ (ho aster ho lampros ho proninos) in Revelation 22:16โ (413).
He goes on to point out that this โstarโ symbolism reflects the Old Testament and inter-testament emphasis on the โcelestialโ nature of the coming Messiah (cf. Num. 24:17; Mal. 4:2).
William Barclay suggested several ideas. He thought the expression could signify the coming resurrection of the righteous. Just as the โmorning starโ breaks forth from the darkness of night, so the Lordโs people will break out of the darkness of the grave (1957, 67).
Later, however, he came to a different conclusion. He was โquite certainโ that the โcorrect interpretationโ is this. The โmorning starโ is Christ himself.
The document summarizes why Israel went into captivity based on passages from Ezekiel and Daniel. It describes how Israel was repeatedly called rebellious for defiling God's sanctuary and engaging in idolatrous worship. It then discusses Nebuchadnezzar's strategy of exiling the ruling class and intellectuals to leave only poor people in Israel. Cyrus later allowed the exiles to return and helped them rebuild, as Daniel had foretold over 150 years prior based on Isaiah's prophecy.
Exodus 1-3, The angel of the Lord, Moses And The Burning Bush, I AM's in John...Valley Bible Fellowship
ย
Exodus Chapters 1 to 3 summarize as follows:
1) The Israelites multiply in Egypt but a new king arises who enslaves them, forcing them into hard labor. He orders the death of all newborn Hebrew boys.
2) Moses is born and placed in a basket in the Nile river, where he is discovered and adopted by Pharaoh's daughter.
3) As an adult, Moses flees Egypt after killing an Egyptian taskmaster. He settles with the Midianites as a shepherd. At the burning bush, God appears to Moses as an angel and commands him to return to Egypt to demand Pharaoh free the Israelites.
The document discusses God's program for Israel which includes three parts: 1) Scatter - God scattered the Jews worldwide as punishment for disobedience. 2) Regather - God would regather the Jews from the nations back to Israel. 3) Redeem - God would redeem Israel and the Jews by giving them new hearts and spirits through faith in Jesus as the Messiah. The document provides biblical support for each part of God's plan.
There are many events in scripture that have profound significance with respect to Gods accommodations for man as a result of sin. The exceptions in scripture are one time events that have only occurred once, the following are among the most significant.
The document contains lyrics that discuss God's deep love for humanity in sending his son Jesus to die for our sins. It expresses how Jesus' death and resurrection allows believers to boast in him rather than their own works. The lyrics call for Emmanuel to come and bring peace to Israel and bind all mankind together, ending divisions.
The document discusses how an angelic message brought light and joy to shepherds in Bethlehem on the night Jesus was born. The shepherds were in darkness and silence until the angel announced the birth of the Savior. Though their circumstances did not change, the shepherds' lives were transformed by the message of hope. True joy comes from finding sustenance in God through all difficulties, not from avoiding problems, as his provision brings relief even in suffering. Spiritual nourishment from God's grace allows believers to find joy despite life's hardships.
In the passage from Genesis, Jacob adopts Joseph's sons Ephraim and Manasseh as his own, blessing Ephraim over the firstborn Manasseh. Several other passages show God's compassion for Ephraim, such as delivering Israel from Egypt, calling Ephraim his firstborn, and lamenting over Ephraim's idolatry and sins while still longing to save them. The document concludes by emphasizing God's great compassion and love shown through sending his Son to die for humanity's sins in order to offer salvation to all.
Candidates with unlimited opportunitiesScott Odigie
ย
This document outlines opportunities available to believers that provide unlimited potential for advancement. It discusses 6 key opportunities: 1) Eternal economy and government not subject to worldly systems. 2) Receiving God's blessing which orchestrates destiny beyond material concerns. 3) The indwelling of the Holy Spirit for fellowship with God. 4) Fulfilling one's predestined purpose rather than existing by chance. 5) Authority over all the enemy's power so nothing can harm believers. 6) Possessing the nature and capacity of the Spirit rather than limitations of physical nature. In conclusion, the document encourages considering what God can do through believers.
O little town of Bethlehem,
How still we see thee lie!
Above thy deep and dreamless sleep
The silent stars go by;
Yet in thy dark streets shineth
The everlasting Light;
The hopes and fears of all the years
Are met in thee to-night.
For Christ is born of Mary,
And gathered all above,
While mortals sleep, the angels keep
Their watch of wondering love.
O morning stars, together
Proclaim the holy birth!
And praises sing to God the King,
And peace to men on earth.
How silently, how silently,
The wondrous gift is given!
So God imparts to human hearts
The blessings of his heaven.
No ear may hear his coming,
But in this world of sin,
Where meek souls will receive him, still
The dear Christ enters in.
Where children pure and happy
Pray to the blessed Child,
Where misery cries out to thee,
Son of the mother mild;
Where charity stands watching
And faith holds wide the door,
The dark night wakes, the glory breaks,
And Christmas comes once more.
O holy Child of Bethlehem!
Descend to us, we pray;
Cast out our sin and enter in,
Be born in us to-day.
We hear the Christmas angels
The great glad tidings tell;
O come to us, abide with us,
Our Lord Emmanuel!
This document discusses the origins and evolution of various religious and theological terms. It explores how words like "JEHOVAH", "Passover", and "Scapegoat" were developed to translate Hebrew concepts, and how terms like "Atonement" and "Beautiful" came to be used. It also comments that language is always changing through a natural process of evolution and variation, so there is no absolute right or wrong in linguistics.
The document discusses Reuven Rubin, a 20th century artist, and is presented by an independent scholar, Myrna Teck. Teck hopes to make the art of Reuven Rubin contagious to the reader through her discussion, believing a love of art cannot be taught but can only be caught or inspired in others. She presents the first part of her discussion on Rubin's art.
This document summarizes a talk given by Alexandra Eveleigh on the emergence of participatory archives from 2007-2008. It discusses how participatory archives actively engage users in co-creating historical meaning by liberating archival practice from hierarchical structures. Success depends on attracting different types of participants, from seasoned researchers to newcomers, and providing a variety of intrinsic and extrinsic motivation types and tasks. Managing this spectrum of participation is key to challenging archival authority while upholding quality control.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
Participatory Digitisation: The 21st Century Archive as Conversation
Alexandra Eveleigh's presentation at the ARA Public Services Quality Group Forum, 3 November 2010
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
This document discusses three topics related to art: the Age of Enlightenment and Haskalah movement, the establishment of the State of Israel, and how a love of art cannot be taught but must be caught or experienced. It aims to make an appreciation of art contagious to the reader.
Digital Preservation For Real Archivists Sslh 200980gb
ย
The document discusses challenges in digital preservation for archivists and provides recommendations. Key challenges include hardware and software obsolescence which can make digital content inaccessible within just a few years. The document recommends developing procedures for documenting file formats and storage media, making multiple copies of digital content across different systems, and researching preservation tools and services to help address these challenges without overcomplicating solutions. Archivists are encouraged not to feel limited by a lack of expertise with digital preservation and to document their processes to help future generations of record keepers.
