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Color field

Color field painting is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to abstract expressionism, while many of its notable early proponents were among the pioneering abstract expressionists. Color field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favor of an overall consistency of form and process. In color field painting "color is freed from objective context and becomes the subject in itself."

During the late 1950s and 1960s, color field painters emerged in parts of the United Kingdom, Canada, Australia, and the United States, particularly New York, Washington, D.C., and elsewhere, using formats of stripes, targets, simple geometric patterns and references to landscape imagery and to nature.

Historical roots
The focus of attention in the world of contemporary art began to shift from Paris to New York after World War II and the development of American abstract expressionism. During the late 1940s and early 1950s Clement Greenberg was the first art critic to suggest and identify a dichotomy between differing tendencies within the abstract expressionist canon. Taking issue with Harold Rosenberg (another important champion of abstract expressionism), who wrote of the virtues of action painting in his article "American Action Painters" published in the December 1952 issue of ARTnews, Greenberg observed another tendency toward all-over color or color field in the works of several of the so-called "first generation" abstract expressionists.

Mark Rothko was one of the painters that Greenberg referred to as a color field painter exemplified by Magenta, Black, Green on Orange, although Rothko himself refused to adhere to any label. For Rothko, color was "merely an instrument". In a sense, his best known works – the "multiforms" and his other signature paintings – are, in essence, the same expression, albeit one of purer (or less concrete or definable, depending on the interpretation) means, which is that of the same "basic human emotions", as his earlier surrealistic mythological paintings. What is common among these stylistic innovations is a concern for "tragedy, ecstasy and doom". By 1958, whatever spiritual expression Rothko meant to portray on canvas, it was growing increasingly darker. His bright reds, yellows and oranges of the early 1950s subtly transformed into dark blues, greens, grays and blacks. His final series of paintings from the mid-1960s were gray, and black with white borders, seemingly abstract landscapes of an endless bleak, tundra-like, unknown country.

Rothko, during the mid-1940s, was in the middle of a crucial period of transition, and he had been impressed by Clyfford Still's abstract fields of color, which were influenced in part by the landscapes of Still's native North Dakota. In 1947, during a subsequent semester teaching at the California School of Fine Art (known today as the San Francisco Art Institute), Rothko and Still flirted with the idea of founding their own curriculum or school. Still was considered one of the foremost color field painters – his non-figurative paintings are largely concerned with the juxtaposition of different colors and surfaces. His jagged flashes of color give the impression that one layer of color has been "torn" off the painting, revealing the colors underneath, reminiscent of stalactites and primordial caverns. Still's arrangements are irregular, jagged, and pitted with heavy texture and sharp surface contrast as seen above in 1957D1.

Another artist whose best known works relate to both abstract expressionism and to color field painting is Robert Motherwell. Motherwell's style of abstract expressionism, characterized by loose opened fields of painterly surfaces accompanied by loosely drawn and measured lines and shapes, was influenced by both Joan Miró and by Henri Matisse. Motherwell's Elegy to the Spanish Republic No. 110 (1971) is a pioneering work of both abstract expressionism and color field painting. While the Elegy series embodies both tendencies, his Open Series of the late 1960s, 1970s and 1980s places him firmly within the color field camp. In 1970 Motherwell said, "Throughout my life, the 20th-century painter whom I've admired the most has been Matisse", alluding to several of his own series of paintings that reflect Matisse's influence, most notably his Open Series that come closest to classic color field painting.

Barnett Newman is considered one of the major figures in abstract expressionism and one of the foremost of the color field painters. Newman's mature work is characterized by areas of color pure and flat separated by thin vertical lines, or "zips" as Newman called them, exemplified by Vir Heroicus Sublimis in the collection of MoMA. Newman himself thought that he reached his fully mature style with the Onement series (from 1948) seen here. The zips define the spatial structure of the painting while simultaneously dividing and uniting the composition. Although Newman's paintings appear to be purely abstract, and many of them were originally untitled, the names he later gave them hinted at specific subjects being addressed, often with a Jewish theme. Two paintings from the early 1950s, for example, are called Adam and Eve (see Adam and Eve), and there are also Uriel (1954) and Abraham (1949), a very dark painting, which, in addition to being the name of a biblical patriarch, was also the name of Newman's father, who had died in 1947. Newman's late works, such as the Who's Afraid of Red, Yellow and Blue series, use vibrant, pure colors, often on very large canvases.

Jackson Pollock, Adolph Gottlieb, Hans Hofmann, Barnett Newman, Clyfford Still, Mark Rothko, Robert Motherwell, Ad Reinhardt and Arshile Gorky (in his last works) were among the prominent abstract expressionist painters that Greenberg identified as being connected to color field painting in the 1950s and 1960s.

Although Pollock is closely associated with action painting because of his style, technique, and his painterly 'touch' and his physical application of paint, art critics have likened Pollock to both action painting and color field painting. Another critical view advanced by Clement Greenberg connects Pollock's allover canvases to the large-scale Water Lilies of Claude Monet done during the 1920s. Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works – his drip paintings – read as vast fields of built-up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural-sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces. Pollock's use of all-over composition lend a philosophical and a physical connection to the way the color field painters like Newman, Rothko and Still construct their unbroken and in Still's case broken surfaces. In several paintings that Pollock painted after his classic drip painting period of 1947–1950, he used the technique of staining fluid oil paint and house paint into raw canvas. During 1951 he produced a series of semi-figurative black stain paintings, and in 1952 he produced stain paintings using color. In his November 1952 exhibition at the Sidney Janis Gallery in New York City Pollock showed Number 12, 1952, a large, masterful stain painting that resembles a brightly colored stained landscape (with an overlay of broadly dripped dark paint); the painting was acquired from the exhibition by Nelson Rockefeller for his personal collection. In 1960 the painting was severely damaged by fire in the Governors Mansion in Albany that also severely damaged an Arshile Gorky painting and several other works in the Rockefeller collection. However, by 1999 it had been restored and was installed in Empire State Plaza.

While Arshile Gorky is considered to be one of the founding fathers of abstract expressionism and a surrealist, he was also one of the first painters of the New York School who used the technique of "staining". Gorky created broad fields of vivid, open, unbroken color that he used in his many of his paintings as grounds. In Gorky's most effective and accomplished paintings between the years 1941 and 1948, he consistently used intense stained fields of color, often letting the paint run and drip, under and around his familiar lexicon of organic and biomorphic shapes and delicate lines. Another abstract expressionist whose works in the 1940s call to mind the stain paintings of the 1960s and the 1970s is James Brooks. Brooks frequently used stain as a technique in his paintings from the late 1940s. Brooks began diluting his oil paint in order to have fluid colors with which to pour and drip and stain into the mostly raw canvas that he used. These works often combined calligraphy and abstract shapes. During the final three decades of his career, Sam Francis' style of large-scale bright abstract expressionism was closely associated with color field painting. His paintings straddled both camps within the abstract expressionist rubric, action painting and color field painting.

Having seen Pollock's 1951 paintings of thinned black oil paint stained into raw canvas, Helen Frankenthaler began to produce stain paintings in varied oil colors on raw canvas in 1952. Her most famous painting from that period is Mountains and Sea (as seen below). She is one of the originators of the color field movement that emerged in the late 1950s. Frankenthaler also studied with Hans Hofmann. Hofmann's paintings are a symphony of color as seen in The Gate, 1959–1960. Hofmann was renowned not only as an artist but also as a teacher of art, both in his native Germany and later in the U.S. Hofmann, who came to the United States from Germany in the early 1930s, brought with him the legacy of Modernism. Hofmann was a young artist working in Paris who painted there before World War I. Hofmann worked in Paris with Robert Delaunay, and he knew firsthand the innovative work of both Pablo Picasso and Henri Matisse. Matisse's work had an enormous influence on him, and on his understanding of the expressive language of color and the potentiality of abstraction. Hofmann was one of the first theorists of color field painting, and his theories were influential to artists and to critics, particularly to Clement Greenberg, as well as to others during the 1930s and 1940s. In 1953 Morris Louis and Kenneth Noland were both profoundly influenced by Frankenthaler's stain paintings after visiting her studio in New York City. Returning to Washington, DC., they began to produce the major works that created the color field movement in the late 1950s.

In 1972 then Metropolitan Museum of Art curator Henry Geldzahler said: "Clement Greenberg included the work of both Morris Louis and Kenneth Noland in a show that he did at the Kootz Gallery in the early 1950s. Clem was the first to see their potential. He invited them up to New York in 1953, I think it was, to Helen's studio to see a painting that she had just done called Mountains and Sea, a very, very beautiful painting, which was in a sense, out of Pollock and out of Gorky. It also was one of the first stain pictures, one of the first large field pictures in which the stain technique was used, perhaps the first one. Louis and Noland saw the picture unrolled on the floor of her studio and went back to Washington, DC., and worked together for a while, working at the implications of this kind of painting."

