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Esporte Clube Vitória

Esporte Clube Vitória is a Brazilian professional club based in Salvador, Bahia founded on 13 May 1899. It competes in the Campeonato Brasileiro Série A, as well as in the Campeonato Baiano, the top flight of the Bahia state football league.

Vitória's home games are played at the club's own stadium, Manoel Barradas, capacity 35,632. The team plays in red and black horizontal striped shirts, black shorts and black socks. The stripes have changed over time: they have been sometimes vertical, horizontal, wide and narrow.

The youth system of the club is one of the most successful of the world, holding, between 1995 and 2000, at its peak, at least 21 international titles. Recent names that started playing in the club are Bebeto, Vampeta, Dida, Júnior, Hulk, David Luiz, Dudu Cearense, Marcelo Moreno, Gabriel Paulista and others.

The rivals of Vitória are Esporte Clube Bahia. Their matches are known as Ba–Vi ("Ba" from Esporte Clube Bahia and "Vi" from Esporte Clube Vitória). It is one of the most intense rivalries, consistently ranked among the world's most bitter.

History
The club was founded on May 13, 1899, by the brothers Artur and Artêmio Valente, along with seventeen other young fellows. They were from an old Bahia family, and discovered football during their studies in England. Initially Vitória was a cricket club, named Club de Cricket Victoria, because all of them lived at the Vitória neighborhood, in Salvador.

On May 22, 1901, Vitória played its first football match, at Campo da Pólvora, against International Sport Club, a team whose players were English seamen. Vitória beat International 3–2. Two months after that match, Vitória changed its original colors, which were black and white, to red and black, which are still in use.

On September 13, 1903, Vitória beat a club formed by people from São Paulo state, São Paulo Bahia Football Club 2–0 in the club's first official match. In 1908, Vitória won its first title ever, the Campeonato Baiano. They won the next year as well.

From 1910 to 1952, they didn't win any titles because they were still an amateur club. In 1953, the club turned professional, and won its third Baiano honor. Bahia was dominating the state championship, and Vitória only won titles in 1955, 1957, 1964, 1965, 1972, 1980, 1985 and 1989.

The club was runner-up in the 1993 Campeonato Brasileiro Série A to Palmeiras, with an extremely small payroll. Vitória was champion of Bahia in 1990, 1992, 1995, 1996, 1997, 1999 and 2000, becoming the top club of the state for the first time. In the 1999 Campeonato Brasileiro Série A, Vitória reached the semifinals.

In the 2000s, the Campeonato Baiano trophy was won by Vitória eight out of ten years.

In 2004 Vitória, after a poor campaign, was relegated to the Brazilian Second Division. In 2005, the club competed in the Brazilian second division, finishing 17th, and so was relegated to the Third Division for the first time in its history.

In 2006, Vitória was runner-up of the third division, and was promoted to the Brazilian second division. In 2007, the club was promoted back to the first division after finishing in fourth place. This meant the club had managed to return from the lowest Brazilian national division to its original place in the first division in only two years.

In February 2018 the intense rivalry between Vitória and Esporte Clube Bahia drew international attention when nine players (four from Bahia and five from Vitória) were shown the red card in a State Championship match.

Mascot
The club's mascot is a lion named Lelê Leão (Lion), and according to Vitória's official site, his objective is to stimulate the club's supporters and players on match days.

Competitions record
The competitions record of Vitória's last ten seasons:
 * Champion.
 * Runner-up.
 * Classified for Sudamericana.
 * Promoted.
 * Relegated.

Colours
Its colours are red and black, which made it to be called "Rubro-Negro" ("red-black", in portuguese). In the early years, the club's colours would be green and yellow, but due to difficulty in find the proper materials in these colours, it was chosen to be white and black. That was the colours worn in the inaugural match facing the International Sport Club. The current red-black colours were adopted 3 years later, in 1902.

Many kinds of shirts have been worn by Vitória's players over the years.

National

 * Campeonato Brasileiro Série A
 * Runners-up (1): 1993
 * Campeonato Brasileiro Série B
 * Winners (1): 2023
 * Runners-up (1): 1992
 * Copa do Brasil
 * Runners-up (1): 2010

Regional

 * Copa do Nordeste
 * Winners (4): 1997, 1999, 2003, 2010
 * Runners-up (3): 1998, 2000, 2002
 * Taça José Almeida Filho
 * Winners (1): 1976

State

 * Campeonato Baiano
 * Winners (30): 1908, 1909, 1953, 1955, 1957, 1964, 1965, 1972, 1980, 1985, 1989, 1990, 1992, 1995, 1996, 1997, 1999, 2000, 2002, 2003, 2004, 2005, 2007, 2008, 2009, 2010, 2013, 2016, 2017 e 2024

title: Esporte Clube Vitória


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Max Beckmann

Max Carl Friedrich Beckmann (February 12, 1884 – December 27, 1950) was a German painter, draftsman, printmaker, sculptor, and writer. Although he is classified as an Expressionist artist, he rejected both the term and the movement. In the 1920s, he was associated with the New Objectivity (Neue Sachlichkeit), an outgrowth of Expressionism that opposed its introverted emotionalism. Even when dealing with light subject matter like circus performers, Beckmann often had an undercurrent of moodiness or unease in his works. By the 1930s, his work became more explicit in its horrifying imagery and distorted forms with combination of brutal realism and social criticism, coinciding with the rise of nazism in Germany.

Life
Max Beckmann was born into a middle-class family in Leipzig, Saxony. From his youth he pitted himself against the old masters. His traumatic experiences of World War I, in which he volunteered as a medical orderly, coincided with a dramatic transformation of his style from academically correct depictions to a distortion of both figure and space, reflecting his altered vision of himself and humanity.

He is known for the self-portraits painted throughout his life, their number and intensity rivaled only by those of Rembrandt and Picasso. Well-read in philosophy and literature, Beckmann also contemplated mysticism and theosophy in search of the "Self". As a true painter-thinker, he strove to find the hidden spiritual dimension in his subjects (Beckmann's 1948 Letters to a Woman Painter provides a statement of his approach to art).

Beckmann enjoyed great success and official honors during the Weimar Republic. In 1925, he was selected to teach a master class at the Städelschule Academy of Fine Art in Frankfurt. Some of his most famous students included Theo Garve, Leo Maillet and Marie-Louise von Motesiczky. In 1927, he received the Honorary Empire Prize for German Art and the Gold Medal of the City of Düsseldorf; the National Gallery in Berlin acquired his painting The Bark and, in 1928, purchased his Self-Portrait in Tuxedo. By the early 1930s, a series of major exhibitions, including large retrospectives at the Städtische Kunsthalle Mannheim (1928) and in Basel and Zurich (1930), together with numerous publications, showed the high esteem in which Beckmann was held.