This document discusses harvests, markets, and quotes several Bible passages. It also discusses the author's passion for art and painting, how putting one's soul into their work allows them to find others who understand them. The document ends by saying the love of art cannot be taught, it can only be caught, and hopes to make the art of painting contagious.
The document traces the origins and history of the Jewish people from biblical times through the Ottoman Empire. It discusses how Judaism was established through texts like the Torah given to Moses on Mount Sinai. Key events included the division of Israel into two kingdoms after King Solomon, conquests by Assyria, Babylon, Greece and Rome, and the eventual diaspora of Jewish people across Europe and elsewhere during Ottoman rule. The document sets up discussion of the Jewish claim to the land of Israel based on biblical promises and their identity as a people with shared culture, religion and history across millennia despite being scattered.
Ezekiel was a priest from Judah who prophesied during and after the Babylonian exile in the 6th century BC. He emphasized reminding Judah of their sins that led to exile, prophesying judgment on gentile nations, and encouraging the people by prophesying future restoration. God's glory, or power over judgment, was a key theme. Ezekiel experienced visions as dreams to communicate spiritual truths. He commonly referred to the people of Israel as the "House of Israel." His call involved God instructing him to eat a scroll and then speak God's words to the rebellious people.
Antiochus IV Epiphanes, the Seleucid King of Syria, attacked Jerusalem in 168 BC. He looted and plundered the Temple, stopping the daily sacrifices and desecrating the holy place by setting up an abomination of desolation. Antiochus outlawed Jewish religious practices, massacred Jews, and decreed death for those who possessed copies of the Torah or circumcised their sons. This sparked the Maccabean Revolt led by Judas Maccabeus, which resulted in the reclamation of the Temple and the festival of Hanukkah.
Jesus Christ is described as the โmorning starโ in 2 Peter 1:19 (phosphoros) and in Revelation 2:28 (aster proinos), and He identifies Himself as โthe bright morning starโ (ho aster ho lampros ho proninos) in Revelation 22:16โ (413).
He goes on to point out that this โstarโ symbolism reflects the Old Testament and inter-testament emphasis on the โcelestialโ nature of the coming Messiah (cf. Num. 24:17; Mal. 4:2).
William Barclay suggested several ideas. He thought the expression could signify the coming resurrection of the righteous. Just as the โmorning starโ breaks forth from the darkness of night, so the Lordโs people will break out of the darkness of the grave (1957, 67).
Later, however, he came to a different conclusion. He was โquite certainโ that the โcorrect interpretationโ is this. The โmorning starโ is Christ himself.
The document summarizes why Israel went into captivity based on passages from Ezekiel and Daniel. It describes how Israel was repeatedly called rebellious for defiling God's sanctuary and engaging in idolatrous worship. It then discusses Nebuchadnezzar's strategy of exiling the ruling class and intellectuals to leave only poor people in Israel. Cyrus later allowed the exiles to return and helped them rebuild, as Daniel had foretold over 150 years prior based on Isaiah's prophecy.
Exodus 1-3, The angel of the Lord, Moses And The Burning Bush, I AM's in John...Valley Bible Fellowship
ย
Exodus Chapters 1 to 3 summarize as follows:
1) The Israelites multiply in Egypt but a new king arises who enslaves them, forcing them into hard labor. He orders the death of all newborn Hebrew boys.
2) Moses is born and placed in a basket in the Nile river, where he is discovered and adopted by Pharaoh's daughter.
3) As an adult, Moses flees Egypt after killing an Egyptian taskmaster. He settles with the Midianites as a shepherd. At the burning bush, God appears to Moses as an angel and commands him to return to Egypt to demand Pharaoh free the Israelites.
The document discusses God's program for Israel which includes three parts: 1) Scatter - God scattered the Jews worldwide as punishment for disobedience. 2) Regather - God would regather the Jews from the nations back to Israel. 3) Redeem - God would redeem Israel and the Jews by giving them new hearts and spirits through faith in Jesus as the Messiah. The document provides biblical support for each part of God's plan.
There are many events in scripture that have profound significance with respect to Gods accommodations for man as a result of sin. The exceptions in scripture are one time events that have only occurred once, the following are among the most significant.
President John Kennedy once observed, โThe history of man is the history of war?โ Why is this statement true? Jesus prophesied, โYou shall hear of wars and rumors of warsโ (Mt. 24:6). Why is world peace so elusive and seemingly unattainable?
Why is Messiah called the โPrince of Peaceโ? (Isa. 9:6) How does Jesus bring โpeace on earthโ? (Psa. 46:9; Lk. 2:14) What is peace? What are the different kinds of peace? Are you at peace with yourself and others? How did you find peace? Is there anyone with whom you have had difficulty being at peace with? What do you suppose is the cause of your conflict? What can you do to be at peace with this person? (Rom. 12:18)
Ezekiel emphasized God's holiness and that each individual is accountable for their own sins. Ezekiel used symbolic actions like enacting a siege on a clay tablet and cutting his hair to illustrate messages from God. Key themes included Jerusalem's destruction for their idolatry and unfaithfulness, but also a future hope of restoration. Ezekiel highlighted individual responsibility and warned against idolatry. His book contains prophecies also found in Revelation and promises a future where God will dwell among his people. Overall the document conveys that even in times of sin, hardship or loss, there is always hope through God.
Ezekiel lived among the Exiles in Babylon. He received an overwhelm vision of God who commissioned him to be His messenger to the the people living in exile. The first 24 chapters concern the coming destruction of Jerusalem as God's judgment on Israel's unfaithfulness. The second half contain promises of restoration.
This document provides a summary and analysis of Revelation 7:1-17. It discusses how the sealing of the 144,000 represents God protecting and knowing all of his people. While the number and tribes listed are not meant to be taken literally, they symbolize the completeness and certainty of God preserving his faithful followers. The passage also describes the great multitude from every nation that stands before God's throne, showing his salvation extends beyond Israel to all people.
This document provides commentary on Revelation 7:1-17, which describes four angels holding back the four winds of the earth until God's servants are sealed. The sealing of the 144,000 is meant to reassure believers that God will protect his own, even when executing judgment on enemies. The number 144,000 represents the complete number of God's people (12 tribes of Israel x 12,000 each), rather than an exact figure. Numbers in apocalyptic literature often carry symbolic meanings.
This document provides a summary and analysis of Revelation 7:1-17. It discusses the sealing of 144,000 people (12,000 from each of the 12 tribes of Israel) prior to God's judgment. While some take this number literally, the document explains that numbers in biblical texts often carried symbolic meaning. It suggests the 144,000 represents all of God's people, both Jews and Christians, who will be protected during tribulation. The document then summarizes the vision of a vast multitude from every nation standing before God's throne after these events.