Morris Louis's painting Where 1960, was a major innovation that moved abstract expressionist painting forward in a new direction toward color field and minimalism. Among Louis's major works are his various series of color field paintings. Some of his best known series are the Unfurleds, the Veils, the Florals and the Stripes or Pillars. From 1929 to 1933, Louis studied at the Maryland Institute of Fine and Applied Arts (now Maryland Institute College of Art). He worked at various odd jobs to support himself while painting and in 1935 was president of the Baltimore Artists' Association. From 1936 to 1940, he lived in New York and worked in the easel division of the Works Progress Administration Federal Art Project. During this period, he knew Arshile Gorky, David Alfaro Siqueiros, and Jack Tworkov, returning to Baltimore in 1940. In 1948, he started to use Magna – oil-based acrylic paints. In 1952, Louis moved to Washington, D.C., living there somewhat apart from the New York scene and working almost in isolation. He and a group of artists that included Kenneth Noland were central to the development of color field painting. The basic point about Louis's work and that of other color field painters, sometimes known as the Washington Color School in contrast to most of the other new approaches of the late 1950s and early 1960s, is that they greatly simplified the idea of what constitutes the look of a finished painting.

Noland, working in Washington, DC., was also a pioneer of the color field movement in the late 1950s who used series as important formats for his paintings. Some of Noland's major series were called Targets, Chevrons and Stripes. Noland attended the experimental Black Mountain College and studied art in his home state of North Carolina. Noland studied with professor Ilya Bolotowsky who introduced him to neo-plasticism and the work of Piet Mondrian. There he also studied Bauhaus theory and color with Josef Albers and he became interested in Paul Klee, specifically his sensitivity to color. In 1948 and 1949 he worked with Ossip Zadkine in Paris, and in the early 1950s met Morris Louis in Washington, DC.

In 1970 art critic Clement Greenberg said:

"I'd place Pollock along with Hofmann and Morris Louis in this country among the very greatest painters of this generation. I actually don't think there was anyone in the same generation in Europe quite to match them. Pollock didn't like Hofmann's paintings. He couldn't make them out. He didn't take the trouble to. And Hofmann didn't like Pollock's allover paintings, nor could most of Pollock's artist friends make head or tail out of them, the things he did from 1947 to '50. But Pollock's paintings live or die in the same context as Rembrandt's or Titian's or Velázquez's or Goya's or David's or ... or Manet's or Ruben's or Michelangelo's paintings. There's no interruption, there's no mutation here. Pollock asked to be tested by the same eye that could see how good Raphael was when he was good or Piero when he was good."

Color field movement
By the late 1950s and early 1960s young artists began to break away stylistically from abstract expressionism; experimenting with new ways of making pictures; and new ways of handling paint and color. In the early 1960s several and various new movements in abstract painting were closely related to each other, and superficially were categorized together; although they turned out to be profoundly different in the long run. Some of the new styles and movements that appeared in the early 1960s as responses to abstract expressionism were called: Washington Color School, hard-edge painting, geometric abstraction, minimalism, and color field.

Gene Davis also was a painter known especially for paintings of vertical stripes of color, like Black Grey Beat, 1964, and he also was a member of the group of abstract painters in Washington, D.C. during the 1960s known as the Washington Color School. The Washington painters were among the most prominent of the mid-century color field painters. The artists associated with the color field movement during the 1960s were moving away from gesture and angst in favor of clear surfaces and gestalt. During the early to mid-1960s color field painting was the term for the work of artists like Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, Vasa Velizar Mihich and others whose works were formerly related to second generation abstract expressionism; and also to younger artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard and Frank Stella. All were moving in a new direction away from the violence and anxiety of action painting toward a new and seemingly calmer language of color.

Although color field is associated with Clement Greenberg, Greenberg actually preferred to use the term post-painterly abstraction. In 1964, Clement Greenberg curated an influential exhibition that traveled the country called post-painterly abstraction. The exhibition expanded the definition of color field painting. Color field painting clearly pointed toward a new direction in American painting, away from abstract expressionism. In 2007 curator Karen Wilkin curated an exhibition called Color As Field: American Painting 1950–1975 that traveled to several museums throughout the United States. The exhibition showcased several artists representing two generations of color field painters.

In 1970 painter Jules Olitski said:

"I don't know what Color Field painting means. I think it was probably invented by some critic, which is okay, but I don't think the phrase means anything. Color Field painting? I mean, what is color? Painting has to do with a lot of things. Color is among the things it has to do with. It has to do with surface. It has to do with shape, It has to do with feelings which are more difficult to get at."

Jack Bush was a Canadian abstract expressionist painter, born in Toronto, Ontario in 1909. He was a member of Painters Eleven, the group founded by William Ronald in 1954 to promote abstract painting in Canada, and was soon encouraged in his art by the American art critic Clement Greenberg. With encouragement from Greenberg, Bush became closely tied to two movements that grew out of the efforts of the abstract expressionists: color field painting and lyrical abstraction. His painting Big A is an example of his color field paintings of the late 1960s.

During the late 1950s and early 1960s Frank Stella was a significant figure in the emergence of minimalism, post-painterly abstraction and color field painting. His shaped canvases of the 1960s like Harran II, 1967, revolutionized abstract painting. One of the most important characteristics of Stella's paintings is his use of repetition. His Black Pin Stripe paintings of 1959 startled and shocked an art world that was unused to seeing monochromatic and repetitive images, painted flat, with almost no inflection. During the early 1960s Stella made several series' of notched Aluminum Paintings and shaped Copper Paintings before making multi-colored and asymmetrical shaped canvases of the late 1960s. Frank Stella's approach and relationship to color field painting was not permanent or central to his creative output; as his work became more and more three-dimensional after 1980.

In the late 1960s Richard Diebenkorn began his Ocean Park series; created during the final 25 years of his career and they are important examples of color field painting. The Ocean Park series exemplified by Ocean Park No.129, connects his earlier abstract expressionist works with Color field painting. During the early 1950s, Richard Diebenkorn was known as an abstract expressionist, and his gestural abstractions were close to the New York School in sensibility but firmly based in the San Francisco abstract expressionist sensibility; a place where Clyfford Still has a considerable influence on younger artists by virtue of his teaching at the San Francisco Art Institute.

By the mid-1950s, Richard Diebenkorn along with David Park, Elmer Bischoff and several others formed the Bay Area Figurative School with a return to Figurative painting. During the period between the fall 1964 and the spring of 1965 Diebenkorn traveled throughout Europe, he was granted a cultural visa to visit and view Henri Matisse paintings in important Soviet museums. He traveled to the then Soviet Union to study Henri Matisse paintings in Russian museums that were rarely seen outside of Russia. When he returned to painting in the Bay Area in mid-1965 his resulting works summed up all that he had learned from his more than a decade as a leading figurative painter. When in 1967 he returned to abstraction his works were parallel to movements like the color field movement and lyrical abstraction but he remained independent of both.

During the late 1960s Larry Poons whose earlier Dot paintings were associated with Op Art began to produce looser and more free formed paintings that were referred to as his Lozenge Ellipse paintings of 1967–1968. Along with John Hoyland, Walter Darby Bannard, Larry Zox, Ronald Davis, Ronnie Landfield, John Seery, Pat Lipsky, Dan Christensen and several other young painters a new movement that related to color field painting began to form; eventually called lyrical abstraction. The late 1960s saw painters turning to surface inflection, deep space depiction, and painterly touch and paint handling merging with the language of color. Among a new generation of abstract painters who emerged combining color field painting with expressionism, the older generation also began infusing new elements of complex space and surface into their works. By the 1970s Poons created thick-skinned, cracked and heavy paintings referred to as Elephant Skin paintings; while Christensen sprayed loops, colored webs of lines and calligraphy, across multi-colored fields of delicate grounds; Ronnie Landfield's stained band paintings are reflections of both Chinese landscape painting and the color field idiom, and John Seery's stained painting as exemplified by East, 1973, from the National Gallery of Australia. Poons, Christensen, Davis, Landfield, Seery, Lipsky, Zox and several others created paintings that bridge color field painting with lyrical abstraction and underscore a re-emphasis on landscape, gesture and touch.

Overview
Color field painting is related to post-painterly abstraction, suprematism, abstract expressionism, hard-edge painting and lyrical abstraction. It initially referred to a particular type of abstract expressionism, especially the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, Adolph Gottlieb and several series of paintings by Joan Miró. Art critic Clement Greenberg perceived color field painting as related to but different from action painting.

An important distinction that made color field painting different from abstract expression was the paint handling. The most basic fundamental defining technique of painting is application of paint and the color field painters revolutionized the way paint could be effectively applied.

Color field painting sought to rid art of superfluous rhetoric. Artists like Barnett Newman, Mark Rothko, Clyfford Still, Adolph Gottlieb, Morris Louis, Jules Olitski, Kenneth Noland, Friedel Dzubas, and Frank Stella, and others often used greatly reduced formats, with drawing essentially simplified to repetitive and regulated systems, basic references to nature, and a highly articulated and psychological use of color. In general these artists eliminated overt recognizable imagery in favor of abstraction. Certain artists quoted references to past or present art, but in general color field painting presents abstraction as an end in itself. In pursuing this direction of modern art, these artists wanted to present each painting as one unified, cohesive, monolithic image often within series' of related types.