His fortunes changed with the rise to power of Adolf Hitler, whose dislike of Modern Art quickly led to its suppression by the state. In 1933, the Nazi government called Beckmann a "cultural Bolshevik" and dismissed him from his teaching position at the Art School in Frankfurt. In 1937, the government confiscated more than 500 of his works from German museums, putting several on display in the notorious Degenerate Art exhibition in Munich. The day after Hitler's radio speech about degenerate art in 1937, Beckmann left Germany with his second wife, Quappi, for the Netherlands.

For ten years, Beckmann lived in self-imposed exile in Amsterdam, failing in his desperate attempts to obtain a visa for the United States. In 1944, the Germans attempted to draft him into the army, although the sixty-year-old artist had suffered a heart attack. The works completed in his Amsterdam studio were even more powerful and intense than the ones of his master years in Frankfurt. They included several large triptychs, which stand as a summation of Beckmann's art.

In 1947, Beckmann took a position at the St. Louis School of Fine Arts at Washington University. During the last three years of his life, he taught at Washington University (alongside the German-American painter and printmaker Werner Drewes), and at the Brooklyn Museum. He came to St. Louis at the invitation of Perry T. Rathbone, director of the Saint Louis Art Museum. Rathbone arranged for Washington University to hire Beckmann as an art teacher, filling a vacancy left by Philip Guston, who had taken a leave. The first Beckmann retrospective in the United States took place in 1948 at the City Art Museum, Saint Louis. In St. Louis, Morton D. May became his patron and, already an avid amateur photographer and painter, a student of the artist. May later donated much of his large collection of Beckmann's works to the St. Louis Art Museum. Beckmann also helped him learn to appreciate Oceanian and African art.

After stops in Denver and Chicago, he and Quappi took an apartment at 38 West 69th Street in Manhattan. In 1949 he obtained a professorship at the Brooklyn Museum Art School.

Beckmann suffered from angina pectoris and died after Christmas 1950, struck down by a heart attack at the corner of 69th Street and Central Park West in New York City, not far from his apartment building. As the artist's widow recalled, he was on his way to see one of his paintings at the Metropolitan Museum of Art. Beckmann had a one-man show at the Venice Biennale of 1950, the year of his death. also in that final year of 1950 he painted the work Falling Man which is considered both a reflection on mortality and eerily predictive of the jumpers and other doomed persons falling from the World Trade Center Towers during the September 11 attacks.

Themes
Unlike several of his avant-garde contemporaries, Beckmann rejected non-representational painting; instead, he took up and advanced the tradition of figurative painting. He greatly admired not only Cézanne and Van Gogh, but also Blake, Rembrandt, and Rubens, as well as Northern European artists of the late Middle Ages and early Renaissance, such as Bosch, Bruegel, and Matthias Grünewald. His style and method of composition are partially rooted in the imagery of medieval stained glass.

Engaging with the genres of portraiture, landscape, still life, and history painting, his diverse body of work created a very personal but authentic version of modernism, one with a healthy deference to traditional forms. Beckmann reinvented the religious triptych and expanded this archetype of medieval painting into an allegory of contemporary humanity.

From his beginnings in the fin de siècle to the period after World War II, Beckmann reflected an era of radical changes in both art and history in his work. Many of Beckmann's paintings express the agonies of Europe in the first half of the 20th century. Some of his imagery refers to the decadent glamor of the Weimar Republic's cabaret culture, but from the 1930s on, his works often contain mythologized references to the brutalities of the Nazis. Beyond these immediate concerns, his subjects and symbols assume a larger meaning, voicing universal themes of terror, redemption, and the mysteries of eternity and fate.

His Self-Portrait with Horn (1938), painted during his exile in Amsterdam, demonstrates his use of symbols. Musical instruments are featured in many of his paintings; in this case, a horn that the artist holds as if it were a telescope by which he intends to explore the darkness surrounding him. The tight framing of the figure within the boundaries of the canvas emphasize his entrapment. Art historian Cornelia Stabenow terms the painting "the most melancholy, but also the most mystifying, of his self-portraits".

Legacy
Many of Beckmann's late paintings are displayed in American museums. He exerted a profound influence on such American painters as Philip Guston and Nathan Oliveira, and, indeed, on Boston Expressionism, the art movement that later expanded nationally and is now called American Figurative Expressionism. His posthumous reputation perhaps suffered from his very individual artistic path; like Oskar Kokoschka, he defies the convenient categorization that provides themes for critics, art historians and curators. Other than a major retrospective at New York's Museum of Modern Art, the Boston Museum of Fine Arts and the Art Institute of Chicago in 1964–65 (with an excellent catalogue by Peter Selz), and MoMA's prominent display of the triptych Departure, his work was little seen in much of the United States for decades. His 1984 centenary was marked in the New York area only by a modest exhibit at Nassau County's suburban art museum. The Saint Louis Art Museum holds the largest public collection of Beckmann paintings in the world and held a major exhibition of his work in 1998.

Since the late 20th century, Beckmann's work has gained an increasing international reputation. There have been retrospectives and exhibitions at the Museum of Modern Art (1995) and the Guggenheim Museum (1996) in New York, and the principal museums of Rome (1996), Valencia (1996), Madrid (1997), Zurich (1998), Munich (2000), Frankfurt (2006) and Amsterdam (2007). In Spain and Italy, Beckmann's work has been accessible to a wider public for the first time. A large-scale Beckmann retrospective was exhibited at the Centre Pompidou in Paris (2002) and Tate Modern in London (2003). In 2011, the Städel in Frankfurt devoted an entire room to the artist in its newly fitted permanent exhibition of modern art.

A Max Beckmann Gesellschaft was first established by Wilhelm Hausenstein, Benno Reifenberg and others. The Max Beckmann Archiv was established in 1977 and is under the auspices of the Bavarian State Painting Collections.

In 1996, Piper, Beckmann's German publisher, released the third and last volume of the artist's letters, whose wit and vision rank him among the strongest writers of the German tongue. His essays, plays and, above all, his diaries are also unique historical documents. A selection of Beckmann's writings was issued in the United States by University of Chicago Press in 1996.

In 2003, Stephan Reimertz, Parisian novelist and art historian, published a biography of Max Beckmann. It presents many photos and sources for the first time. The biography reveals Beckmann's contemplations of writers and philosophers such as Dostoyevsky, Schopenhauer, Nietzsche, and Richard Wagner. The book has not yet been translated into English.

In 2015, the Saint Louis Art Museum published Max Beckmann at the Saint Louis Art Museum: The Paintings, by Lynette Roth. It is a comprehensive look at the Beckmann paintings at SLAM, the largest collection of them in the world, and places both artist and works in a broader context.

Art market
Although Beckmann is considered an important 20th-century artist, he has never been a household name, and his works have mostly appealed to a niche market of German and Austrian collectors. In 1921, Beckmann signed an exclusive contract with the print-dealer J. B. Neumann in Berlin. In 1938, he had the first of numerous exhibitions at Curt Valentin’s Buchholz Gallery, New York.