The document discusses signs of the end times and the return of Jesus Christ based on passages from Genesis, Revelation, and other books of the Bible. It examines biblical prophecies and timelines, including the seven seals, seven churches, four kingdoms, and seven feasts. It also discusses the bride of Christ and characteristics of believers who will be part of the bride, such as being elected, overcomers, and having their names in the Book of Life.
The document summarizes Israel's history from biblical times to present day, highlighting how God scattered the Jewish people but promised to regather and redeem them in the land of Israel. It notes how the Jews were exiled and dispersed for nearly 2,000 years but began returning in significant numbers in the late 19th century due to persecution and the Zionist movement. It outlines how Israel was reestablished as a nation in 1948 and has grown tremendously, fulfilling biblical prophecies of regathering. The implications are that this proves God's sovereignty over history and that the Bible is true, God still wants to redeem the Jews, and Jewish missions should be a church priority.
The document summarizes key teachings and prophecies from the book of Ezekiel. It discusses Ezekiel's emphasis on God's holiness and individual accountability. It describes Ezekiel's dramatic symbolic actions to portray Jerusalem's siege and the scattering and restoration of Israel. The document also notes similarities between visions in Ezekiel and Revelation and how Ezekiel prophesied against other nations while offering the hope of God's restoration.
THE ART OF CHAGALL (Part 1)
THE ART OF CHAGALL is a survey of the early life and art of this quintessential Jewish artist. From his birth in Vitebsk, an East European village (shtetl), he goes to St. Petersburg to study art and then to Paris. There he encounters the avant-garde aesthetics of Modernism. It has a powerful impact upon him and his future development. The beginnings of an exciting life!
The document discusses the idea that love of art cannot be taught, but can only be awakened within individuals through exposure to great works of art and artists. While some are naturally more receptive to art than others, regularly viewing and experiencing beautiful creations can inspire an appreciation and passion for art within most people.
The passage describes the ritual observance of the Passover feast as commanded by God to the Israelites before their exodus from Egypt. It details how they were to select an unblemished lamb on the 10th day of the month and slaughter it at twilight on the 14th day. They were to smear its blood on their doorposts and eat the meat that night while dressed for travel. This was to serve as a memorial meal commemorating God delivering them from bondage in Egypt when he struck down the firstborn of Egypt but passed over Israelite houses with lamb's blood on their doors.
This document provides an overview of the Jewish holiday of Purim, as told through the story in the Book of Esther. It discusses the historical context of the story, summarizes the key events, and explores how Purim is celebrated through traditional customs like reading the Scroll of Esther, wearing costumes, giving gifts to the poor, and enacting parodies of the story. The document also includes images from historical manuscripts and artworks depicting scenes from the Book of Esther and Purim celebrations.
The document discusses the biblical origins and importance of the Sabbath. It cites Genesis 2:1-3 which describes God resting on the seventh day and blessing it. It also cites Exodus 31:16, in which the Israelites are commanded to observe the Sabbath as a perpetual covenant. The document hopes to make the art of the Sabbath contagious to the reader.
This document is part three of an article about the art of Reuven Rubin by Myrna Teck, an independent scholar. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another. The author hopes that through this article, she has helped spread and make contagious the art of Reuven Rubin to the reader.
This document is a continuation of an analysis of the art of Reuven Rubin. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another in a contagious manner. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through their analysis.
The document discusses the art of Reuven Rubin and how the love of art cannot be taught but rather caught from exposure to art. It hopes to make the love of Rubin's art contagious to the reader through exposure to discussing aspects of his work and life as an artist.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught but rather caught by being exposed to inspiring works. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through the analysis in part two of the article.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught but rather caught or learned through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through the discussion in part two of the article.
This document is a continuation of an analysis of the art of Reuven Rubin. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another in a contagious manner. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through their analysis.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
The document provides information about the Jewish holiday of Sukkot through descriptions, images, and explanations of various symbols and rituals associated with Sukkot, including: the four species; decorations for sukkah booths such as painted scenes, papercuts, and textiles; and decorative etrog containers and boxes for holding the citron fruit used during the holiday observances.
The document discusses the art of the High Holidays including Rosh Hashanah and Yom Kippur. It lists important prayers and readings for those holidays such as Shema, Kaddish, Avinu Malkenu, Unetaneh Tokef, Kol Nidre, Akeda, and the Haftorah of Jonah. It notes that the love of art cannot be taught but rather caught, and hopes to make the art of the High Holidays contagious to the reader.
The High Holidays consist of Rosh Hashonah (Head of the Year: 9/08-9/10) and Yom Kippur (Day of Atonement: 9/17-9/10). The 10 Days between the two holidays are called โThe Days of Awe.โ Jewish people apologize to anyone whom they may have offended and look within inward to be accepted into the Book of Life, which closes at the end of Yom Kippur. The High Holidays are the most important Holy days in the Jewish calendar, after the Sabbath.
THE ART OF THE HIGH HOLIDAYS is a chronological and geographic overview of visual art objects, synagogues, and their symbolism related to these two observances.
The document discusses the art of the Jewish High Holidays including Rosh Hashanah and Yom Kippur. It lists important prayers and rituals associated with those holidays such as Shema, Kaddish, Avinu Malkenu, Unetaneh Tokef, Kol Nidre, Akeda, and the Haftorah reading from Jonah. The author hopes to make the art of the High Holidays contagious to the reader.
This short document discusses the art of persuasion and suggests that while it cannot be taught directly, the art can be learned through exposure, similar to how ideas or behaviors can be "caught" from others. It acknowledges attempting to make the art of persuasion contagious or infectious to the reader through the document.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
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Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
A Visual Guide to 1 Samuel | A Tale of Two HeartsSteve Thomason
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These slides walk through the story of 1 Samuel. Samuel is the last judge of Israel. The people reject God and want a king. Saul is anointed as the first king, but he is not a good king. David, the shepherd boy is anointed and Saul is envious of him. David shows honor while Saul continues to self destruct.
Leveraging Generative AI to Drive Nonprofit InnovationTechSoup
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In this webinar, participants learned how to utilize Generative AI to streamline operations and elevate member engagement. Amazon Web Service experts provided a customer specific use cases and dived into low/no-code tools that are quick and easy to deploy through Amazon Web Service (AWS.)