In distinction to the emotional energy and gestural surface marks and paint handling of abstract expressionists such as Jackson Pollock and Willem de Kooning, color field painting initially appeared to be cool and austere. Color field painters efface the individual mark in favor of large, flat, stained and soaked areas of color, considered to be the essential nature of visual abstraction along with the actual shape of the canvas, which Frank Stella in particular achieved in unusual ways with combinations of curved and straight edges. However, color field painting has proven to be both sensual and deeply expressive albeit in a different way from gestural abstract expressionism. Denying connection to abstract expressionism or any other Art Movement Mark Rothko spoke clearly about his paintings in 1956: "I am not an abstractionist ... I am not interested in the relationship of color or form or anything else. ... I'm interested only in expressing basic human emotions — tragedy, ecstasy, doom and so on — and the fact that a lot of people break down and cry when confronted with my pictures show that I communicate those basic human emotions. ... The people who weep before my pictures are having the same religious experience I had when I painted them. And if you, as you say, are moved only by their color relationships, then you miss the point!"

Stain painting
Joan Miró was one of the first and most successful stain painters. Although staining in oil was considered dangerous to cotton canvas in the long run, Miró's example during the 1920s, 1930s and 1940s was an inspiration and an influence on the younger generation. One of the reasons for the success of the color field movement was the technique of staining. Artists would mix and dilute their paint in buckets or coffee cans making a fluid liquid and then they would pour it into raw unprimed canvas, generally cotton duck. The paint could also be brushed on or rolled on or thrown on or poured on or sprayed on, and would spread into the fabric of the canvas. Generally artists would draw shapes and areas as they stained. Many different artists employed staining as the technique of choice to use in making their paintings. James Brooks, Jackson Pollock, Helen Frankenthaler, Morris Louis, Paul Jenkins, and dozens of other painters found that pouring and staining opened the door to innovations and revolutionary methods of drawing and expressing meaning in new ways. The number of artists who stained in the 1960s greatly increased with the availability of acrylic paint. Staining acrylic paint into the fabric of cotton duck canvas was more benign and less damaging to the fabric of the canvas than the use of oil paint. In 1970 artist Helen Frankenthaler commented about her use of staining: "When I first started doing the stain paintings, I left large areas of canvas unpainted, I think, because the canvas itself acted as forcefully and as positively as paint or line or color. In other words, the very ground was part of the medium, so that instead of thinking of it as background or negative space or an empty spot, that area did not need paint because it had paint next to it. The thing was to decide where to leave it and where to fill it and where to say this doesn't need another line or another pail of colors. It's saying it in space."

Spray painting
Few artists used the spray gun technique to create large expanses and fields of color sprayed across their canvases during the 1960s and 1970s. Some painters who effectively used spray painting techniques include Jules Olitski, who was a pioneer in his spray technique that covered his large paintings with layer after layer of different colors, often gradually changing hue and value in subtle progression. Another important innovation was Dan Christensen's use of a spray technique to great effect in loops and ribbons of bright color; sprayed in clear, calligraphic marks across his large-scale paintings. William Pettet, Richard Saba, and Albert Stadler, used the technique to create large-scale fields of multi-colors; while Kenneth Showell sprayed over crumpled canvases and created an illusion of abstract still-life interiors. Most of the spray painters were active especially during the late 1960s and 1970s.

Stripes
Stripes were one of the most popular vehicles for color used by several different color field painters in a variety of different formats. Barnett Newman, Morris Louis, Jack Bush, Gene Davis, Kenneth Noland and David Simpson, all made important Series' of stripe paintings. Although he did not call them stripes but zips Barnett Newman's stripes were mostly vertical, of varying widths and sparingly used. In Simpson and Noland's case their stripe paintings were all mostly horizontal, while Gene Davis painted vertical stripe paintings and Morris Louis mostly painted vertical stripe paintings sometimes called Pillars. Jack Bush tended to do both horizontal and vertical stripe paintings as well as angular ones.

Magna paint
Magna, a special artist use acrylic paint was developed by Leonard Bocour and Sam Golden in 1947 and reformulated in 1960, specifically for Morris Louis and other stain painters of the color field movement. In Magna pigments are ground in an acrylic resin with alcohol-based solvents. Unlike modern water-based acrylics, Magna is miscible with turpentine or mineral spirits and dries rapidly to a matte or glossy finish. It was used extensively by Morris Louis, and Friedel Dzubas and also by Pop artist Roy Lichtenstein. Magna colors are more vivid and intense than regular acrylic water-based paints. Louis used Magna to great effect in his Stripe Series, where the colors are used undiluted and are poured unmixed directly from the can.

Acrylic paint
In 1972, former Metropolitan Museum of Art curator Henry Geldzahler said: "Color field, curiously enough or perhaps not, became a viable way of painting at exactly the time that acrylic paint, the new plastic paint, came into being. It was as if the new paint demanded a new possibility in painting, and the painters arrived at it. Oil paint, which has a medium that is quite different, which isn't water-based, always leaves a slick of oil, or puddle of oil, around the edge of the color. Acrylic paint stops at its own edge. Color field painting came in at the same time as the invention of this new paint."

Acrylics were first made commercially available in the 1950s as mineral spirit-based paints called Magna offered by Leonard Bocour. Water-based acrylic paints were subsequently sold as "latex" house paints, although acrylic dispersion uses no latex derived from a rubber tree. Interior "latex" house paints tend to be a combination of binder (sometimes acrylic, vinyl, pva and others), filler, pigment and water. Exterior "latex" house paints may also be a "co-polymer" blend, but the very best exterior water-based paints are 100% acrylic.

Soon after the water-based acrylic binders were introduced as house paints, both artists – the first of whom were Mexican muralists – and companies began to explore the potential of the new binders. Acrylic artist paints can be thinned with water and used as washes in the manner of watercolor paints, although the washes are fast and permanent once dry. Water-soluble artist-quality acrylic paints became commercially available in the early 1960s, offered by Liquitex and Bocour under the trade name of Aquatec. Water-soluble Liquitex and Aquatec proved to be ideally suited for stain painting. The staining technique with water-soluble acrylics made diluted colors sink and hold fast into raw canvas. Painters such as Kenneth Noland, Helen Frankenthaler, Dan Christensen, Sam Francis, Larry Zox, Ronnie Landfield, Larry Poons, Sherron Francis, Jules Olitski, Gene Davis, Ronald Davis, Sam Gilliam and others successfully used water-based acrylics for their new stain, color field paintings.

Legacy: influences and influenced
The painterly legacy of 20th-century painting is a long and intertwined mainstream of influences and complex interrelationships. The use of large opened fields of expressive color applied in generous painterly portions, accompanied by loose drawing (vague linear spots and/or figurative outline) can first be seen in the early 20th-century works of both Henri Matisse and Joan Miró. Matisse and Miró, as well as Pablo Picasso, Paul Klee, Wassily Kandinsky, and Piet Mondrian directly influenced the abstract expressionists, the color field painters of post-painterly abstraction and the lyrical abstractionists. Late 19th-century Americans like Augustus Vincent Tack and Albert Pinkham Ryder, along with early American Modernists like Georgia O'Keeffe, Marsden Hartley, Stuart Davis, Arthur Dove, and Milton Avery's landscapes also provided important precedents and were influences on the abstract expressionists, the color field painters, and the lyrical abstractionists. Matisse paintings French Window at Collioure, and View of Notre-Dame both from 1914 exerted tremendous influence on American color field painters in general, (including Robert Motherwell's Open Series), and on Richard Diebenkorn's Ocean Park paintings specifically. According to art historian Jane Livingston, Diebenkorn saw both Matisse paintings in an exhibition in Los Angeles in 1966, and they had an enormous impact on him and his work. Jane Livingston says about the January 1966 Matisse exhibition that Diebenkorn saw in Los Angeles: "It is difficult not to ascribe enormous weight to this experience for the direction his work took from that time on. Two pictures he saw there reverberate in almost every Ocean Park canvas. View of Notre Dame and French Window at Collioure, both painted in 1914, were on view for the first time in the US."

Livingston goes on to say "Diebenkorn must have experienced French Window at Collioure, as an epiphany."

Miró was one of the most influential artists of the 20th century. He pioneered the technique of staining; creating blurry, multi-colored cloudy backgrounds in thinned oil paint throughout the 1920s and 1930s; on top of which he added his calligraphy, characters and abundant lexicon of words, and imagery. Arshile Gorky openly admired Miró's work and painted Miró-like paintings, before finally discovering his own originality in the early 1940s. During the 1960s Miró painted large (abstract expressionist scale) radiant fields of vigorously brushed paint in blue, in white, and other monochromatic fields of colors; with blurry black orbs and calligraphic stone-like shapes, floating at random. These works resembled the color field paintings of the younger generation. Biographer Jacques Dupin said this about Miró's work of the early 1960s: "These canvases disclose affinities – Miró does not in the least attempt to deny this – with the researches of a new generation of painters. Many of these, Jackson Pollock for one, have acknowledged their debt to Miró. Miró in turn displays lively interest in their work and never misses an opportunity to encourage and support them. Nor does he consider it beneath his dignity to use their discoveries on some occasions."