Today, Beckmann's large paintings routinely sell for more than $1 million, and his self-portraits generally command the highest prices. In 2001, Ronald Lauder paid $22.5 million at Sotheby's New York for Beckmann's Self-Portrait with Horn (1938), and displayed it at the Neue Galerie in New York. In 2017, an anonymous bidder paid the record sum of $45.8 million for Beckmann's Hölle der Vögel (Birds' Hell) (1938) at Christie's in London; this was also a new world record for a German Expressionism artwork. In 2022, Self-Portrait Yellow-Pink (1943) sold at a Berlin auction for 20 million euros ($20.7 million), a price that appears to be a record for an art auction in Germany.

Rediscovered works
Several important works by Beckmann were discovered in the Munich flat of Cornelius Gurlitt in 2012, and are the subject of intense scrutiny by the German police and art historians for their provenance and sale during the Nazi period.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Max Beckmann


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Fluminense FC

Fluminense Football Club is a Brazilian sports club best known for its professional football team that competes in the Campeonato Brasileiro Série A, the first tier of Brazilian football, and the Carioca Championship, the state league of Rio de Janeiro. The club is based in the neighbourhood of Laranjeiras since its foundation in 1902. Fluminense is the oldest football club in Rio de Janeiro.

Fluminense have been crowned national champions four times, most recently in the 2012 Campeonato Brasileiro Série A; the team have also won the 2007 Copa do Brasil and the 1952 Copa Rio. In 1949, Fluminense became the only football club in the world to receive the Olympic Cup, awarded annually by the International Olympic Committee to an institution or association with a record of merit and integrity in actively developing the Olympic Movement. Its best international performances are finishing champions of the 2023 Copa Libertadores, and reaching the 2008 Copa Libertadores finals.

Fluminense is the gentilic given to people born in the state of Rio de Janeiro, in Brazil.

Fluminense's traditional home kit consists of an iconic combination of three colors: burgundy, white, and green, disposed in vertical stripes, since its adoption in 1904. White shorts and white socks, an outfit which has been in use since 1920, complement the home kit for O Tricolor.

The club holds several long-standing rivalries with other clubs, most notably with Flamengo (Clássico Fla-Flu), Botafogo (Clássico Vovô) and Vasco da Gama (Clássico dos Gigantes). The Clássico Fla-Flu in particular is widely considered one of the greatest football derbies in Brazil and South America, having eventually set the world record for the highest attendance in a match between football clubs (over 200.000 spectators in the stadium of Maracanã).

The club is the birthplace of the Brazil national football team, which played its first game amidst the club’s 12th anniversary celebrations. In Fluminense's ground, the Estádio de Laranjeiras, the “Canarinhos” held their first match, scored their first goal and lifted their first trophy. To this day, the club has contributed the fifth-most players to the national team among all Brazilian clubs.

Rio's football pioneering
Fluminense Football Club was founded on 21 July 1902, in the neighbourhood of Laranjeiras, in the city of Rio de Janeiro, by a group of young football enthusiasts led by Oscar Cox, an English citizen born in Brazil, who had come into contact with the sport whilst studying in Europe, and Cox was subsequently elected as the first president. Therefore, it was the first football club to be founded in the city, whose most popular sport at the time was rowing.

The first official match was played against now defunct Rio Football Club, and Fluminense won 8–0. The club's first title came in 1906, when Fluminense won the state championship (Campeonato Carioca).

In 1911, disagreement between Fluminense players led to the formation of Flamengo's football team. The so-called Fla-Flu derby is considered one of the biggest in the history of Brazilian football. Three years later, in Fluminense's stadium, the Brazil national football team debuted, against touring English club Exeter City. It was also there that they won their debut title, in 1919.

By 1922, Fluminense had 4,000 members, a stadium for 25,000 people, and facilities that impressed clubs in Europe.

Construction of Maracanã
The 1950 World Cup strengthened football in the country, and as a result, the country's biggest teams, which basically only competed in state tournaments, began to measure their strength in tournaments and matches against teams from other states. To hold the competition, the Maracanã was built, the largest stadium in the world at that time, and which became the main stadium for Fluminense's games.

In the context of the World Cup held in the country in 1950, CBD, accompanied by FIFA and IFAB, decided to hold a competition that pitted the champion clubs from the main FIFA-affiliated countries against each other, thus creating the International Champions Club Tournament, better known as Copa Rio. The competition brought together the Champion clubs from countries in South America (Brazil, Paraguay and Uruguay) and Europe (Austria, France, Germany, Italy, Portugal, Switzerland and Yugoslavia), its first edition was in 1951, being won by Palmeiras.

In 1951, Fluminense won the Carioca championship, which meant that the team qualified for the 1952 Copa Rio. The team had great players who represented the Brazilian team, such as Carlos Castilho, Píndaro, Pinheiro, Didi, Orlando Pingo de Ouro and Telê Santana.

In the first phase of the competition, the teams were divided into two groups, the first played their matches at Maracanã, and the second played their matches at Pacaembu, Fluminense was in the first group and faced Grasshopper (Switzerland), Sporting Lisboa (Portugal) and Peñarol (Uruguay), and qualified in first place. In the semi final they beat Austria Wien (Austria), and in the final they defeated Corinthians.

From the 1950s, with the creation of the Rio-São Paulo Tournament, the forerunner of what eventually would become the national championship, Fluminense established itself regionally by winning the tournament title in 1957 and 1960.

National Achievements
From the 1960s onwards, the first national championships were played in Brazil, so that the country could send representatives to the Copa Libertadores. Fluminense's first national title came in 1970; At that time, Brazil had the best players in world football, and they all played for Brazilian clubs. Its squad was among the main candidates of the season in Brazil, Fluminense won the Brazilian Championship overcoming other major opponents of the season in Santos, Palmeiras and Cruzeiro.

In the 1970s, Fluminense signed several famous players such as Carlos Alberto Torres, Dirceu, Gil, Narciso Doval, Pintinho and Roberto Rivellino. This team, called "Tricolor Machine", won the state championship in 1975 and 1976. In the national championship, Fluminense lost in the semifinals to Internacional in 1975 and Corinthians in 1976.

Fluminense became Brazilian champions again in 1984, playing in the final against Rio rivals Vasco da Gama. During the decade, they also won three state championships in a row, in 1983, 1984 and 1985, defeating their main rival Flamengo, in the final of the first two. These titles were won by great players such as Branco, Delei, Edinho, Ricardo Gomes, Romerito and the “Casal Vinte”: Assis and Washington.

At the end of the 1980s, Copa do Brasil was created, inspired by the Cup tournaments played in European countries. Fluminense reached the final of the Copa do Brasil for the first time in 1992, but lost to Internacional in a penalty shootout, in a controversial match in Porto Alegre.

A disastrous campaign led to Fluminense's relegation from Brasileirão Série A in 1996. However, a set of off-field political manoeuvres not performed by the club allowed them to remain in Brazil's top domestic league, only to be relegated the next year. Completely out of control, the club was relegated from Série B to Série C in 1998. In 1999, Fluminense won the Série C championship and were to be promoted to Série B when they were invited to take part in Copa João Havelange, a championship that replaced the traditional Série A in 2000. In 2001, it was decided that all clubs which took part in Copa João Havelange's so-called Blue Group should be kept in Série A.