Philippine Edukasyong Pantahanan at Pangkabuhayan (EPP) CurriculumMJDuyan
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(๐๐๐ ๐๐๐) (๐๐๐ฌ๐ฌ๐จ๐ง ๐)-๐๐ซ๐๐ฅ๐ข๐ฆ๐ฌ
๐๐ข๐ฌ๐๐ฎ๐ฌ๐ฌ ๐ญ๐ก๐ ๐๐๐ ๐๐ฎ๐ซ๐ซ๐ข๐๐ฎ๐ฅ๐ฎ๐ฆ ๐ข๐ง ๐ญ๐ก๐ ๐๐ก๐ข๐ฅ๐ข๐ฉ๐ฉ๐ข๐ง๐๐ฌ:
- Understand the goals and objectives of the Edukasyong Pantahanan at Pangkabuhayan (EPP) curriculum, recognizing its importance in fostering practical life skills and values among students. Students will also be able to identify the key components and subjects covered, such as agriculture, home economics, industrial arts, and information and communication technology.
๐๐ฑ๐ฉ๐ฅ๐๐ข๐ง ๐ญ๐ก๐ ๐๐๐ญ๐ฎ๐ซ๐ ๐๐ง๐ ๐๐๐จ๐ฉ๐ ๐จ๐ ๐๐ง ๐๐ง๐ญ๐ซ๐๐ฉ๐ซ๐๐ง๐๐ฎ๐ซ:
-Define entrepreneurship, distinguishing it from general business activities by emphasizing its focus on innovation, risk-taking, and value creation. Students will describe the characteristics and traits of successful entrepreneurs, including their roles and responsibilities, and discuss the broader economic and social impacts of entrepreneurial activities on both local and global scales.
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the bodyโs response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
THE SACRIFICE HOW PRO-PALESTINE PROTESTS STUDENTS ARE SACRIFICING TO CHANGE T...indexPub
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The recent surge in pro-Palestine student activism has prompted significant responses from universities, ranging from negotiations and divestment commitments to increased transparency about investments in companies supporting the war on Gaza. This activism has led to the cessation of student encampments but also highlighted the substantial sacrifices made by students, including academic disruptions and personal risks. The primary drivers of these protests are poor university administration, lack of transparency, and inadequate communication between officials and students. This study examines the profound emotional, psychological, and professional impacts on students engaged in pro-Palestine protests, focusing on Generation Z's (Gen-Z) activism dynamics. This paper explores the significant sacrifices made by these students and even the professors supporting the pro-Palestine movement, with a focus on recent global movements. Through an in-depth analysis of printed and electronic media, the study examines the impacts of these sacrifices on the academic and personal lives of those involved. The paper highlights examples from various universities, demonstrating student activism's long-term and short-term effects, including disciplinary actions, social backlash, and career implications. The researchers also explore the broader implications of student sacrifices. The findings reveal that these sacrifices are driven by a profound commitment to justice and human rights, and are influenced by the increasing availability of information, peer interactions, and personal convictions. The study also discusses the broader implications of this activism, comparing it to historical precedents and assessing its potential to influence policy and public opinion. The emotional and psychological toll on student activists is significant, but their sense of purpose and community support mitigates some of these challenges. However, the researchers call for acknowledging the broader Impact of these sacrifices on the future global movement of FreePalestine.
4. Exodus 31: 1-4 The LORD spoke to moses: See, I have singled out by name Bezalel son of Uri son of Hur, of the Tribe of Judah. I have endowed him with a divine spirit of skill, ability, and knowledge in every kind of craftโฆ.
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7. Now the Lord said unto Abram: โGet you out of your country, and from your kindred, and from your fatherโs house, unto the land that I will show you . Genesis 12: 1 (Lech Lโ cha)
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16. The Age of Enlightenment (โHaskalahโ in the Jewish World)
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18. He had scarcely finished speaking, when Rebekah, who was born to Bethuel, the son of Milcah the wife of Abrahamโs brother Nahor, came out with her jar on her shoulder. Genesis 24: 15
44. I laid out gardens and groves, in which I planted every kind of fruit tree ECCLESIASTES 2: 5
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Editor's Notes
THIS MATERIAL IS FOR EDUCATIONAL USE ONLY
THE ART OF PISSARRO Pissarro, L.& Rewald, J. (Ed.) (1981). Letters to His son Lucien. Nov. 20, 1883, p. 38. In Schirrmeister, A. (1982). Camille Pissarro . NY: The Metropolitan Mus. โ Painting, art in general, enchants me. It is my life. What else matters? When you put all your soul into a work, all that is noble in you, you cannot fail to find a kindred soul who understands you, and you do not need a host of such spirits. Is that not all an artist should wish for?โ ๏ท๏ Was Pissarro committed to โREPAIRING THE WORLD?โ ๏ท๏ This Jewish tradition (Pirke Avot) requires you to be the best that YOU can be!
1. THE BEGINNINGSโฆ1850s Rewald, J. (1963) Pissarro. NY: Abrams ๏ท๏๏ท๏ Like most Jews, Camille Pissarro was a child of the Diaspora ๏ท๏ His fatherโs family was of Sephardic origins ๏ท๏ In the late Middle Ages they lived in Braganza, Portugal ๏ท๏ They lived there as prominent citizens ๏ท๏ Until the Maruquis de Pombal forced Jews to flee in the mid-18 th c. ๏ท๏ The family was a distinguished one ๏ท๏ Even the Spanish explorer of Peru, Pizarro, was related to Pissarro ๏ท๏ The explorer was a Marrano/converso or Christianized Jew ๏ท๏ The family moved to Bordeaux in the 18 th c. ๏ท๏ 1802-His grandfather, Abraham Gabriel Pissarro was born there ๏ท๏ They established an import-export business ๏ท๏ They had branch offices throughout Europe and the Americas ๏ท๏ That was the British West Indies, then a French possession ๏ท๏ ๏ท๏ 1795-His mother, Rachel Manzana-Pomme was born in Dominica ๏ท๏ Camilleโs mother was the widow of Isaac Petit ๏ท๏ 1824- Frederick Pissarro sailed from Bordeaux to St. Thomas ๏ท๏ He went as the executor of the estate of his uncle, isaac Petit ๏ท๏ Isaac had died there ๏ท๏ Petit left Rachel, a young wife of French Jewish Heritage ๏ท๏ There were three children and a fourth on the way ๏ท๏ Soon after Frederick arrived, he fell in love with his aunt Rachel ๏ท๏ 1826-They were married in a civil ceremony ๏ท๏ That was 8 months after the birth of their first child, Felix ๏ท๏ Their third son, Jacob Camille was born on July 10, 1830 ๏ท๏ He was the fourth child and last son ๏ท๏ 1842/47-Camille was sent to France to school, age 12-17 ๏ท๏ The Schoolmaster encouraged his interest in art ๏ท๏ 1847/52-Camille returned to St. Thomas ๏ท๏ He worked in his fatherโs general store and drew in his spare time
