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

Prominent examples of the arts include:

They can employ skill and imagination to produce objects and performances, convey insights and experiences, and construct new environments and spaces.

The arts can refer to common, popular, or everyday practices as well as more sophisticated, systematic, or institutionalized ones. They can be discrete and self-contained or combine and interweave with other art forms, such as the combination of artwork with the written word in comics. They can also develop or contribute to some particular aspect of a more complex art form, as in cinematography. By definition, the arts themselves are open to being continually redefined. The practice of modern art, for example, is a testament to the shifting boundaries, improvisation and experimentation, reflexive nature, and self-criticism or questioning that art and its conditions of production, reception, and possibility can undergo.

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

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  Featured articles are displayed here, which represent some of the best content on English Wikipedia.
  • Image 1 "Partners in Crime" is the first episode of the fourth series of the British science fiction television series Doctor Who. It was broadcast on BBC One on 5 April 2008. The episode reintroduced actor and comedian Catherine Tate as Donna Noble, who had previously appeared in the 2006 Christmas Special "The Runaway Bride". In the episode, Donna and the alien time traveller the Tenth Doctor (David Tennant) meet while separately investigating Adipose Industries, a company that has created a revolutionary diet pill. Together, they attempt to stop the death of thousands of people in London after the head of the company, the alien Miss Foster (Sarah Lancashire), creates short white aliens made from human body fat. The episode's alien creatures, the Adipose, were created using the software MASSIVE, commonly used for crowd sequences in fantasy and science fiction films. "Partners in Crime" features the return of three recurring characters: Jacqueline King reprises her role as Sylvia Noble from "The Runaway Bride"; Bernard Cribbins reprises his role as Wilfred Mott from "Voyage of the Damned", to replace the character of Geoff Noble after actor Howard Attfield died; and Billie Piper briefly reprises her role as Rose Tyler for the first time since the second series' finale "Doomsday" (2006), in a scene that was not included in preview showings. (Full article...)
    "Partners in Crime" is the first episode of the fourth series of the British science fiction television series Doctor Who. It was broadcast on BBC One on 5 April 2008. The episode reintroduced actor and comedian Catherine Tate as Donna Noble, who had previously appeared in the 2006 Christmas Special "The Runaway Bride". In the episode, Donna and the alien time traveller the Tenth Doctor (David Tennant) meet while separately investigating Adipose Industries, a company that has created a revolutionary diet pill. Together, they attempt to stop the death of thousands of people in London after the head of the company, the alien Miss Foster (Sarah Lancashire), creates short white aliens made from human body fat. The episode's alien creatures, the Adipose, were created using the software MASSIVE, commonly used for crowd sequences in fantasy and science fiction films.

    "Partners in Crime" features the return of three recurring characters: Jacqueline King reprises her role as Sylvia Noble from "The Runaway Bride"; Bernard Cribbins reprises his role as Wilfred Mott from "Voyage of the Damned", to replace the character of Geoff Noble after actor Howard Attfield died; and Billie Piper briefly reprises her role as Rose Tyler for the first time since the second series' finale "Doomsday" (2006), in a scene that was not included in preview showings. (Full article...)
  • Image 2 The Minute Man is an 1874 sculpture by Daniel Chester French in Minute Man National Historical Park, Concord, Massachusetts. It was created between 1871 and 1874 after extensive research, and was originally intended to be made of stone. The medium was switched to bronze and it was cast from ten Civil War-era cannons appropriated by Congress. The statue depicts a minuteman stepping away from his plow to join the patriot forces at the Battle of Concord, at the start of the American Revolutionary War. The young man has an overcoat thrown over his plow, and has a musket in his hand. Nineteenth-century art historians noticed that the pose resembles the pose of the Apollo Belvedere. Until the late twentieth century, it was assumed that the pose was transposed from the earlier statue. Based on Daniel Chester French's journals, modern art historians have shown that the Apollo Belvedere was only one of several statues that were used in the research for The Minute Man. (Full article...)

    The Minute Man is an 1874 sculpture by Daniel Chester French in Minute Man National Historical Park, Concord, Massachusetts. It was created between 1871 and 1874 after extensive research, and was originally intended to be made of stone. The medium was switched to bronze and it was cast from ten Civil War-era cannons appropriated by Congress.