2000s: Copa do Brasil title, first Libertadores final
Fluminense had good campaigns in the 2000, 2001, and 2002 Serie A, finishing in the top four each of these times. Fluminense's first title of the 21st century was the 2002 Campeonato Carioca. In 2005, Fluminense won the Campeonato Caroica and the Taca Rio, and finished fifth in the Brasileirao. Later that year, they reached the final of the Copa do Brasil again, but lost to Serie B club Paulista 2–0, marking one of the few times that a Serie B club won the Copa do Brasil.

In 2007, Fluminense won the Copa do Brasil beating Figueirense in the final, and was admitted to the Copa Libertadores again after 23 years. In the 2007 Serie A, the club finished fourth, and Thiago Neves won the Golden Ball for the league's best player.

The club's 2008 Copa Libertadores campaign saw them reach the finals and included a remarkable 6–0 victory against Arsenal de Sarandí in the group stage, winning both games against Colombian club Atlético Nacional in R16, a comeback against São Paulo in the QF, and disposing of defending champions Boca Juniors in the SF with a 3–1 victory. Fluminense eventually finished runner-up, losing the finals to LDU Quito on penalties after a 5–5 draw on aggregate, despite a hat-trick from Thiago Neves in the second leg. Fluminense had already faced LDU in the group stage, winning 1-0 and drawing 0-0. The club finished fourteenth in the Serie A that season, and only finished one point away from relegation, but curiously still qualifying for the following years Copa Sudamericana.

After signing 27 players and going through 5 different managers in 2009, Fluminense found themselves struggling to avoid another relegation from Série A. With less than one-third of the championship left, the mathematical probability of the club's relegation was 98%. At this point, manager Cuca decided to dispense with some of the more experienced players and gave Fluminense's youngsters a chance. That, along with Fred's recovery from a serious injury and substantial support from the fans, allowed not only a sensational escape from relegation with five matches remaining, but also placed Fluminense in the Copa Sudamericana finals, having eliminated rivals Flamengo. For the second year in a row, the club contested a continental cup. In a repeat of the previous year's Copa Libertadores, Fluminense lost the finals to LDU Quito.

2010s: Two-time Brazilian championship
For 2010, manager Muricy Ramalho replaced Cuca. His first task was in the 2010 Copa do Brasil quarter-finals against Gremio, where Flumiense were eliminated 5–3 on aggregate. However, this elimination was not considered a "failure", in part because with this elimination the club was not participating in any other competitions and could fully focus on the Brasileirao. Eventually, the elimination helped the club, and that year, with Ramalho's effective defensive block conceding the least amount of goals in the league, Fluminense won the Brazilian championship for the third time in their history after 26 years, securing it with a 1–0 victory at home to already relegated Guarani. It was also the fourth title for coach Ramalho in a decade: Ramalho had won the title three times in a row with São Paulo from 2006 to 2008. Darío Conca was named the Brazilian Championship's Player of the Season, playing all 38 league matches, while Fred, Washington, and Deco were decisive players in Fluminense's title-winning campaign.

For the 2011 season, the new manager was Abel Braga, who led the team to a third-placed finish in the Serie A and qualification for the following year's Copa Libertadores, despite being eliminated in the round of 16 of the aforementioned competition by Club Libertad. The club decided to keep coach Abel Braga for 2012, and made big investments for the squad, bringing back Thiago Neves and signing youngster Wellington Nem. On 13 May 2012, Fluminense won the Campeonato Carioca, beating Rio rivals Botafogo 5–1 on aggregate for their first title of the 2012 season. In the Copa Libertadores, Fluminense was eliminated in the quarter-finals by powerhouse Boca Juniors, losing 2–1 on aggregate. Later that year, on 11 November, they won their fourth Brazilian championship after defeating near-relegated Palmeiras 3–2, with three matchdays left. Striker Fred was also the competition's top scorer, with 20 goals, and received the CBF Best Player award. Goalkeeper Diego Cavalieri had a phenomenal season and won the Bola de Prata as the league's best goalkeeper, and Abel Braga was chosen as best coach.

In 2013, the team was eliminated in the Copa Libertadores quarter finals again, this time to Olimpia. In the Serie A, the team began poorly, losing six of their first nine matches, which caused the sacking of coach Abel Braga. Seven undefeated matches in September steered the club away from relegation, but an eight-match winless run put the club back into the relegation fight, mainly due to the absences of stars Deco, Fred, Thiago Neves, Carlinhos and Wellington Nem, and in December 2013, a 2–1 victory away to Bahia in the last round of the 2013 Campeonato Brasileiro Série A had Fluminense mathematically relegated to Série B. However, rule-breaking lineups by Portuguesa and Fluminense's main rivals Flamengo in their matches against Grêmio and Cruzeiro respectively caused Portuguesa and Flamengo to lose 4 points after a trial in STJD (Brazil's governing football jury). The points lost by Flamengo and Portuguesa allowed Fluminense to stay in Série A, with Portuguesa being relegated and Flamengo ending the championship as the lowest-ranked non-relegated club.

In 2014, Fluminense brought back club idol Conca among other signings such as Walter and Cícero. Coupled with Fred's and Carlinhos’ recoveries from injury, Fluminense spent the majority of the 2014 Série A in the top five and fighting for one of the berths at the 2015 Copa Libertadores, ultimately failing to reach its goal after an unstable final stretch and finishing 6th. In December, Fluminense ended its partnership with its main sponsor, Unimed. For fifteen years, the health insurance company was the main investor in signing players, especially after the team won the 2007 Copa do Brasil, bringing to the club athletes such as Darío Conca, Deco, Diego Cavalieri, Fred, Rafael Sóbis, Thiago Neves and Washington. From 2015 onwards, Fluminense underwent a remodeling, with the departure of some of its main players. The club's youth categories became fundamental for its maintenance in the first division in the following years, and the sale of young players became the club's main source of income.

In 2019, the club hired Fernando Diniz, a young coach with innovative ideas within Brazilian football, but political conflicts within the club and a technically limited team caused the coach to be fired, with the team in the relegation zone, the team managed to escape relegation and reorganize. The following year the team brings back Fred, one of the greatest idols in the club's history, and in the 2020 season the team manages to qualify for the Copa Libertadores, with coach Odair Hellmann, but he leaves the team to coach Al Wasl, from the UAE.

2020s: Copa Libertadores title and FIFA Club World Cup finalist
The team returns to compete in the Copa Libertadores after eight years out of the competition, and with consistent campaigns in the Brazilian championship it manages to secure places in the competitions in consecutive editions of the Libertadores. However, after Odair's departure, the club has difficulty maintaining a coach, with Marcão, Roger Machado and Abel Braga taking over the position. In 2022, after winning the Campeonato Carioca against rivals Flu, their first trophy in a decade, with Argentine striker Germán Cano being the star of the team, and being eliminated from the Libertadores, Abel Braga retires from his coaching career, and Fluminense decides to give Fernando Diniz another chance.