Taking its example from other European modernists like Miró, the color field movement encompasses several decades from the mid 20th century through the early 21st century. Color field painting actually encompasses three separate but related generations of painters. Commonly used terms to refer to the three separate but related groups are abstract expressionism, post-painterly abstraction, and lyrical abstraction. Some of the artists made works in all three eras, that relate to all of the three styles. Color field pioneers such as Jackson Pollock, Mark Rothko, Clyfford Still, Barnett Newman, John Ferren, Adolph Gottlieb, and Robert Motherwell are primarily thought of as abstract expressionists. Artists like Helen Frankenthaler, Sam Francis, Richard Diebenkorn, Jules Olitski, and Kenneth Noland were of a slightly younger generation, or in the case of Morris Louis aesthetically aligned with that generation's point of view; that started out as abstract expressionists but quickly moved to post-painterly abstraction. While younger artists like Frank Stella, Ronald Davis, Larry Zox, Larry Poons, Walter Darby Bannard, Ronnie Landfield, Dan Christensen, began with post-painterly abstraction and eventually moved forward towards a new type of expressionism, referred to as lyrical abstraction. Many of the artists mentioned, as well as many others, have practiced all three modes at one phase of their careers or another. During the later phases of color field painting; as reflections of the zeitgeist of the late 1960s (in which everything began to hang loose) and the angst of the age (with all of the uncertainties of the time) merged with the gestalt of post-painterly abstraction, producing lyrical abstraction which combined precision of the color field idiom with the malerische of the abstract expressionists. During the same period of the late 1960s, and early 1970s in Europe, Gerhard Richter, Anselm Kiefer and several other painters also began producing works of intense expression, merging abstraction with images, incorporating landscape imagery, and figuration that by the late 1970s was referred to as Neo-expressionism.

Painters
The following is a list of color field painters, closely related artists and some of their more important influences:

 * Josef Albers (1888–1976)
 * Edward Avedisian (1936–2007)
 * Walter Darby Bannard (1934–2016)
 * Arvid Boecker (born 1964)
 * Ilya Bolotowsky (1907–1981)
 * Frank Bowling (born 1934)
 * Stanley Boxer (1926–2000)
 * Jack Bush (1909–1977)
 * Dan Christensen (1942–2007)
 * Gene Davis (1920–1985)
 * Ronald Davis (born 1937)
 * Robyn Denny (1930–2014)
 * Richard Diebenkorn (1922–1993)
 * Piero Dorazio (1927–2005)
 * Thomas Downing (1928–1985)
 * Friedel Dzubas (1915–1994)
 * Gabriele Evertz (born 1945)
 * Wojciech Fangor (1922–2015)
 * Paul Feeley (1910–1966)
 * John Ferren (1905-1970)
 * Sam Francis (1923–1994)
 * Sherron Francis (born 1940)
 * Helen Frankenthaler (1928–2011)
 * Sam Gilliam (1933-2022)
 * Joe Goode (born 1937)
 * Robert Goodnough (1917–2010)
 * Cleve Gray (1918–2004)

 * Al Held (1928–2005)
 * Howard Hodgkin (1932–2017)
 * Hans Hofmann (1880–1966)
 * Wolfgang Hollegha (1929-2023)
 * Ralph Hotere (1931–2013)
 * John Hoyland (1934–2011)
 * Paul Jenkins (1923–2012)
 * Wolf Kahn (1927-2020)
 * Jacob Kainen (1909–2001)
 * Minoru Kawabata (1911–2001)
 * Ellsworth Kelly (1923–2015)
 * Paul Klee (1879–1940)
 * Ronnie Landfield (born 1947)
 * Pat Lipsky (born 1941)
 * Morris Louis (1912–1962)
 * Brice Marden (1938-2023)
 * Emily Mason (1932-2019)
 * Henri Matisse (1869–1954)
 * John McLaughlin (1898–1976)
 * Howard Mehring (1931–1978)
 * Mary Pinchot Meyer (1920–1964)
 * Joan Miró (1893–1983)
 * Piet Mondrian (1872–1944)
 * Robert Motherwell (1915–1991)
 * Robert Natkin (1930–2010)
 * Barnett Newman (1905–1970)
 * Kenneth Noland (1924–2010)

 * Jules Olitski (1922–2007)
 * Blinky Palermo (1943–1977)
 * J. S. Parker (1944–2017)
 * Ray Parker (1922–1990)
 * William Perehudoff (1918–2013)
 * William Pettet (1942–2019)
 * John Plumb (1927–2008)
 * Larry Poons (born 1937)
 * Robert Rector (born 1946)
 * Paul Reed (1919–2015)
 * Peter Reginato (born 1945)
 * Ad Reinhardt (1913–1967)
 * Jack Roth (1927–2004)
 * Mark Rothko (1903–1970)
 * Kikuo Saito (1939–2016)
 * John Seery (born 1941)
 * David Simpson (born 1928)
 * Richard Smith (1931–2016)
 * David G. Sorensen (1937–2011)
 * Frederick Spratt (1927–2008)
 * Clyfford Still (1904–1980)
 * Frank Stella (born 1936–2024)
 * Alma Woodsey Thomas (1891–1978)
 * Anne Truitt (1921–2004)
 * John Walker (born 1939)
 * Neil Williams (1934–1988)
 * Peter Young (born 1940)
 * Larry Zox (1937–2006)

title: Color field


text:
Cass Lake (Michigan)

Cass Lake is on the main branch of the Clinton River.

Upstream from Cass Lake is 243 acre Loon Lake. Cass Lake also connects with 363 acre Elizabeth Lake & the small Dow Lake, in Dow Ridge.

Downstream from Cass Lake is the 532 acre Sylvan Lake.

Cass Lake is the largest and deepest lake in Oakland County, and is in the northern Metro Detroit region of southeastern Michigan.

Namesake
Cass Lake was named after former Michigan governor Lewis Cass.

Geography
Cass Lake covers 1,280 acres and has a maximum depth of 123 ft.

It is bordered by the cities, villages, and townships of Waterford Township, West Bloomfield Township, Orchard Lake Village, and Keego Harbor.

Recreation
It is a popular public lake in the Metro Detroit region. The lake is home to the Pontiac Yacht Club.

Dodge No. 4 State Park is located on northeastern Cass Lake, with access via West Bloomfield Township and Waterford Township.

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

title: Cass Lake (Michigan)


text:
A Walk to Remember

A Walk to Remember is a 2002 American coming-of-age romantic drama film directed by Adam Shankman and written by Karen Janszen, based on Nicholas Sparks' 1999 novel of the same name. It stars Shane West, Mandy Moore, Peter Coyote and Daryl Hannah, and was produced by Denise Di Novi and Hunt Lowry for Warner Bros. Pictures.

The novel's 1950s setting was changed to the late 1990s to early 2000s for the film, as the producers were concerned it might not appeal to teenage audiences. The film was shot in the summer of 2001 for 39 days in Wilmington, North Carolina, with many of the sets borrowed from the television series Dawson's Creek. The film, like the book, is dedicated to the memory of Sparks's sister, Danielle, whose cancer-afflicted life inspired the story.

A Walk to Remember was theatrically released on January 25, 2002, and grossed $47.5 million worldwide on an $11.8 million budget. Rotten Tomatoes called the film "wholesome" but at the same time "bland and oppressively syrupy".

Plot
In North Carolina, popular and rebellious teenager Landon Carter and his friends leave evidence of underage drinking on school grounds and severely injure another student as the result of a prank. The principal gives him the choice of being expelled or helping the janitorial staff after school as well as tutoring fellow disadvantaged students at their sister school and finally participating in the school play. During these functions, Landon notices Jamie Sullivan, a girl he has known since kindergarten who is the local minister's daughter. Since he's one of the in-crowd, he has seldom paid attention to Jamie, who wears modest dresses and owns only one sweater.

Landon has trouble learning his lines for the play. Jamie, who is also in the play, agrees to help him on one condition: she warns Landon not to fall in love with her. Landon and Jamie begin practicing at her house after school, and a spark of affection arises between them. However, when he blows her off in front of his friends, she decides she wants nothing to do with him. Feeling guilty, he starts taking initiative on his own with tutoring and rehearsing.

On the opening night of the play, Jamie astounds Landon and the audience with her beauty and voice. Onstage at the ending to the play, Jamie sings. When she finishes, Landon kisses her, which is not part of the play. Jamie continues to avoid him until he gives her a new sweater he bought for her as a way to make up for everything that had happened as well as when Landon's friends play a cruel prank on Jamie by photoshopping her head onto the body of a prostitute and Landon protects her that she warms up to him again. Landon asks Jamie on a date, but she says her father doesn't allow her to date. Landon asks her father if he can date his daughter. Reluctant at first, he gives in.