1. EXODUS 31: 1-4 Hertz, J.H. (1978). The Pentateuch and Haftorahs. London: Soncino. ๏ท๏ The LORD spoke to Moses: See, I have singled out by name Bezalel, son of uri son of Hur, of the tribe of Judah. I have endowed him with a divine spirit of skill, ability, and knowledge in every kind of craft (Exodus 31:1-4) ๏ท๏๏ท๏ Did Jacob Camille Pissarro know about this Biblical phrase? ๏ท๏ Did God endow him with a โDivine Spirit of skill, ability, & knowledge? ๏ท๏ Perhaps, weโll never knowโฆ. ๏ท๏ Camille was circumcised by a man named Abraham Hoheb ๏ท๏ This indicated his full acceptance into the covenant ๏ท๏ The Pissarro family were members of the Hebrew congregation ๏ท๏ That was in spite of the problems associated with their marriage ๏ท๏ Congregational elders questioned marriage of an aunt and nephew ๏ท๏ They protested even though she was pregnant by him ๏ท๏ The Pissarroโs are listed as donors to the campaign for its building ๏ท๏ This synagogue was completed in 1833 when Camille was 3 years old ๏ท๏ 1833-the synagogue recognized their marriage officially ๏ท๏ The family lived on Dronningens Gade ๏ท๏ This was above and behind the shop of their livelihood ๏ท๏ It was the single most important street in the town ๏ท๏ Charlotte Amalie was the harbor capital of St. Thomas, a โfree portโ ๏ท๏ It was the largest of the Virgin Islands ๏ท๏ It was a possession of the Danish crown ๏ท๏ It was subsequently purchased by the United States. ๏ท๏ It did not have the duty or taxes that would hinder free trade ๏ท๏ It was the only one in the section of the Caribbean that it dominated, ๏ท๏ This made it one of the best places to โdo businessโ in the Americas ๏ท๏ Camille received Danish citizenship at birth and kept it
SELF-PORTRAIT by Camille Pissarro, 1853-54 Bretell, R. & Zukowski, K. (1997) Pissarro in the Caribbean, 1850-1855: Drawings from the Collection at Olana St. Thomas: Hebrew Congregation of St. Thomas ๏ This is one of the earliest Self-Portraits by Camille Pissarro ๏ He was about 23 when he did this self-portrait ๏ It may have been done while he was in Caracas, Venezuela Young Camille grew up in a household of real comfort ๏ The Pissarros were members of the extensive Jewish community This Jewish community was on the island as early as the 17 th century ๏ 1795-They created a formal religious organization ๏ The island had an unusually high degree of religious tolerance ๏ Its economy was mercantile, not agricultural ๏ Its society was not dominated by slavery ๏ He received his early education at the protestant Moravian School ๏ A majority of the students were of African descent ๏ He had the opportunity to practice respect and tolerance of others ๏ He had learned that at home ๏ Charlotte Amalie was multi-cultural, multi-ethnic, & multi-religious ๏ These โlife lessonsโ were central to his own system of values ๏ 1841- He was sent to France at 11 ๏ His grandparents: Joseph/Anne-Felicite Pissarro looked after him ๏ During the 5 years that Camille spent at the Pension Savary in Paris, his family kept an apartment in Passy, a suburb of Paris. ๏ท๏ On Thursdays and Sundays, Camille regularly visited the Louvre ๏ท๏ Upon graduation in 1847, he returned to Saint Thomas ๏ท๏ That voyage took 2 weeks ๏ท๏ He left Paris just as the revolution ended the July Monarchy ๏ท๏ Louis-Philippe I was toppled in 1848 ๏ท๏ The short-lived Second Republic was established ๏ท๏ Saint Thomas was in equal turmoil ๏ท๏ The slaves of Sainte Croix, a neighboring island, began a revolt ๏ท๏ This led to the freedom of all slaves in the Virgin Islands Camille wanted to break the bonds that tied [him] to bourgeois life
SAINT THOMAS GRIS-GRIS-Camille Pissarro, 1854-55 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Dimensions Unknown. Whereabouts Unknown Pissarroโs life is the human and aesthetic history of Impressionism He supported the most liberal social movements of his epoch He even championed anarchy His life spanned from Romanticism to the New Republic He was always the elder statesman for the Impressionists Pissarro inherited a good deal of his familyโs work ethic
BIBLICAL CITATION- GENESIS 12: 1 (LECH LโCHA) Hertz, J.H. (1978). The Pentateuch and Haftorahs. London: Soncino. Get you out of your country, and from your kindred, and from your fatherโs house, to the land that I will show you.
DRAWING OF FRITZ MELBYE -Camille Pissarro, 1852 Brettell, R. & Zukowski, K. (1996). Camille Pissarro in the Caribbean, 1850-1855 . St. Thomas, Virgin Islands. Graphite and watercolor Cream medium weight wove paper. 10 1/2 x 13 1/2โ. Accession: OL1982 304P-16 This was a quick sketch of Camilleโs friend Fritz painting The drawing was done with graphite/pencil and watercolor It was drawn/painted on โwoveโ paper That term describes the way in which the paper was created The mashed paper pulp is placed on a woven brass wire mould It frequently has watermarked letters sewed into the mould It brings to mind this poem: RAGS make paper, PAPER makes money, MONEY makes banks, BANKS make loans, LOANS make beggars, BEGGARS make RAGS. Author unknown, 18 th c.