In 2022, Fluminense achieves its best place in the Brazilian Championship in the last ten years, a third place, with an offensive team that is noted for its fluidity and ball possession, and the team qualifies for the group stage of the 2023 Copa Libertadores. In the beginning of the season, the football played by the team is considered by many to be the best in South America, and the team reaches the Campeonato Carioca finals against Flamengo; in the first match the red-black team wins 2–0, but in the second game Fluminense achieved a 4–1 victory, winning the Campeonato Carioca for a second year in a row against its main rival, and Diniz clinching his first trophy with the club. In the 2023 Libertadores, Fluminense falls into group D, along with River Plate (Argentina), The Strongest (Bolivia) and Sporting Cristal (Peru), despite being considered one of the most difficult groups in the edition, Fluminense ranks first, inflicting the biggest defeat in River Plate's history in the competition, 5–1 at Maracanã. In the final stage of the dispute, the opponents were Argentinos Juniors, Olimpia (Paraguay) and Internacional, the team defeated all opponents without suffering any defeat.

Flu's home stadium, Maracanã, was previously chosen to be the stage for the final; on the other side the opponent would be Boca Juniors, who sought to become champions of the competition for the seventh time, and with this become the greatest champion of the competition, tied to Independiente. In the final, striker Germán Cano opened the scoring for Fluminense, but Peruvian right-back Luis Advíncula tied the match for Boca; the match then went into extra time, when youngster John Kennedy, coming from the youth team, came off the bench and scored the team's second goal. The match ended 2–1 for Fluminense, who lifted the Copa Libertadores trophy for the first time. The Copa Libertadores win would send Fluminense to play in the FIFA Club World Cup semi final, where they would beat Egyptian club Al Ahly SC 2-0, but would lose 4-0 in the Final match against English club Manchester City F.C..

Season statistics
Fluminense have taken part in 57 of the 68 official Serie A championships organized in Brazil since 1959.

Highest attendances – Maracanã
According to the RSSSF, these were the highest attendances in Fluminense matches:

 * 1. Fluminense 0-0 Flamengo (1963): 194,603
 * 2. Fluminense 3–2 Flamengo (1969): 171,599
 * 3. Fluminense 1–0 Botafogo (1971): 160,000
 * 4. Fluminense 0–0 Flamengo (1976): 155,116
 * 5. Fluminense 1–0 Flamengo (1984): 153,520
 * 6. Fluminense 1–1 Corinthians (1976): 146,043

Highest average attendance at public competition for Fluminense

 * Largest average attendance in the Copa Libertadores (RJ): 59,759 (54,912 paying, 2023)
 * Largest average attendance in the Copa Sudamericana (RJ): 29,357 (27,318 paying, 2009)
 * Largest average attendance in international tournaments (RJ): 48,797 (37,541 paying, Copa Rio, 1952)
 * Largest average attendance in national championships (RJ): 43,541 paying (1976)
 * Largest average attendance in the Tournament Roberto Gomes Pedrosa (RJ): 40,408 paying (1970)
 * Largest average attendance in the Brazil Cup (RJ): 27,123 paying (2007)
 * Largest average attendance in the Rio-São Paulo Tournament (RJ): 33,018 paying (1960)
 * Largest average attendance in the state championship: 47,814 paying (1969, all stages)
 * Largest average attendance in the state championship in the Maracanã Stadium: 93,560 paying (1969, 10 matches)

Support
The supporters of Fluminense Football Club are usually related to the upper classes of Rio de Janeiro. However, the popularity of the club reaches beyond the city limits. Recent polls have estimated the number of supporters to be between 1.3% and 3.7% of the Brazilian population, and between the 11th and 15th most popular club in the nation, falling behind Rio rivals Vasco, but slightly above Botafogo. Considering a population of 203 million people, that would account for numbers between 2.6 and 7.5 million. According to the club's official website, Flu has over 5 million supporters worldwide.

The best attendance ever observed in a Fluminense match was registered on 15 December 1963 in a derby against Flamengo. On that day, an impressive number of 194,603 people showed up at Maracanã stadium. This occasion remains as the stadium's record for a match between clubs.

Notable supporters of Fluminense include composers Cartola and Chico Buarque, musicians Elis Regina, Ivan Lins, Pixinguinha, Renato Russo and Tom Jobim, actors Breno Mello, Chico Díaz, Dalton Vigh, Hugo Carvana, and Thiago Fragoso, and actresses Deborah Secco, Fernanda Torres, Leticia Spiller and Sheron Menezzes, poet Mário Lago, journalist and songwriter Nelson Motta, dramatist, journalist and writer Nelson Rodrigues, modernist architect Oscar Niemeyer, FIFA president of honor João Havelange, 1970 FIFA World Cup winners Gérson and Carlos Alberto Torres, Chelsea central defender Thiago Silva, Left-back legend Marcelo, racing driver Cacá Bueno, sailors Maertine Grael and Torben Grael, former Minister of Culture Gilberto Gil, inventor and aeronaut Santos Dumont, Silvio Santos, the owner of SBT, the second largest Brazilian television network, and the Academy Award nominee Fernanda Montenegro.

Honours
(1) In 1940 the competition was interrupted with Fluminense and Flamengo in the lead, without the CBD making the title official, however, the clubs and newspapers at the time considered the result definitive and declared the Fluminense and Flamengo as the legitimate champions of the competition. The club currently considers itself champion of the competition and includes this title among its achievements.

Others

 * Olympic Cup (1): 1949
 * Carioca Champion of the 20th Century: 1906–2000
 * Copa Rio (1): 1998
 * Taça Guanabara (12): 1966, 1969, 1971, 1975, 1983, 1985, 1991, 1993, 2012, 2017, 2022, 2023
 * Taça Rio (4): 1990, 2005, 2018, 2020
 * Torneio Municipal (2): 1938, 1948
 * Torneio Extra (1): 1941
 * Torneio Aberto (1): 1935
 * Torneio Início (9): 1916, 1924, 1925, 1940, 1941, 1943, 1954, 1956, 1965
 * Other Campeonato Carioca rounds (6): 1970, 1972, 1973, 1976, 1980, 2012
 * Capital Championship (1): 1994
 * Taça Eficiência (14): 1935, 1941, 1948, 1951, 1952, 1953, 1957, 1959, 1963, 1964, 1969, 1970, 1976, 1984
 * Taça Disciplina (7): 1946, 1948, 1956, 1958, 1963, 1972, 1977

Chronology of main titles

Source:

Rivalries
According to the fluzao.info site, the average paying public at the principal classicos of Fluminense played in the Estádio do Maracanã is 60,107 against Flamengo, 43,735 against Vasco da Gama, 34,359 against Botafogo, 25,127 against America and 22,527 against Bangu (1950-2010). These statistics could be about 20% higher, given the issues of the distribution of gratuities at Maracanã.