On their first date, Landon helps Jamie fulfill her list of things she wants to achieve, such as being in two places at once and getting a tattoo. After that, they go to the docks. Jamie tells Landon about how she experiences belief and how it's like the wind. Landon kisses Jamie and confesses his love for her. Landon's mother discovers a private list of his aspirations, including going to medical school, to which Landon reveals that Jamie inspires him to be better. On another date, Landon asks Jamie her plans for the future. She then confesses that she isn't making any because she has leukemia and hasn't been responding to treatment. A desperate Landon asks for his father's help in curing her but is disappointed by his reply.

After coming to terms with Jamie's condition, Landon promises to be by her side until the end. One day, Jamie collapses and ends up in the hospital. While there, Jamie gives Landon a book that belonged to her mother. She states that maybe God sent Landon to her to help her through the rough times and that Landon is her angel. Jamie is given private home care by Landon's estranged father, relieving her father's financial burden. Landon visits his dad, tearfully thanking him for his help. They embrace and are reunited.

Landon is building a telescope for Jamie to be able to see a one-time comet in the springtime. Jamie's father helps him get it finished in time. The telescope is brought to her on the balcony, and she gets a beautiful view of the comet. It is then that Landon asks her to marry him. Jamie tearfully accepts, and they get married in the church in which her deceased mother got married. They spend the summer together, and Jamie dies when summer ends.

Four years later, Landon has finished college and been accepted into medical school. He visits Reverend Sullivan to return Jamie’s mother’s book. Landon apologizes that Jamie did not witness a miracle (an ambition she expressed in the class yearbook). The reverend disagrees, saying that she did and that her miracle was Landon.

Landon visits the docks contemplating the belief that although Jamie is dead, she is with him. It is then that he understands that love is like the wind; you can't see it, but you can feel it.

Development
The inspiration for A Walk to Remember was Nicholas Sparks' sister, Danielle Sparks Lewis, who died of breast cancer in 2000. In a speech he gave after her death in Berlin, the author admits that "In many ways, Jamie Sullivan was my younger sister". The plot was inspired by her life; Danielle met a man who wanted to marry her, "even when he knew she was sick, even when he knew that she might not make it". Both the book and film are dedicated to Danielle Sparks Lewis.

It was filmed in Wilmington, North Carolina in the summer of 2001, at the same time that Divine Secrets of the Ya-Ya Sisterhood (2002) and the television show Dawson's Creek were being filmed there. Many of the sets were from Dawson's Creek (1998)—particularly the school, hospital and Landon's home. The total shooting time was only 39 days, despite Moore being able to only work 10 hours a day because she was a minor. Daryl Hannah, who wore a brown wig as her character, had received a collagen injection in her lips, which went awry and caused noticeable swelling. By the end of filming, however, the symptoms were less obvious.

Casting
Director Shankman wanted the lead characters to be portrayed by young actors: "I wanted young actors with whom teenagers could connect", he said. Shankman arranged a meeting with Shane West after he saw him in a magazine. He was looking for someone who could transition from being very dark to very light. He described his choice as "an instinct" he had about West, who would appear in almost every scene and had "to be either incredibly angry and self-hating or madly in love and heroic." West said: "I don't generally read love stories, but after reading the screenplay, I knew I couldn't wait to read the book so I could truly understand Nicholas Sparks' story and how he envisioned the character of Landon. It's a beautiful story and the characters are very believable, which is what attracted me to the project.

Shankman said of Moore that she "has the voice and the face of an angel" and added that she is luminous. Moore explained that she was moved by the book: "I had such a visceral reaction to it that I remember not being able to read because I was almost hyperventilating while I was crying." Commenting on the film, she said: "It was my first movie and I know people say it may be cliché and it's a tearjerker or it's cheesy, but for me, it's the thing I'm most proud of."

Comparisons to novel
While there are many similarities to the novel by Nicholas Sparks, many changes were made. On his personal website, Sparks explains the decisions behind the differences. For example, he and the producer decided to update the setting from the 1950s to the 1990s, worrying that a film set in the 50s would fail to draw teens. "To interest them," he writes, "we had to make the story more contemporary." To make the update believable, Landon's pranks and behavior are worse than they are in the novel; as Sparks notes, "the things that teen boys did in the 1950s to be considered a little 'rough' are different than what teen boys in the 1990s do to be considered 'rough.'"

Sparks and the producer also changed the play in which Landon and Jamie appear. In the novel, Hegbert wrote a Christmas play that illustrated how he once struggled as a father. Due to time constraints, the sub-plot showing how he overcame his struggles could not be included in the film. Sparks was concerned that "people who hadn't read the book would question whether Hegbert was a good father", adding that "because he is a good father and we didn't want that question to linger, we changed the play."

A significant difference is that at the end of the novel, unlike the film, it is ambiguous whether Jamie died or simply disappeared into the shadow world. Sparks says that he had written the book knowing she would die, yet had "grown to love Jamie Sullivan", and so opted for "the solution that best described the exact feeling I had with regard to my sister at that point: namely, that I hoped she would live."

Soundtrack
The film's soundtrack was released by Moore's first label Epic Records and Sony Music Soundtrax on January 15, 2002. It features six songs by Moore and others by acts Switchfoot, Rachael Lampa and many more.

Box office
A Walk to Remember grossed $41,281,092 in North America and $6,213,824 in other territories for a worldwide total of $47,494,916.

In its opening weekend, the film grossed $12,177,488, finishing third at the box office behind Black Hawk Down ($17,012,268) and Snow Dogs ($13,079,373).

Critical reception
On Rotten Tomatoes the film has an approval rating of 29% based on reviews from 105 critics, with an average rating of 4.2/10. The site's critical consensus says: "Though wholesome, the Mandy Moore vehicle A Walk to Remember is also bland and oppressively syrupy." On Metacritic the film has a weighted average score of 35 out of 100, based on 26 reviews, which indicates "generally unfavorable". Audiences surveyed by CinemaScore gave the film a grade A on scale of A to F.

Entertainment Weekly retitled the film "A Walk to Forget". Michael O'Sullivan of The Washington Post wrote: "If you can't see everything in this film coming from a mile away, then you really need to get out more." Stephanie Zacharek of Salon.com wrote: "A vehicle for teen singing sensation Mandy Moore. As vehicles go, it's an Edsel." In 2010, Time named it one of the ten worst chick flicks ever made.

Other reviews were more positive. Joe Leydon of Variety wrote: "As Carter, Shane West makes an appealingly persuasive transition from embittered cynic to earnest romantic. Moore, looking a bit like Phoebe Cates' kid sister, does a fine job of conveying Jamie's strong religious convictions as one of many admirable elements in young woman's personality. [...] As lead characters discuss their faith—or, in Carter's case, the lack thereof—actors are able to make those conversations sound perfectly natural, enabling pic to avoid any trace of overt preachiness." Chicago Sun-Times' film critic Roger Ebert praised Moore and West for their "quietly convincing" acting performances. The Chicago Reader felt that the story "has a fair amount of nuance and charm". The San Francisco Chronicle reviewer Octavio Roca found the film "entertaining" and wrote: "The picture is shamelessly manipulative, but in the best melodramatic sense." S. Williams of Momzone magazine felt that the movie was "everything a chick flick should be" and praised Shankman's direction. Us Weekly deemed it one of the 30 most romantic movies of all time. In a positive review for Christianity Today, Jeffrey Overstreet appreciated how "[t]he main character is portrayed as a Christian without being psychopathic or holier-than-thou".

Home media
A Walk to Remember was released by Warner Home Video on DVD on July 9, 2002. The DVD contains two commentaries, one featuring Shane West, Mandy Moore, and director Adam Shankman; the second featuring screenwriter Karen Janszen and author Nicholas Sparks. Also included is the music video for Moore's single "Cry", and the film's theatrical trailer. A "Family-Edited Version" was later released on December 24, 2002.

Shout Factory released the film on Blu-ray on December 13, 2022.

In other media
In the HBO television series Entourage, the character of Vincent Chase was credited as having a small supporting role in the film. In the fictional Entourage universe, Chase has an on-set relationship with Moore during the filming of A Walk to Remember.

title: A Walk to Remember


text:
Hajime no Ippo

Hajime no Ippo (はじめの一歩) is a Japanese boxing-themed manga series written and illustrated by George Morikawa. It has been serialized by Kodansha in the manga magazine Weekly Shōnen Magazine since October 1989, with its chapters collected into 140  volumes as of February 2024. It follows the story of high school student Ippo Makunouchi, as he begins his career in boxing and over time obtains many titles and defeats various opponents.

A 76-episode anime adaptation produced by Madhouse aired on Nippon TV from October 2000 to March 2002. A television film and an original video animation (OVA) were released in 2003. A second series titled Hajime no Ippo: New Challenger aired from January to June 2009. A third series Hajime no Ippo: Rising aired from October 2013 to March 2014.