THE ARTISTโS STUDIO IN CARACAS - Camille Pissarro , 1851 Brown wash over graphite. Collection of Banco Central de Venezuela Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. P.23. ๏ He went with his friend, the Danish painter Fritz Melbye Melbye was in the Caribbean to study the flora and fauna He was on assignment from the Danish government He made many drawings and his first watercolorsThe brown wash is the neutral tone made of watercolor paint and water
CAMPFIRE SCENE-Camille Pissarro, Venezuela, 1853 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. India Ink. 5 1/4 x 41/2โ (14.1 x 11.5 cm) Private Collection, United States. Courtesy of Angela Nevill. Drawing was ingrained in Pissarroโs practice Throughout his life, he carried sketchbooks and pads of paper He also carried stretched canvases and tubes of paint
TREES AND FIGURES-Camille Pissarro, , 1952-54 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Pencil, dimensions unknown Whereabouts unknown Throughout his life, he equated the production of art with โworkโ He was a prodigious and regular art worker He thought regular exercise and practice of art was necessary His early work documented the life of St. Thomas at that time
PALM TREE-Camille Pissarro, Venezuela, 1853 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Pencil formerly Collection Ludovic-Rodolph Pissarro, Paris In France, he painted tropical landscapes from memory
BANANA TREES- Camille Pissarro, 1853 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. P.23. Watercolor over graphite Collection of Banco Central de Venezuela Control, order, and objectivity are his stylistic characteristics He seemed to have an innate sense of geometry He used an intermittent use of freely applied watercolor It shows his heightened, excited response to the tropical vegetation
WOODED LANDSCAPE ON SAINT THOMAS-Camille Pissarro, 1854-55 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Pencil. 13 1/2 x 10 1/4โ (34.5 x 27.7 cm) Ashmolean Museum, Oxford 1855-Father permitted Camille to return to France and study art He Attended the 1 st International Exhibition He admired the work of Corot and visited him Fritzโs brother Anton later introduced him to Camille Corot Corot became Pissarroโs adviser
WOMAN CARRYING PITCHER-Camille Pissarro, 1854 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams In July 1848, slavery was abolished throughout the virgin Islands At 19, Camille had witnessed a slave uprising This may have been the origin of his liberal social values He was committed to individual liberty and freedom of religion One paradox of his early years was is choice of exotic subjects 1855-1858: The first 8 paintings done in France all depict St Thomas
NATIVE HUT NEAR CARACAS- Camille Pissarro, Venezuela, 1854 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Ink Wash. Hammer Galleries, NY He had an interest in ordinary people going about their daily chores It remained an unflagging theme for Pissarro He dedicated his life and career to art while living in St. Thomas
BRIDGE AT CARACAS Camille Pissarro , 1854 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. ๏ท๏ Pissarro did some of his paintings of Caracas after he left there ๏ท๏ His skill in the arrangement of the various elements is shown ๏ท๏ And a special skill in establishing the spatial intervals ๏ท๏ Although the subject/bridge is almost dead center ๏ท๏ Notice the palm tree in the upper left ๏ท๏ It is balanced by the people in the lower right
BIBLICAL CITATION-GENESIS 24:15 Hertz, J.H. (1978). The Pentateuch and Haftorahs. London: Soncino And it came to pass that before he had done speaking, that, behold, Rebekah came outโฆ(GENESIS 24:15)
LOVERS MEETING-Camille Pissarro, 1852 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Pen and ink over pencil. 67/8 x 111/4โ (17.7 x 30 cm) Museo de Bellas Artes, Caracas In LOVERSโ MEETING, de-sentimentalizing is apparent The well is used as a public laundry Women and children gather to do their washing and gossip No trace of romantic encounters can be detected in this depiction Why would Camille title this drawing โLovers Meeting?โ Was he referring to the Biblical story of Isaac and Rebecca?
PISSARRO IN AN ARGENTINIAN GAUCHO COSTUME , c. 1855 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. Photograph, Musee Pissarro Archives, Pontoise This photograph was probably taken just before he went to France While there he studied at the Ecole des Beaux-Arts At the 1855 Paris Universal Exposition he saw many artworks Among those represented were Corot, Delacroix, and Courbet
STUDY OF A SEATED MAN Camille Pissarro , 1852-54 Pencil and pen and ink, 7 x 101/2โ (18 x 27 cm). Private collection, Venezuela Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. His early work has many more Afro- than Euro-Caribbeans Most of the figures are black in his first group of French paintings Pissarro had economic success when he was in Caracas This led his father to support his sonโs art training in France He and Fritz may have wanted to export these images Europe was interested in its distant colonies He shows a distance between the viewer/artist and the sitter/subject This does not breach the modelโs private space The characterโs face remains undemonstrative
HEAD OF A SEATED WOMAN, 1852-54 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Pencil, dimensions unknown Museo de Bellas Artes, Caracas IN HEAD OF A SEATED WOMAN , the model is close A few hatchings and some crossed lines illuminate her presence
ARTISTโS MOTHER (RACHEL)-Camille Pissarro, Paris, 1856 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams Pencil. Formerly Collection Lucien Pissarro, London His parents made important contributions These were to the Hebrew Congregation and the St. Thomas community Pissarro was born in The family home at 14 Dronningens Gade It still stands and bears the name โPissarro buildingโ
MADAME PISSARRO SEWING-Camille Pissarro, 1858 Cogniat, R. (1975) Pissarro. New York: Crown publishers. Oil. 6 1/4โ x 4 3/8โ Ashmoleum Museum, Oxford 1865- Frederick died He left an unusual beque st He left an equal sum to the synagogue and the Protestant church The reason(s) are not knownโbut open to much speculation He did not include Camille in his will! A central concept throughout Pissarroโs life was FREEDOM! He rejected sentimentality in art He also rebelled against anything that stood in the way of โ ARTโ and especially, art seen through our โ SENSATIONSโ
MADAME JULIE PISSARRO- Camille Pissarro, 1883 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Pastel. 23 3/4 x 18 1/4โ (61 x 47 cm). Private collection. (PV1565) He met Julie Vellay in 1859 1860-She became pregnant with his child That pregnancy ended in a miscarriage, or possibly a stillborn His parents vehemently opposed this liaison with a servant 1865- Camille and Julie already had a two-year old child, Lucien Julie was again pregnant with their first daughter, Jeanne. 1871-They were wed 1873-Pissarro depended on his mother for financial support He was 43 years old!
DONKEY IN FRONT OF A FARM- Montmorency, 1858 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. Oil on canvas. Musee DโOrsay, Paris, France. R.F. 1943-38 This work was his first painting accepted into the Salon