Grandpa Derby
Grandpa Derby or Grandfather Derby (Clássico Vovô), played with Botafogo. The name comes from being the two oldest practicing football clubs among the great clubs of Rio de Janeiro, and this is also the oldest derby in Brazil, because its first game was on October 22, 1905, friendly that Fluminense won by 6–0. Along with six other clubs, they were responsible for creating the Carioca Football Championship in 1906.

Fla-Flu
Fla-Flu Derby, also called Derby of Crowds (Clássico das Multidões), played with Flamengo. It is considered by football experts and much of the sports media as one of the greatest classics in the world. According to writer Nelson Rodrigues, the derby was engendered by resentment. On the tricolor side, the fact that their starting players deserted and went to form Flamengo's football department, and on the red-black side, the fact that Fluminense still won the first match, circumstances that have been fundamental in generating the derby's mystique.

Giants' Derby
Giants' Derby (Clássico dos Gigantes), played with Vasco da Gama. The derby gets its name because of the "giant" matches that have been played between the two, these being the final for the 1984 Campeonato Brasileiro Série A, which was won by Fluminense, and the 1985 Copa Libertadores, which had two draws, in addition to several decisions Carioca Championship: 1949, 1956, 1970, 1972, 1975, 1976, 1980, 1984, 1993, 1994 and 2003.

Corinthians vs. Fluminense, interstate derby
The derby against Corinthians is perhaps the most representative among the various confrontations with big Brazilian clubs played by Fluminense, given the fact that these clubs often intersect at decisive moments in their seasons.

Statistics
This is a list of statistics and records of Fluminense.

Coaches with most games

Correct as of October 4, 2023

Sponsors
Companies that Fluminense Football Club has had sponsorship deals with include:

Laranjeiras Stadium
The Manoel Schwartz Stadium is better known as the Laranjeiras Stadium, or also the Álvaro Chaves Street Stadium, due to the name of the street where its main entrance is located. It was the place where the Rio team played its games for decades, however, for security reasons, due to the high demand for attendance at its games, it no longer does so, currently playing at Maracanã.

Flu's first match at the Laranjeiras Stadium was the 4–1 victory over Vila Isabel, in the 1919 Carioca Championship, with the Tricolor goals having been scored by Harry Welfare (3) and Machado. Opened in 1919 with a capacity for 18,000 people and having had its capacity expanded to 25,000 people since 1922, in some games this stadium had estimated audiences greater than its capacity.

The record for paying audiences was in the Fluminense 3-1 Flamengo match, on June 14, 1925, when 25,718 spectators paid for tickets, although today the audience for Fluminense's match against Sporting, held on July 15, is unknown. 1928, in the Vulcain Cup dispute, with the stadium full and over 2,000 chairs being placed on the athletics track to accommodate the public present.

Currently, Fluminense does not play its games at its stadium, at the club's option, as it would no longer have the security conditions and capacity to host large events, and is currently only used for training, small commemorative events, social and educational projects, games of the women's football team and the youth teams. The last time an official match for Fluminense's main team took place at Laranjeiras Stadium was in 2003, where Flu drew 3–3 with Americano, in the Carioca Championship.

The renovation of the stadium has been a long-standing demand of the club, however a series of problems make this difficult, such as technical issues linked to the historical preservation of the building, the small area for the construction of a modern stadium and the opposition of the surrounding residents. The current project, at a more advanced stage, foresees a revitalization of Laranjeiras, with the stadium remaining with a small audience capacity, being able to host lower demand games, such as the first phases of the state championship and women's football.

Maracanã Stadium
Since its construction for the 1950 World Cup, the Maracanã has primarily served as the home ground for the four biggest Rio de Janeiro clubs. The stadium was officially completed in 1965, 17 years after construction began. In 1963, more than 194,000 people attended a match between Flamengo and Fluminense at the Maracanã, Rio Championship final.

At the stadium, Fluminense won some of the most important titles, such as the 1952 Copa Rio, for many the most important in its history, it won its first Brazilian Championship in 1970, the Tricolor Machine was twice champion of Carioca (1975–76), led by Roberto Rivellino, it was Brazilian champion over its rival Vasco da Gama, in 1984, was three-time Rio champion against Flamengo (1983–85), he was Carioca champion in 1995 with Renato Gaúcho's belly goal, against Romário's Flamengo (at the time named FIFA World Player of the Year). In this century he won the 2007 Brazil's Cup and the 2023 Copa Libertadores.

Following its 50th anniversary and aiming to hold the 2000 FIFA Club World Cup in Brazil, the stadium underwent renovations which would increase its full capacity to around 103,000. After years of planning and nine months of closure between 2005 and 2006, the stadium was reopened in January 2007 with an all-seated capacity of 87,000. For the 2014 FIFA World Cup and the 2016 Olympics and Paralympics, a major expedition project was started in 2010. The original stand, with a two-level configuration, was demolished, making way for a new single-level stand, and the stadium had its capacity reduced to 78,838 seats.

From 2013 onwards, the stadium was managed by the Brazilian conglomerate Odebrecht. Corruption scandals, the high rents charged by the company and the abandonment of the stadium, meant that Flamengo and Fluminense came together to manage it. Although clubs have kept the stadium in good condition since 2016 and covered its maintenance costs, it was only in 2019 that the government canceled contracts with Odebrecht. Flamengo and Fluminense then created a joint company, "Fla-Flu S.A." opened especially to manage Maracanã and its entire sports complex.