In North America, the first series, including the television film, was licensed by Geneon in 2003, which released it under the name Fighting Spirit. It was re-licensed by Discotek Media in 2020, including the television film and the OVA.

By July 2023, the manga had over 100 million copies in circulation, making it one of the best-selling manga series of all time. In 1991, Hajime no Ippo won the 15th Kodansha Manga Award in the category.

Plot
Ippo Makunouchi is an extremely shy high school student, unable to make friends due to always being busy helping his mother run their family fishing charter business. Because he kept to himself, a group of bullies led by Umezawa got into the habit of picking on him. One day, when these bullies gave him a rather serious beating, a middleweight professional boxer who was passing by stopped them and took the injured Ippo to the Kamogawa Gym (鴨川ボクシングジム), owned by retired boxer Genji Kamogawa, to treat his wounds. After Ippo awoke to the sounds of boxers training, the boxer who saved him, Mamoru Takamura, tried to cheer Ippo up by letting him vent his frustrations on a sandbag. It was then that they had their first glimpse into Ippo's talent for boxing. After that incident, Ippo gave the situation a lot of thought and decided that he would like to begin a career as a professional boxer. When he conveys this message to Mamoru Takamura, he gets verbally reprimanded: Takamura thought Ippo was taking professional boxing too lightly. However, Takamura felt that he couldn't outright refuse Ippo, especially since his feat of punching the sandbag much harder than anybody else in the gym (except for Takamura). Therefore, he challenges Ippo to catch 10 falling leaves from a tree simultaneously after a week of training, fully convinced that Ippo would fail, Takamura jogs away as he continues his roadwork.

However, after a week of tough training, involving nightly hours, Ippo manages the technique in the nick of time. He waits for the jogging Takamura to come by his usual path and surprises him by catching all 10 of the falling leaves and only doing so with his left hand. This impresses Takamura greatly, and he informs Ippo that the action required to catch all 10 leaves is called a boxing jab. Takamura invites Ippo back to the boxing gym for introductions.

When they got back to the gym, the coach, Genji Kamogawa, was not at all impressed by Makunouchi's lack of fighting spirit, and therefore, was challenged by Takamura to have a practice spar against a member of the gym. However, Kamogawa decides to give Ippo a severe challenge and tells him to spar with Miyata, who is 16, the same age as Ippo. Miyata is known as a boxing prodigy and is one of Kamogawa gym's future hopes. Takamura gets extremely worried with this prospect, as Miyata skill is way above the four-rounder pro boxer. As expected, Ippo loses by KO, but not until Miyata struggles dodging his punches and finally ends the match with his trump card: "The Counter". Coach Kamogawa decides that he has great fighting sense and spirit and decides to train him to eventually become the Japanese champion with a world ranking while Miyata became the OPBF (Oriental Pacific Boxing Federation) Champion. Both are expected to hit high in the rankings and, eventually, fight each other for the world champion's belt.

The story focuses heavily on character development—even during the matches something is learned about both fighters. Ippo has a habit of running into his opponents before matches, giving him a chance to learn more about their backgrounds and even sympathize with them. Ippo is an extremely timid and modest person who never assumes that he is strong enough. He instead draws courage from seeing the strength of his opponent and realizing that he is able to stand up to it. Ippo and his friendly rivalry with Miyata is the main draw in the early part of the series. That later changes to Ippo's path toward the Japanese Featherweight Championship and eventually the world championship. Along the way the audience is given glimpses into the other characters' pasts, motivations, relationships to others, and current boxing trials. A colorful cast of supporting characters and opponents as well as side stories concerning their paths in the boxing world rounds out the series.

Manga
Written and illustrated by George Morikawa, Hajime no Ippo has been published in Kodansha's manga anthology Weekly Shōnen Magazine since October 11, 1989. It has run in the magazine for over 30 years, and reached its 1000th chapter in December 2012. It became one of the longest running manga series with over 1,400 chapters released in Japan by 2022. Kodansha has collected its chapters into individual volumes. The first volume was published on February 17, 1990. As of February 16, 2024, 140 volumes have been published. In June 2021, it was announced that the series would get a digital release, for the first time in 33 years of publication, starting on July 1 of the same year.

Kodansha started publishing the series digitally in English on their K Manga service, with the first ten volumes (first 87 chapters) released in September 2023, with new chapters released every week.

Anime
Hajime no Ippo has been adapted into an anime series franchise. The first 75-episode anime television series, produced by Madhouse, Nippon Television and VAP and directed by Satoshi Nishimura, aired on Nippon TV between October 4, 2000, and March 27, 2002. The episodes were collected into twenty-five DVDs released by VAP from March 16, 2001 to March 21, 2003. The last DVD includes a special episode which did not air in Japan, numbered 76. A television film titled Hajime no Ippo: Champion Road aired on April 18, 2003. An original video animation (OVA) titled Hajime no Ippo Mashiba vs. Kimura was released on September 5, 2003.

A second series titled Hajime no Ippo: New Challenger aired on Nippon TV from January 6 to June 30, 2009.

In 2009, Rikiya Koyama, the voice actor of Mamoru Takamura, revealed on his blog that a sequel to the Hajime no Ippo: New Challenger television series was being planned. At the end of his blog entry, he wrote, "Of course, a sequel is also being planned!!". In July 2013, it was reported in that year's 34th issue of Kodansha's Weekly Shōnen Magazine that a third season of Hajime no Ippo would air in 2013. The third season, titled Hajime no Ippo: Rising, ran for 25 episodes from October 5, 2013 to March 29, 2014. Hajime no Ippo: Rising was streamed on Crunchyroll.

In North America, the first series was licensed by Geneon Entertainment in 2003, which released it under the name Fighting Spirit. Geneon distributed Fighting Spirit on 15 DVDs with five episodes per disc. The first DVD was released on July 6, 2004 and the fifteenth released on December 19, 2006. The DVDs included English and Spanish language tracks, as well as the original Japanese. The TV film Champion Road was released on North America on January 9, 2007. There were no plans to release the OVA, Mashiba vs. Kimura. Disc sales of the series did not perform well. In September 2020, Discotek Media announced that they had licensed the series, including the 76 episodes, Champion Road and, for the first time in North America, the OVA Mashiba vs. Kimura. The first Blu-ray Disc set (episodes 1–24) was released on January 26, 2021. The second set (episodes 25–48) was released on March 30, 2021.

Music
The music for the first anime series was composed by Tsuneo Imahori, who also did the third opening theme song. Tracks of guitars, drums, piano, horns, and combinations of the instruments were used to help accentuate the mood and action of the scenes. The soundtrack was released in Japan on two CDs, First KO and Final Round. The music for the second series was composed by Yoshihisa Hirano. In the third series, Yoshihisa Hirano and Tsuneo Imahori are credited for the music.

Anime theme songs

 * Opening theme songs
 * 1) "Under Star" by Shocking Lemon (episodes 1–25)
 * 2) "Inner Light" by Shocking Lemon (episodes 26–50, TV movie)
 * 3) "Tumbling Dice" by Tsuneo Imahori (episodes 51–76)
 * 4) "Hekireki" by Last Alliance (episodes 77–102)
 * 5) "Yakan Hikou" by Wasureranneyo (episodes 103–127)

 * Ending theme songs
 * 1) "Yuuzora no Kamihikouki" by Mori Naoya (episodes 1–25, TV movie)
 * 2) "360°" by Mori Naoya (episodes 26–50, 75, OVA)
 * 3) "Eternal Loop" by Saber Tiger (episodes 51–74, 76)
 * 4) "8 AM" by Coldrain (episodes 77–102)
 * 5) "Buchikome!!" by Shikuramen (episodes 103–127)

Video games
A total of nine video games based on the series have been released, included on the PlayStation, PlayStation 2, Game Boy Advance, Wii, PlayStation Portable, Nintendo DS, and PlayStation 3. Three of the games have been released in North America and in PAL territories.

Ippo and Takamura have also appeared in the 2009 crossover video game Sunday vs Magazine: Shūketsu! Chōjō Daikessen as playable characters.

Reception
Hajime no Ippo won the 15th Kodansha Manga Award in the category in 1991. The series also received a Special Award at the 43rd Kodansha Manga Award, commemorating 110 years since Kodansha's founding in 2019. On TV Asahi's Manga Sōsenkyo 2021 poll, in which 150,000 people voted for their top 100 manga series, Hajime no Ippo ranked 47th.

By September 2008, the Hajime no Ippo manga had over 73 million copies in circulation. By November 2019, it had over 96 million copies in circulation. By July 2023, it had over 100 million copies in circulation.