THE SALON YEARS: 1864-1868 1857-he met Claude Monet at the Swiss Academy 1859-he exhibited at the Salon: LANDSCAPE AT MONTMORENCY. 1861 and 1863: He was rejected from The Salon 1863- Pissarro submitted to the Salon des Refuses Salons In 1865, 1866 and 1868- Pissarro submitted Emile Zola was one who favorably reviewed him in the press 1863: His son, Lucien is born on February 20 th Salon again rejects his work He participates in the Salon des Refuses. 1866 on-he veered away from Corotโs influence His palette grew clearer: Neutral tone became rarer and rarer Air began to circulate more lightly in a luminous space He painted with a palette knife He used sweeping and ever more supple strokes These traits became characteristic of Impressionist techniques 1850-1865: Constable to Daubigny were his visual influences In the mid-1860s, Pissarro was inspired by the Barbizon artists They were a group of the previous generation They were interested in depicting nature as a rural paradise They created a poetic feeling for color, light, and atmosphere
MAP Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd These are some of the sites around Paris where Pissarro painted 1855-57: moves to France 1858: Sets up studio in Paris 1863: Moves to La Varenne-saint-Hillaire,near Marne river 1866: Moves to LโHermitage, a small hamlet in Pontoise 1869: Moves to Louveciennes, a suburb of Paris 1870: Franco-Prussian war begins 7/19. Dec.-moves to London 1871: Returns to Louveciennes; house wrecked by soldiers 1872: Moves back to Pontoise 1874: Visits Piette at Montfoucault; earliest peasant paintings 1882: Left Pontoise for Eragny and stayed until death
WOMEN IN FIELDS-Camille Pissarro, 1863 Rothkopf, K. (2007). Pissarro: Creating The Impressionist Landscape. Baltimore: Philip Wilson Publishers, Ltd. 1855, he realized that he could no longer paint exotic landscapes He had been relying on his memories Decided that first hand observation was best for him Camille Corot advised him: โ You must go to the fields, the Muse is in the woodsโ
BANKS OF THE MARNE -Camille Pissarro, 1864 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 81.9 x 107.9 cm. Glasgow Art Gallery and Museum Pissarro met Cezanne around 1859 or 1860 They painted alongside one another and became close friends That is when THE BANKS OF THE MARNE IN WINTER was painted
BANKS OF THE MARNE AT CHENNEVIERES- Camille Pissarro , 1865 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams This sketch for BANKS OF THE MARNE was painted on a fresh canvas Pissarro occasionally did reuse his canvases Pissarro submitted BANKS OF THE MARNE AT CHENNEVIERES in 1865 That was for his Salon entry It is an expansive and powerful work It also reflects the influence of Daubigny in the choice of motif After 1865-his treatment of landscape moves toward abstraction They show his technical and compositional innovations This is at the end of his formative years 1865-Camille moved out of Paris and settled in Pontoise in 1866 He kept a pied-a-Terre in Paris 1865-Pissarroโs father dies on January 22 nd He exhibits a landscape at the Salon as a โpupil of Corotโ His daughter, Jeanne-Rachel was born She was named in honor of his mother It is a Sephardic custom to name for the living
BANKS OF THE MARNE IN WINTER- Camille Pissarro , 1866 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. 36 1/8 x 59 1/8 in. (91.8 x 150.2 cm) The Art Institute of Chicago Mr. And Mrs. Lewis Larned Coburn Memorial Fund, 1957.306 In 1866, Pissarro moved his family to Pontoise for the first time He always alternated with short stays in Paris In the Salon of 1866, Pissarro exhibited this ambitious work It is a daring and realistic view of a gloomy winter day It produced the first important reviews of his career This work must have been immensely important to Pissarro It remained in his personal collection until his death It survived the invasion of his home in Louveciennes That was by the German army in 1870-71 Emile Zola saw Pissarroโs lack of appeal for the conventional critics This was due to his bleak choice of subject and rough technique Zola said: โ What a clumsy fellow you are, sirโyou are one artist I like.โ . 1870-71: Most of his paintings were destroyed This was during the Franco-Prussian War
TREE LINED LANE- Camille Pissarro , 1864 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. Oil on canvas. 14 x 10 7/8 in. (35.5 x 27.5 cm) Private Collection. Tampa, FL This work feels like of a rapid sketch It is immediate and spontaneous It has a thick, painterly style typical of his early career
HOUSES AT BOUGIVAL- Camille Pissarro , 1870 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. Oil on canvas. 35 x 45 5/8 in. (88.9 x 115.9 cm). The J. Paul Getty Museum, Los Angeles. ๏ท๏ This is an unpretentious scene of peasants, a garden and houses ๏ท๏ The viewer sees through a screen of delicately painted leaves ๏ท๏ They flicker in broad daylight ๏ท๏ Several figures are dwarfed by tall trees and buildings ๏ท๏ They add an element of intimacy to this fairly large composition ๏ท๏ This work may have been shown in the Salon of 1870 ๏ท๏ It was the last Salon of the Second Empire ๏ท๏ It was also the last in which Pissarro exhibited ๏ท๏ He developed novel brush techniques and color schemes ๏ท๏ This was for spontaneity in his observations en plein air ๏ท๏ His new technique is done with large, separate brushstrokes ๏ท๏ They create shimmering light effects of the leaves on the trees ๏ท๏ This work is significant for being the earliest Salon-size painting ๏ท๏ It was done to impart the immediacy of the artistโs vision.
THE VERSAILLES ROAD AT LOUVECIENNES (SNOW)- Camille Pissarro , 1869 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. Oil on canvas. 15 1/8 x 18 1/8 in. (38.4 x 46.4 cm) The Walters Art Museum, Baltimore, MD: The George A. Lucas Collection Pissarro left Pontoise for Louveciennes in 1869 It was a small town west of Paris on the Seine River In December 1869, Monet went to Louveciennes to paint with him A heavy snowstorm inspired the two artists They produced a series depicting the winter landscape This was Pissarroโs first foray into Impressionism Quick brushworks record changes in weather and atmosphere Its small scale and immediacy marked a new phase in his career This painting was purchased just weeks after its completion Pere Martin was one of Pissarroโs first dealers He sold it in Jan. 1870 for 20 francs It was purchased by George Lucas, an American collector/dealer When Lucas died in 1909, he had a collection of 20,000 works
THE ROAD TO VERSAILLES AT LOUVECIENNES- Camille Pissarro , 1870 Rothkopf, K. (2007). Pissarro: Creating The Impressionist Landscape. Baltimore: Philip Wilson Publishers, Ltd. Oil on canvas. 12 7/8 x 16 3/16 in. (32.8 x 41.1 cm). The Sterling and Francine Clark Art Institute. Williamstown, MA, 1955.828 Pissarro depicts the fleeting atmospheric and light effects This is a well-structured world based on strict rules of perspective The soft, subtle palette is typical of his work of this period The varied and energetic brushwork is also characteristic
THE FARM ON THE EDGE OF THE FOREST- Camille Pissarro , 1871 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. Oil on canvas. 18 1/8 x 21 7/8 in. (46.5 x 55.8 cm). Noortman Master Paintings This is a view of a farm in early autumn Pissarro used shadow in the entire foreground He was criticized by art critics for doing this The figure on the path leaves the shadow for the bright area This contributes an element of anticipation, immediacy and interest She is about to break the threshold into the light.