Head coaches

 * Ground Committeé (1902–10)
 * 🏴 Charlie Williams (1911–12)
 * Ground Committeé (1913–16)
 * 🏴 Quincey Taylor (1917–18)
 * 🇺🇾 Ramón Platero (1919)
 * 🇩🇰 Pode Pedersen (1920–23)
 * 🏴 Charlie Williams (1924–26)
 * 🇭🇺 Eugênio Medgyessy (1927–28)
 * 🇧🇷 Luiz Vinhaes (1929–33)
 * 🏴 Quincey Taylor (1934–36)
 * 🇺🇾 Héctor Cabelli (1936)
 * 🇺🇾 Carlos Carlomagno (1936–38)
 * 🇧🇷 Carlos Nascimento (1938)
 * 🇺🇾 Ondino Viera (1938–43)
 * 🇺🇾 Athuel Velázquez (1943–1944)
 * 🇺🇾 Humberto Cabelli (1944–1945)
 * 🇧🇷 Gentil Cardoso (1945–47)
 * 🇺🇾 Ondino Viera (1948–50)
 * 🇧🇷 Otto Vieira (1950–51)
 * 🇧🇷 Zezé Moreira (1951–54)
 * 🇧🇷 Gradim (1955–56)
 * 🇧🇷 Sylvio Pirillo (1956–58)
 * 🇧🇷 Zezé Moreira (1958–62)
 * 🇵🇾 Fleitas Solich (1963–64)
 * 🇧🇷 Tim (1964–67)
 * 🇧🇷 Telê Santana (1967–68)
 * 🇧🇷 Evaristo de Macedo (1968)
 * 🇧🇷 Telê Santana (1969–70)
 * 🇧🇷 Paulo Amaral (1970)
 * 🇧🇷 Mário Zagallo (1971–72)
 * 🇧🇷 Zezé Moreira (1973)
 * 🇧🇷 Duque (1973–74)
 * 🇧🇷 Carlos Alberto Parreira (1974)
 * 🇧🇷 Paulo Emilio (1975)
 * 🇧🇷 Didi (1975–76)
 * 🇧🇷 Mário Travaglini (1976–77)
 * 🇧🇷 Pinheiro (1977)
 * 🇧🇷 Paulo Emilio (1978)
 * 🇧🇷 Nelsinho Rosa (1979–81)
 * 🇧🇷 Dino Sani (1981–82)
 * 🇧🇷 Lula (1982)
 * 🇧🇷 Cláudio Garcia (1983)
 * 🇧🇷 José Luiz Carbone (1983–84)
 * 🇧🇷 Carlos Alberto Parreira (1984–85)
 * 🇦🇷 José Omar Pastoriza (1985)
 * 🇧🇷 Nelsinho Rosa (1985–86)
 * 🇧🇷 Antônio Lopes (1986–87)
 * 🇧🇷 José Luiz Carbone (1987)
 * 🇧🇷 Ismael Kurtz (1988)
 * 🇧🇷 Sérgio Cosme (1988–89)
 * 🇧🇷 Procópio Cardoso (1989)
 * 🇧🇷 Paulo Emilio (1990)
 * 🇧🇷 Gílson Nunes (1990–91)
 * 🇧🇷 Edinho (1991)
 * 🇧🇷 Arthur Bernardes (1992)
 * 🇧🇷 Nelsinho Rosa (1993)
 * 🇧🇷 Delei (1994)
 * 🇧🇷 Pinheiro (1994)
 * 🇧🇷 Joel Santana (1995)
 * 🇧🇷 Jair Pereira (1996)
 * 🇧🇷 Renato Portaluppi (1996)
 * 🇧🇷 Júlio César Leal (1997)
 * 🇧🇷 Valdir Espinosa (1997)
 * 🇺🇾 Hugo de León (1997)
 * 🇧🇷 José Luiz Carbone (1997)
 * 🇧🇷 Arturzinho (1997)
 * 🇧🇷 Edinho (1998)
 * 🇧🇷 Delei (1998)
 * 🇧🇷 Sérgio Cosme (1998)
 * 🇧🇷 Carlos Alberto Parreira (1999–00)
 * 🇧🇷 Valdir Espinosa (2000–01)
 * 🇧🇷 Oswaldo de Oliveira (2001–02)
 * 🇧🇷 Renato Portaluppi (2 September 2002 – 11 July 2003)
 * 🇧🇷 Joel Santana (18 July 2003 1 October 2003)
 * 🇧🇷 Renato Portaluppi (1 October 2003 – 28 December 2003)
 * 🇧🇷 Ricardo Gomes (4 March 2004 – 15 August 2004)
 * 🇧🇷 Alexandre Gama(16 August 2004 - 31 December 2004)
 * 🇧🇷 Abel Braga (1 January 2005 – 10 December 2005)
 * 🇧🇷 Ivo Wortmann (11 December 2005 – 19 February 2006)
 * 🇧🇷 Paulo Campos (22 February 2006 – 12 March 2006)
 * 🇧🇷 Oswaldo de Oliveira (2006)
 * 🇧🇷 Antônio Lopes (23 August 2006 – 29 September 2006)
 * 🇧🇷 PC Gusmão (29 September 2006 – 11 February 2007)
 * 🇧🇷 Renato Portaluppi (24 April 2007 – 10 August 2008)
 * 🇧🇷 Cuca (11 August 2008 – 2 October 2008)
 * 🇧🇷 Renê Simões (2 October 2008 – 6 March 2009)
 * 🇧🇷 Carlos Alberto Parreira (7 March 2009 – 13 July 2009)
 * 🇧🇷 Vinícius Eutrópio (14 July 2009 – 19 July 2009)
 * 🇧🇷 Renato Portaluppi (20 July 2009 – 1 September 2009)
 * 🇧🇷 Cuca (1 September 2009 – 19 April 2010)
 * 🇧🇷 Muricy Ramalho (25 April 2010 – 13 March 2011)
 * 🇧🇷 Enderson Moreira (int.) (21 March 2011 – 31 May 2011)
 * 🇧🇷 Abel Braga (8 June 2011 – 29 July 2013)
 * 🇧🇷 Vanderlei Luxemburgo (30 July 2013 – 12 November 2013)
 * 🇧🇷 Dorival Júnior (12 November 2013 – 26 December 2013)
 * 🇧🇷 Renato Portaluppi (28 December 2013 – 2 April 2014)
 * 🇧🇷 Cristóvão Borges (2 April 2014 – 23 March 2015)
 * 🇧🇷 Ricardo Drubscky (23 March – 17 May 2015)
 * 🇧🇷 Enderson Moreira (18 May 2015 – 16 September 2015)
 * 🇧🇷 Eduardo Baptista (17 September 2015 – 25 February 2016)
 * 🇧🇷 Levir Culpi (4 March 2016 – 6 November 2016)
 * 🇧🇷 Marcão (6 November 2016 – 1 December 2016)
 * 🇧🇷 Abel Braga (1 December 2016 – June 2018)
 * 🇧🇷 Marcelo Oliveira (June 2018 - 29 November 2018)
 * 🇧🇷 Fábio Moreno (last game in Brazilian Championship)
 * 🇧🇷 Fernando Diniz (2018-2019)
 * 🇧🇷 Marcão (one game)
 * 🇧🇷 Oswaldo de Oliveira (2019)
 * 🇧🇷 Marcão (2019)
 * 🇧🇷 Odair Hellmann (2020)
 * 🇧🇷 Marcão (2020–2021)
 * 🇧🇷 Roger Machado (2021)
 * 🇧🇷 Marcão (2021)
 * 🇧🇷 Abel Braga (2022 – 30 April 2022)
 * 🇧🇷 Fernando Diniz (1 May 2022 – present)

title: Fluminense FC


text:
Antenna (biology)

Antennae (: antenna), sometimes referred to as "feelers", are paired appendages used for sensing in arthropods.

Antennae are connected to the first one or two segments of the arthropod head. They vary widely in form but are always made of one or more jointed segments. While they are typically sensory organs, the exact nature of what they sense and how they sense it is not the same in all groups. Functions may variously include sensing touch, air motion, heat, vibration (sound), and especially smell or taste. Antennae are sometimes modified for other purposes, such as mating, brooding, swimming, and even anchoring the arthropod to a substrate. Larval arthropods have antennae that differ from those of the adult. Many crustaceans, for example, have free-swimming larvae that use their antennae for swimming. Antennae can also locate other group members if the insect lives in a group, like the ant. The common ancestor of all arthropods likely had one pair of uniramous (unbranched) antenna-like structures, followed by one or more pairs of biramous (having two major branches) leg-like structures, as seen in some modern crustaceans and fossil trilobites. Except for the chelicerates and proturans, which have none, all non-crustacean arthropods have a single pair of antennae.