Anime Academy gave the first anime series a glowing response; all five reviewers rated it above 90%, with one referring to the series as "the cream of the crop" of the sports genre in anime, and another stating that "fighting and character development have never tangoed so well together". Gia Manry of Fanboy.com listed the series as one of their "Top Ten Underrated Manga". IGN listed Hajime no Ippo: Rising among the best anime series of the 2010s.

title: Hajime no Ippo


text:
Martin Mull

Martin Eugene Mull (August 18, 1943 – June 27, 2024) was an American comic actor whose career included contributions as a musician and painter. He became known on Mary Hartman, Mary Hartman, its spin-off Fernwood 2 Night, and America 2 Night. Other notable roles included Colonel Mustard in the 1985 film Clue, Leon Carp on Roseanne, Willard Kraft on Sabrina the Teenage Witch, Vlad Masters / Vlad Plasmius on Danny Phantom, and Gene Parmesan on Arrested Development. He had a recurring role on Two and a Half Men as Russell, a drug-using, humorous pharmacist.

Early life and education
Mull was born in Chicago, the son of Betty Mull, an actress and director, and Harold Mull, an acoustics engineer. He moved with his family to North Ridgeville, Ohio, when he was two years old. They lived there until he was 15 years old when his family moved to New Canaan, Connecticut. He attended and graduated from New Canaan High School. Mull studied painting and graduated in 1965 from the Rhode Island School of Design with a Bachelor of Fine Arts; in 1967, he earned a Master of Fine Arts in painting, also from RISD.

Music
Mull broke into show business as a songwriter, penning Jane Morgan's 1970 country single, "A Girl Named Johnny Cash", which peaked at No. 61 on Billboard's country charts. Shortly thereafter, he began his own recording career.

Throughout the 1970s, and especially in the first half of the decade, Mull was best known as a musical comedian, performing satirical and humorous songs both live and in studio recordings. Rather than use the stage trappings of most musical acts, Mull decorated his stage with comfortable thrift store furniture. Notable live gigs included opening for Randy Newman and Sandy Denny at Boston Symphony Hall in 1973, Frank Zappa at Austin's Armadillo World Headquarters in 1973, Billy Joel in Wilkes-Barre, Pennsylvania in 1974; and for Bruce Springsteen at the Shady Grove Music Fair in Gaithersburg, Maryland in October 1974. His self-titled debut album, released by Capricorn in 1972, featured many noteworthy musicians including Ramblin' Jack Elliott, Levon Helm from The Band, Keith Spring of NRBQ, Jack Bone, and Libby Titus.

Elvis Costello and Gary Sperrazza attribute the remark "Writing about music is like dancing about architecture" to Martin Mull.

Acting
Mull's first well-known acting role was as Garth Gimble in the 1976 television nighttime absurdist soap opera Mary Hartman, Mary Hartman. That led to work in the spin-off talk show parodies Fernwood 2 Night (1977) and America 2 Night (1978), in which he played talk show host Barth Gimble (Garth's twin brother), opposite Fred Willard, as sidekick and announcer Jerry Hubbard. Mull appeared as the neurotic, libidinous disc jockey Eric Swan in the 1978 movie FM, his feature film debut. In 1979, Mull appeared in the Taxi episode Hollywood Calling. He created, wrote, and starred in the short-lived 1984 CBS sitcom Domestic Life, with Megan Follows playing his teenaged daughter.

During the 1980s, Mull played supporting roles in the films Mr. Mom (1983) and Clue (1985), and had a rare lead role in Serial (1980). In 1985, he co-created and starred in The History of White People in America—the Associated Press said the mockumentary was "what many thought was his best work". He also starred in a series of commercials for Michelob and Pizza Hut, and in a series of television and radio commercials for Red Roof Inn with Willard. He appeared in the 1986 Pecos Bill episode of the Shelley Duvall TV series Tall Tales & Legends. In a 1990 episode of The Golden Girls, he played a hippie who was afraid of the outside world.

Mull had a long-running role from 1991 to 1997 as Leon Carp, Roseanne Conner's gay boss (and later business partner) on the TV series Roseanne. From 1997 to 2000, he played Willard Kraft on the show Sabrina the Teenage Witch; he was Sabrina Spellman's high school's vice-principal in seasons 2 and 3 and her high school's principal in season 4. Mull appeared as a guest star on the game show Hollywood Squares, appearing as the center square in the show's final season, from 2003 to 2004. He did the voice of Vlad Masters / Vlad Plasmius, the main villain in Danny Phantom from 2004 to 2007.

In late 2004 and in 2013's Netflix-produced Season 4, Mull portrayed Gene Parmesan, a private investigator, on the TV series Arrested Development. From 2008 to 2013, he had a recurring role on the show Two and a Half Men as Russell, a humorous drug-using and selling pharmacist. During 2008 and 2009, Mull guest starred in two episodes of the television series Gary Unmarried, as Allison's father. In 2015, he appeared in two episodes of the TV series Community as George Perry, the father of Britta Perry. He also starred in the Fox television sitcoms Dads (2013-14) and The Cool Kids (2018-19), the latter with David Alan Grier, Vicki Lawrence, and Leslie Jordan. In 2016, Mull appeared as guest star in the satirical TV series Veep, a role that earned him an Emmy nomination. His later credits included The Ranch, Brooklyn Nine-Nine, and Bob's Burgers.

Art
Mull began painting in the 1970s, and his work has appeared in group and solo exhibits. He participated in the June 15, 1971 exhibit "Flush with the Walls" in the men's room of the Boston Museum of Fine Arts to protest the lack of contemporary and local art in the museum. His first serious one-person exhibition was held in 1980 at the Molly Barnes Gallery in Los Angeles and was credited by artist Mark Kostabi as instrumental in launching his own career because of "Mull's simultaneous embrace of humor and gravitas in visual art." His work often combined photorealist painting, and the pop art and collage styles. He published a book of some of his paintings, titled Paintings Drawings and Words, in 1995. One of his paintings was used on the cover for the 2008 Joyce Carol Oates novel My Sister, My Love. Another one of his paintings, titled After Dinner Drinks (2008), which is owned by Steve Martin, was used for the cover of Love Has Come for You, an album by Steve Martin and Edie Brickell.

Personal life and death
Mull was divorced twice and then married singer Wendy Haas. Mull and Haas had a daughter, Maggie,  who as of 2021 is a co-executive producer for Family Guy. In a 2010 interview on The Green Room with Paul Provenza, Mull said that he was agnostic, "I certainly don't begrudge someone else their choice to follow whatever they do, it's just for me, it doesn't make a lot of sense. I think more harm has come to this planet through organized religion, probably, than any single situation that we've invented."

Mull died from pancreatic cancer at his Los Angeles home on June 27, 2024; he was 80.

Discography

 * Martin Mull (1972)
 * "Dueling Tubas" (single) charted at #92 on Billboard's Hot 100 (1973); #87 in Canada; #70 in Canada AC
 * Martin Mull and His Fabulous Furniture in Your Living Room! (1973)
 * Normal (1974)
 * In the Soop with Martin Mull (with Ed Wise and Les Daniels, recorded in 1967, released in 1974)
 * Days of Wine and Neuroses (1975)
 * I'm Everyone I've Ever Loved (1977)
 * No Hits, Four Errors – The Best of Martin Mull (1977)
 * Sex & Violins (1978)
 * Near Perfect/Perfect (1979)
 * Mulling It Over – A Musical Ouvre-View of Martin Mull (1998)

title: Martin Mull


text:
Caboolture railway line

The Caboolture railway line refers to the section of Queensland's North Coast Line that has a regular suburban railway service, extending north of Brisbane, the state capital of Queensland, Australia. The line commences at Roma Street railway station, travelling through the city and extends through Brisbane's northern suburbs to Caboolture, which the line continues north to Sunshine Coast and connects with the Ipswich line south-west of Brisbane. The line distance from Brisbane Central railway station is 49.6 km.

Lines that branch from it are the Ferny Grove line at Bowen Hills, the Doomben and Airport lines at Eagle Junction, the Shorncliffe line at Northgate and the Redcliffe Peninsula line at Petrie.

History

The first section of the line, to Northgate (and onto Sandgate) opened in 1882. In 1883 the Queensland government decided to link Gladstone to Brisbane by railway, and eventually decided upon Northgate as the junction for the new line.

The alignment from Roma St to Bowen Hills was via Normanby (today known as the Exhibition line), and this remained the case until the dual track line via Central opened in 1890.

The Queensland Government called tenders for construction of the new line in 1886, with the contractor undertaking works "energetically", and despite delays due to the late arrival of bridge beams, the line was unofficially opened on 11 June 1888, with the official opening on 16 June 1888. The next section of the North Coast line to Landsborough opened in 1890.

The section from Bowen Hills to Eagle Junction was duplicated in 1886, with the section to Northgate duplicated in 1890, and on to Caboolture by 1917.

The section from Roma St to Bowen Hills was electrified in 1979, to Northgate in 1982, to Petrie in 1983 and to Caboolture in 1986.