THE JALLAIS HILLS-Camille Pissarro, Pontoise, 1867 Oil on canvas. 341/4 x 45 1/4โ (88 x 116 cm). The Metropolitan Museum of Art, new York Bequest of William Church Osborn, 1951 (PV55) 1868-the Salon jury felt more relaxed in its modes of selection Pissarro had two paintings accepted to the Salon These works bring Pissarroโs breakthrough to a culmination Two of the LโHermitage paintings were exhibited in that Salon Zola was extremely enthusiastic He was struck by the realistic and honest interpretation of nature In comments that could refer to this painting, Zola wrote: โ The artist concerns himself with the truth only, with consciousness; he places himself before a wall of nature, he devotes himself to the work of interpreting the horizons in their severe breadth, without seeking to put there the least delight of his invent. He is neither poet nor philosopher, but simply a naturalist, maker of skies and land.โ Pissarro sought the complex interaction of Subjectivity versus objectivity Sensation versus construction, or of Self versus nature The latter is a basic equation at the very core of modern art
LANDSCAPE AT ENNERY NEAR PONTOISE- Camille Pissarro , 1868 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. Oil on canvas. 15 X 185/16 IN. (38 X 46.5 CM). Kunsthalle Bremen He did this small work and large-scale views at the same time The latter were of the hills that surrounded LโHermitage Here he used large, thick brushstrokes, generously applied He used the palette knife frequently in his Jalais Hill series Pissarro had financial hardship during this period He struggled to sell his work and care for his family Clearly, He felt a close relationship to working class people They also labored hard for success
BANKS OF THE OISE- Camille Pissarro , 1867 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. Pencil. Private Collection. The drawing is from the same location as his painting It shows his precise draftsmanship The view is of bold geometry and simplification In the drawing, the river recedes diagonally It provides a clear, linear, perspectival structure In the painting, the river disappears It is lost in the diagonal and horizontal bands of vibrant color The buildings are clearly delineated in the drawing In the painting, they become abstract bands of color
BANKS OF THE OISE AT PONTOISE- BANKS OF THE OISE- Camille Pissarro , 1867 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. Oil on canvas. 18 x 281/8 in. (45.7 x 71.5 cm). Denver Art Museum Collection. Gift of the Barnett and Annalee Newman Foundation in honor of Annalee G. Newman, 2001.310. 1850s-The countryside around Paris underwent a transformation The railway made leisure travel more accessible for all Pissarroโs love of structure and geometry can be clearly seen This is a carefully considered composition It displays bold geometry and great simplification Humans attract the viewerโs in this semi-abstract landscape French artists began to depict factories in their paintings These were symbols of the growing presence of industry in society Pissarro did industrial motifs several years earlier than others
THE 1870Sโฆโฆ
CHESTNUT TREES AT OSNY- Camille Pissarro , 1873 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. Oil on canvas. 25 1/2 x 31 3/4 in. (65 x 81 cm). Collection of Jacqueline J. McMullen April 15, 1874-an important art show opened in Paris The societe Anonyme des Artistes Peintres, Sculpteurs, Graveurs 30 artists took part in the show It had been in the planning for more than a year. There was no jury The artists chose which of their works to display Pissarro showed 5 paintings: CHESTNUT TREEST AT OSNY, 1873 ORCHARD IN BLOOM, 1872 THE MUNICIPAL GARDEN, PONTOISE, 1873 MORNING IN JUNE, SUMMER, 1873 HOARFROST AT ENNERY, 1873 This one was mentioned in only one review The article noted that Pissarroโs style was not yet fully defined He had used this compositional device before Trees on either side frame the landscape within This technique was frequently used by 17/18 th c. Artists The trees allow only a glimpse into an undefined location The composition is divided into three horizontal bands His compositional construction controls the viewerโs eye The use of light/shadow assists in this process The loose and free style is typical of his e. 1870s work It combines historic and modern elements seamlessly This may be why he chose it for the first Impressionist exhibition
BIBLICAL CITATION: Ecclesiastes 2:5 Hertz, J.H. (1978). The Pentateuch and Haftorahs. London: Soncino. I laid out gardens and groves, in which I planted every kind of fruit tree
ORCHARD IN BLOOM- Camille Pissarro , 1872 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. Oil on canvas. 17 3/4 x 21 5/8 in. (45.1 x 54.9 cm). National Gallery of Art, Washington, DC. Alisa Mellon Bruce Collection, 1970.17.51 C ritics declared Pissarro a simple painter of cabbages This work is an example of revising his Salon paintings Multiple layers of brushstrokes create Feathery leaves and flowers They convey an impression of substance and verdure They disguise the temporality of spring blooms ( BIBLICAL CITATION: Ecclesiastes 2:5) The healthy tree is the most solid, durable element in this landscape It poses a stark contrast to the still bare branches of other trees They also present a contrast to the rough, dry soil The tree branch above the man duplicates his arching back Notice the left branch of the blooming tree and the tree at right They both follow the outlines of the female figures bent pose This work may have been in homage to Francois Millet.
THE MUNICIPAL GARDEN- Camille Pissarro , Pontoise, 1873 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. 23 5/8 x 28 3/4 in. (60 x 73 cm) Lent by The Metropolitan Museum of Art, Gift of Mr. And Mrs. Arthur Murray, 1964 (64.156) Oil on canvas. The State Hermitage Museum, St. Petersburg Pissarro mainly focused on rural scenes This painting, of urban leisure with figures, was a new theme It is also innovative compositionally It constructs pictorial depth without resorting to linear perspective
THE MUNICIPAL GARDEN, PONTOISE, 1874 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. Oil on canvas. 23 5/8 x 28 3/4 in. (60 x 73 cm) Lent by The Metropolitan Museum of Art, Gift of Mr. And Mrs. Arthur Murray, 1964 (64.156) Japanese woodblock print compositions influenced him He organizes space through increasingly smaller figures They also display lack of detail They induce the viewer to follow them into the space The left painting may be a pendant to the one on the right That painting was shown in 1874 at the first Impressionist exhibition Both works display a recreational theme and numerous figures They also are predominantly pink in hue Without linear perspective, the left one is more daring It records the most public place in Pontoise, the city gardens
MORNING IN JUNE- Camille Pissarro , Saint-Ouen LโAumone, 1873 (PD-RS 312) Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. Oil on canvas. Staatliche Kunsthalle Karlsruhe Presents the wide vista of a working field It is similar in size and feel to a work SUMMER, done in 1872 That one was from the four seasons cycle ๏ It was the largest of the five works that he entered in the exhibition
HOARFROST AT ENNERY- Camille Pissarro , 1873 Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. Oil on canvas. Musee dโOrsay, Paris). 25 5/8 x 36 5/8 in. (65 x 93 cm) This is the most experimental of the 5 compositions It was the most controversial and produced significant reaction In one review, the critic commented that the painting had: โ neither head nor tail, top nor bottom, front nor backโ This addressed the unconventional construction of the landscape This is a view of the old road running between Pontoise and Ennery The latter was a farming village near Pissarroโs home This old road was obsolete by the time he chose this site A new and more modern version had already been built Pissarro painted this work after the harvest The fields were plowed for the following season Haystacks dot the landscape Furrows of the field commingle with colored and textured shadows ๏ They were cast by an equally spaced line of trees These were probably poplars, located outside the picture plane A critic noted that Pissarro: โ commits the grave error of painting fields with shadows cast by trees placed outside the frame. As a result the viewer is left to suppose they exist, as he cannot see themโ P. concentrates on the relationship between the solitary figure and the land that surrounds him The figure is even enveloped in a blue shadow That shadow marks the ground behind him The thin layer of morning frost will quickly melt on this sunny day This transitory quality of weather conditions is overridden The timeless mood and the rural subject are powerful The viewer is transported to another time and place It is a magical moment In his review of the 1874 exhibition, a critic wrote an invented conversation between himself and another visitor: โ The good man thought that the lenses of his spectacles were dirty. He wiped them carefully and replaced them on his noseโฆ..โwhat on earth is that?โ A hoarfrost on deeply ploughed furrowsโฆ..Those furrows? That frost? But they are palette-scrapings placed uniformly on a dirty canvas. It has neither head nor tail, top nor bottom, front nor back. This is one of the most experimental works of Pโs early career He freely explored technique, texture, color, and pattern This is a poetic elegy to beauty and poignancy