Crustaceans
Crustaceans bear two pairs of antennae. The pair attached to the first segment of the head are called primary antennae or antennules. This pair is generally uniramous, but is biramous in crabs and lobsters and remipedes. The pair attached to the second segment are called secondary antennae or simply antennae. The second antennae are plesiomorphically biramous, but many species later evolved uniramous pairs. The second antennae may be significantly reduced (e.g. remipedes) or apparently absent (e.g. barnacles).

The subdivisions of crustacean antennae have many names, including flagellomeres (a shared term with insects), annuli, articles, and segments. The terminal ends of crustacean antennae have two major categorizations: segmented and flagellate. An antenna is considered segmented if each of the annuli is separate from those around it and has individual muscle attachments. Flagellate antennae, on the other hand, have muscle attachments only around the base, acting as a hinge for the flagellum—a flexible string of annuli with no muscle attachment.

There are several notable non-sensory uses of antennae in crustaceans. Many crustaceans have a mobile larval stage called a nauplius, which is characterized by its use of antennae for swimming. Barnacles, a highly modified crustacean, use their antennae to attach to rocks and other surfaces. The second antennae in the burrowing Hippoidea and Corystidae have setae that interlock to form a tube or "snorkel" which funnels filtered water over the gills.

Insects
Some claim insects evolved from prehistoric crustaceans, and they have secondary antennae like crustaceans, but not primary antennae. Antennae are the primary olfactory sensors of insects and are accordingly well-equipped with a wide variety of sensilla (singular: sensillum). Paired, mobile, and segmented, they are located between the eyes on the forehead. Embryologically, they represent the appendages of the second head segment.

All insects have antennae, however they may be greatly reduced in the larval forms. Amongst the non-insect classes of the Hexapoda, both Collembola and Diplura have antenna, but Protura do not.

Antennal fibrillae play an important role in Culex pipiens mating practices. The erection of these fibrillae is considered to be the first stage in reproduction. These fibrillae serve different functions across the sexes. As antennal fibrillae are used by female C. pipiens to locate hosts to feed on, male C. pipiens utilize them to locate female mates.

Structure
The three basic segments of the typical insect antenna are the scape or scapus (base), the pedicel or pedicellus (stem), and finally the flagellum, which often comprises many units known as flagellomeres. The pedicel (the second segment) contains the Johnston's organ which is a collection of sensory cells.

The scape is mounted in a socket in a more or less ring-shaped sclerotised region called the torulus, often a raised portion of the insect's head capsule. The socket is closed off by the membrane into which the base of the scape is set. However, the antenna does not hang free on the membrane, but pivots on a rigidly sprung projection from the rim of the torulus. That projection on which the antenna pivots is called the antennifer. The whole structure enables the insect to move the antenna as a whole by applying internal muscles connected to the scape. The pedicel is flexibly connected to the distal end of the scape and its movements in turn can be controlled by muscular connections between the scape and pedicel. The number of flagellomeres can vary greatly between insect species, and often is of diagnostic importance.

True flagellomeres are connected by membranous linkage that permits movement, though the flagellum of "true" insects does not have any intrinsic muscles. Some other Arthropoda do however have intrinsic muscles throughout the flagellum. Such groups include the Symphyla, Collembola and Diplura. In many true insects, especially the more primitive groups such as Thysanura and Blattodea, the flagellum partly or entirely consists of a flexibly connected string of small ring-shaped annuli. The annuli are not true flagellomeres, and in a given insect species the number of annuli generally is not as consistent as the number of flagellomeres in most species.

In many beetles and in the chalcidoid wasps, the apical flagellomeres form a club shape, called the clava. The collective term for the segments between the club and the antennal base is the funicle; traditionally in describing beetle anatomy, the term "funicle" refers to the segments between the club and the scape. However, traditionally in working on wasps the funicle is taken to comprise the segments between the club and the pedicel.

Quite commonly the funicle beyond the pedicel is quite complex in Endopterygota such as beetles, moths and Hymenoptera, and one common adaptation is the ability to fold the antenna in the middle, at the joint between the pedicel and the flagellum. This gives an effect like a "knee bend", and such an antenna is said to be geniculate. Geniculate antennae are common in the Coleoptera and Hymenoptera. They are important for insects like ants that follow scent trails, for bees and wasps that need to "sniff" the flowers that they visit, and for beetles such as Scarabaeidae and Curculionidae that need to fold their antennae away when they self-protectively fold up all their limbs in defensive attitudes.

Because the funicle is without intrinsic muscles, it generally must move as a unit, in spite of being articulated. However, some funicles are complex and very mobile. For example, the Scarabaeidae have lamellate antennae that can be folded tightly for safety or spread openly for detecting odours or pheromones. The insect manages such actions by changes in blood pressure, by which it exploits elasticity in walls and membranes in the funicles, which are in effect erectile.

In the groups with more uniform antennae (for example: millipedes), all segments are called antennomeres. Some groups have a simple or variously modified apical or subapical bristle called an arista (this may be especially well-developed in various Diptera).

Functions
Olfactory receptors on the antennae bind to free-floating molecules, such as water vapour, and odours including pheromones. The neurons that possess these receptors signal this binding by sending action potentials down their axons to the antennal lobe in the brain. From there, neurons in the antennal lobes connect to mushroom bodies that identify the odour. The sum of the electrical potentials of the antennae to a given odour can be measured using an electroantennogram.

In the monarch butterfly, antennae are necessary for proper time-compensated solar compass orientation during migration. Antennal clocks exist in monarchs, and they are likely to provide the primary timing mechanism for sun compass orientation.

In the African cotton leafworm, antennae have an important function in signaling courtship. Specifically, antennae are required for males to answer the female mating call. Although females do not require antennae for mating, a mating that resulted from a female without antennae was abnormal.

In the diamondback moth, antennae serve to gather information about a host plant's taste and odor. After the desired taste and odor has been identified, the female moth will deposit her eggs onto the plant. Giant swallowtail butterflies also rely on antenna sensitivity to volatile compounds to identify host plants. It was found that females are actually more responsive with their antenna sensing, most likely because they are responsible for oviposition on the correct plant.

In the crepuscular hawk moth (Manduca sexta), antennae aid in flight stabilization. Similar to halteres in Dipteran insects, the antennae transmit coriolis forces through the Johnston's organ that can then be used for corrective behavior. A series of low-light, flight stability studies in which moths with flagellae amputated near the pedicel showed significantly decreased flight stability over those with intact antennae. To determine whether there may be other antennal sensory inputs, a second group of moths had their antennae amputated and then re-attached, before being tested in the same stability study. These moths showed slightly decreased performance from intact moths, indicating there are possibly other sensory inputs used in flight stabilization. Re-amputation of the antennae caused a drastic decrease in flight stability to match that of the first amputated group.

title: Antenna (biology)