The growth in patronage as a result of electrification resulted in the quadruplication of the Roma St-Northgate section in 1996, including 2 pairs of single track tunnels and the realisation of the use of the Bowen Hills tunnel widened 20 years earlier. Some of the roadbed and bridge abutments had been built in the 1950s before the original quadruplication scheme was abandoned. A third line has been added as far as Lawnton, which has been extended to Petrie as part of the Redcliffe Peninsula line, which opened on 4 October 2016. Following the opening of the Redcliffe Peninsula line, a decision was made that all services on the Caboolture line would run express between Petrie and Bowen Hills, stopping only at Northgate and Eagle Junction. Stations between Petrie and Northgate would be serviced by the new Redcliffe Peninsula services while stations between Northgate and Bowen Hills would continue to be serviced by other existing services.

Line guide and services
All trains run express between Petrie and Bowen Hills, stopping only at Northgate and Eagle Junction. The typical travel time between Caboolture and Brisbane City is approximately 51 minutes (to Central). A few services that originate or continue to Gympie North on the Sunshine Coast line skips stations between Caboolture and Bowen Hills stopping only at Petrie and Northgate (45 minutes)

During the off-peak, services generally continue to Ipswich railway station on the Ipswich and Rosewood line.

Passengers for/from the Sunshine Coast line change at Petrie or Northgate, Redcliffe Peninsula line at Petrie, Shorncliffe line at Northgate, Airport and Doomben lines at Eagle Junction, Ferny Grove line change at Bowen Hills, and all other lines at Central.

title: Caboolture railway line


text:
Torah ark

A Torah ark (also known as the hekhal, היכל, or aron qodesh, אֲרוֹן קׄדֶש) is an ornamental chamber in the synagogue that houses the Torah scrolls.

History
The ark is also known as the ark of law, or in Hebrew the Aron Kodesh (אָרוֹן קׄדֶש) or aron ha-Kodesh ('holy ark') in Ashkenazi communities and as the Hekhal ('sanctuary') among Sefardi communities. The name Aron Kodesh is a reference to the Ark of the Covenant, which was stored in the Holy of Holies in the inner sanctuaries of both the ancient Tabernacle and the Temple in Jerusalem. Similarly, Hekhál (הֵיכָל 'palace'; also written hechal, echal, heichal or Echal Kodesh—mainly among Balkan Sephardim) was used in the same time period to refer to the inner sanctuary. The hekhal contained the Menorah, Altar of Incense and Table of the Showbread.

Customs and location
In some ancient synagogues, such as the fifth-century synagogue in Susya, the Torah scroll was not placed inside the synagogue at all, but in a room adjacent to it, signifying that the sacredness of the synagogue does not come from the ark but from its being a house of prayer. The Torah was brought into the synagogue for reading purposes.

In synagogues outside of Jerusalem, the ark is placed in a chamber that is in a recess in the wall, facing Jerusalem, and worshipers face this direction when reciting prayers of the service such as the Amidah.

The ark is often closed with a parochet ("curtain") placed either outside the doors of the Holy Ark (Ashkenazi and Mizrachi custom) or inside the doors of the ark (Spanish and Portuguese and Moroccan or Sephardic custom). The parochet is an ornate cloth that resembles the same cloth that was once on the golden Ark. Both the aron kodesh and parochet are usually inscribed with verses from Judaic holy scripture. These inscriptions generally display the purity of the synagogue or the celebrated uniqueness of the scrolls placed within.

Jewish law states the ark is the second holiest part of a synagogue after the Torah scrolls themselves. Customs call for the congregation when reciting key prayers (such as Avinu Malkeinu – "Our Father Our King", in many communities), to stand and face the ark, on fasting days, the Ten Days of Repentance between Rosh Hashana and Yom Kippur (also called the High Holidays), and for many piyyutim (poems, songs, etc.) recited during High Holy Day services. Many who partake in these customs consider it respectful to stand as long as the ark is open and the Torah is being moved to the reading table (or podium). However, there is no actual obligation (law) to remain standing when the ark is open, but it is a universally accepted custom. In addition to this custom is the custom to never turn ones back towards the ark even when leaving the sanctuary. Instead one must back out until they have left the vicinity of the ark, and only then can they turn their back (by the Kotel which is considered as a synagogue itself, this custom also exists).

Evolution
Originally, the scrolls were placed in moveable containers that were risen up. The more permanent placement of the ark was designed as the tribes settled and built temples. As early as 245 C.E. in the synagogue of Dura-Europos a slit within the holy wall (or wall facing Jerusalem) was created for the ark. In ancient times, the cloth wrapped scrolls are believed to have been placed flat within a low wooden box. Historical records or discoveries point to a variety of exterior designs becoming popular within the Jewish culture of the time. Archeologists found early Torah arks within the Jewish catacombs in Rome decorated with Pompeian frescoes, paintings, and graffiti.

Throughout Europe, in the Middle Ages, designs favored taller arks. In the 14th and 15th centuries, Spanish and German Jewish Hebrew texts depict a new design. These texts placed the scrolls inside the ark standing upright, decorated, and wrapped with the appropriate cloth and covers. A Sephardic synagogue based in Amsterdam (c.1675) contains a baroque style ark, which takes up the entire width of the central hub of the building. The Sephardic synagogue based as far north as London (c. 1701) adopted the design as mainstream. In this period, most synagogues in Europe were designed with the reading table (or podium) in the center of the building. The ark was placed on the Eastern wall, so the congregation would be facing Jerusalem when praying.

During the 18th century, German synagogues incorporated a baroque style design. Decorative features such as pilasters, columns, and vases became a standard practice. Wood and stone carvers in Eastern Europe began to employ unique local craft designs in synagogue architecture. Folk art and animals were popular design features added to arks created during this period. Early designs in the United States featured built-in arks in synagogues, such as the 1763 Touro Synagogue in Newport, Rhode Island, which was inspired by a trend of grandeur in architectural design. The United States Jewish community continued to favor the grand or classical design style until around 1840. In the mid-1800s the Moorish style synagogues influenced by the Oriental style became the latest fashion in synagogue design. The Oriental ark design included sliding doors and a curved forepart. The most notable features of this era included domes and arches that contained geometrical polychrome designs. Many synagogue styles from the 16th to the 19th century can be seen across American and throughout Europe. However, after World War II, the ark design evolved into an art form. New experimental forms and materials were employed in the making of modern arks based on the unique interests of the community commissioning the ark.

title: Torah ark


text:
Expressways of Beijing

Beijing was first connected to outside areas, by the Jingshi Expressway, in the late 1980s and early 1990s. Now, many expressways connect Beijing and there are plans for future expressways.

History
Source:

When the Airport Expressway and the Jingjintang Expressway opened, Beijing was already gripped by 'expressway fever'. In the far eastern part of the town, lay the less popular Jingha Expressway existed until the construction of the Jingtong Expressway in the mid-1990s, which brought more recognition to the Jingha Expressway. However, it is still too far from central Beijing to be considered a key expressway.

By the People's Republic of China's 50th anniversary, more expressways were being built in Beijing. The Badaling Expressway, Jingshen Expressway, and in 2000, the Jingkai Expressway were constructed. Beijing then had eight expressways.

In 2001, the Jingcheng Expressway was built. The northeastern and southeastern parts were ready to accommodate two more expressways (the Jingping/Jingji and Northern Jingji Expressways, respectively).

In 2004, the municipal government publicly announced a plan to complete up to 890 km of expressways (277 km by 2006). By 2006, the 6th Ring Road would be completed, and in the same year, a major batch of expressways would also be finished.

Currently, there are a total of 15 main expressways around Beijing including the Jingping/Jingji, Northern Jingjin, Southern Jingjin, 2nd Airport Expressway, Northern Airport Expressway, Litian Expressway, and the nine existing expressways. Out of these, 11 radiate from the city centre of Beijing, as the majority of residents tend to live farther away from the city centre.

2005 plan
In early January 2005, mainland authorities revealed a plan for seven national expressways originating from Beijing. Among these there was an expressway bound straight for Taiwan.

The expressways include:

 * Beijing - Shanghai (Jinghu Expressway)
 * Beijing - Taipei
 * Beijing - Kunming
 * Beijing - Hong Kong/Macau
 * Beijing - Lhasa
 * Beijing - Urumqi
 * Beijing - Harbin

After the 'Three Links' come into effect, the projected 85000 km of mainland expressways will have a connection, possibly by tunnel, to Taiwan and all expressways on the island.

title: Expressways of Beijing


text:
Global Village (Canadian radio show)

Global Village was an entertainment program on the Radio One and Radio 2 networks of the Canadian Broadcasting Corporation, hosted by Jowi Taylor. It was heard on the Radio One network between 8:00 p.m. and 9:00 p.m. local time on Wednesdays, or 8:30 p.m. to 9:30 p.m. in Newfoundland, and on the Radio Two network between 6:30 p.m. and 7:30 p.m. Eastern Time on Saturdays. The program was also heard over Radio Canada International. The main concept of Global Village was a showcase of music from around the world, as well as news pertaining to international music.

In March 2007, the program was cancelled, although elements of it were incorporated into a new expanded one-hour edition of the documentary series Dispatches.

title: Global Village (Canadian radio show)


text: Category:Beta-adrenergic agonists

title: Category:Beta-adrenergic agonists