    The statue depicts a minuteman stepping away from his plow to join the patriot forces at the Battle of Concord, at the start of the American Revolutionary War. The young man has an overcoat thrown over his plow, and has a musket in his hand. Nineteenth-century art historians noticed that the pose resembles the pose of the Apollo Belvedere. Until the late twentieth century, it was assumed that the pose was transposed from the earlier statue. Based on Daniel Chester French's journals, modern art historians have shown that the Apollo Belvedere was only one of several statues that were used in the research for The Minute Man. (Full article...)
  • Image 3 Jill Valentine is a character in Resident Evil (Biohazard in Japan), a survival horror video game series created by the Japanese company Capcom. She was introduced as one of the two player characters in the original Resident Evil (1996), alongside her partner Chris Redfield, as a member of the Raccoon City Police Department's Special Tactics And Rescue Service (S.T.A.R.S.) unit. Jill and Chris fight against the Umbrella Corporation, a pharmaceutical company whose bioterrorism creates zombies and other bio-organic weapons, and later become founding members of the United Nations' Bioterrorism Security Assessment Alliance (BSAA). Jill is the protagonist of several Resident Evil games, novelizations, films, and has also appeared in other game franchises including Marvel vs. Capcom, Project X Zone, Teppen, and Dead by Daylight. In later games, such as the 2002 Resident Evil remake, The Umbrella Chronicles (2007), Resident Evil 5 (2009), and The Mercenaries 3D (2011), her features were based on Canadian model and actress Julia Voth. Several actresses have portrayed Jill, including Sienna Guillory and Hannah John-Kamen in the live-action Resident Evil films. (Full article...)
    Jill Valentine is a character in Resident Evil (Biohazard in Japan), a survival horror video game series created by the Japanese company Capcom. She was introduced as one of the two player characters in the original Resident Evil (1996), alongside her partner Chris Redfield, as a member of the Raccoon City Police Department's Special Tactics And Rescue Service (S.T.A.R.S.) unit. Jill and Chris fight against the Umbrella Corporation, a pharmaceutical company whose bioterrorism creates zombies and other bio-organic weapons, and later become founding members of the United Nations' Bioterrorism Security Assessment Alliance (BSAA).

    Jill is the protagonist of several Resident Evil games, novelizations, films, and has also appeared in other game franchises including Marvel vs. Capcom, Project X Zone, Teppen, and Dead by Daylight. In later games, such as the 2002 Resident Evil remake, The Umbrella Chronicles (2007), Resident Evil 5 (2009), and The Mercenaries 3D (2011), her features were based on Canadian model and actress Julia Voth. Several actresses have portrayed Jill, including Sienna Guillory and Hannah John-Kamen in the live-action Resident Evil films. (Full article...)
  • Image 4 The pyramid of Sahure (Ancient Egyptian: Ḫꜥỉ-bꜣ Sꜣḥw-Rꜥ, lit. 'Rising of the ba of Sahure') is a pyramid complex built in the late 26th to 25th century BC for the Egyptian pharaoh Sahure of the Fifth Dynasty. It introduced a period of pyramid building by Sahure's successors in Abusir, on a location earlier used by Userkaf for his sun temple. The site was first thoroughly excavated by Ludwig Borchardt between March 1907 and 1908, who wrote the standard work Das Grabdenkmal des Königs Sahu-Re (English: The Funerary Monument of King Sahure) between 1910 and 1913. The pyramid complex's layout was adopted by succeeding kings of the Fifth and Sixth Dynasties, marking a milestone in pyramid complex construction. Compared to the preceding Fourth Dynasty, the immensity of the constructions was dramatically reduced but, in tandem, the decorative programme proliferated and temples were augmented by enlarged storeroom complexes. The complex is estimated to have had 10,000 m2 (110,000 sq ft) of finely carved relief adorning its walls, of which 150 m2 (1,600 sq ft) has been preserved. Some of these reliefs are considered unparalleled in Egyptian art, such as the 8 m (26 ft) by 3 m (9.8 ft) (4.2 × 1.6 royal cubits) hunting scene from the mortuary temple. For comparison, Sahure's temple contained 370 running metres (1,214 running feet) of such relief decoration, while the temple of Khufu's Great Pyramid contained 100 running metres (328 running feet). The complex is also remarkable for the array of valuable materials – such as granite, alabaster and basalt – used extensively in its construction. (Full article...)

    The pyramid of Sahure (Ancient Egyptian: Ḫꜥỉ-bꜣ Sꜣḥw-Rꜥ, lit. 'Rising of the ba of Sahure') is a pyramid complex built in the late 26th to 25th century BC for the Egyptian pharaoh Sahure of the Fifth Dynasty. It introduced a period of pyramid building by Sahure's successors in Abusir, on a location earlier used by Userkaf for his sun temple. The site was first thoroughly excavated by Ludwig Borchardt between March 1907 and 1908, who wrote the standard work Das Grabdenkmal des Königs Sahu-Re (English: The Funerary Monument of King Sahure) between 1910 and 1913.

    The pyramid complex's layout was adopted by succeeding kings of the Fifth and Sixth Dynasties, marking a milestone in pyramid complex construction. Compared to the preceding Fourth Dynasty, the immensity of the constructions was dramatically reduced but, in tandem, the decorative programme proliferated and temples were augmented by enlarged storeroom complexes. The complex is estimated to have had 10,000 m2 (110,000 sq ft) of finely carved relief adorning its walls, of which 150 m2 (1,600 sq ft) has been preserved. Some of these reliefs are considered unparalleled in Egyptian art, such as the 8 m (26 ft) by 3 m (9.8 ft) (4.2 × 1.6 royal cubits) hunting scene from the mortuary temple. For comparison, Sahure's temple contained 370 running metres (1,214 running feet) of such relief decoration, while the temple of Khufu's Great Pyramid contained 100 running metres (328 running feet). The complex is also remarkable for the array of valuable materials – such as granite, alabaster and basalt – used extensively in its construction. (Full article...)
  • Image 5 Jennings in 2002 Peter Charles Archibald Ewart Jennings CM (July 29, 1938 – August 7, 2005) was a Canadian-American television journalist, best known for serving as the sole anchor of ABC World News Tonight from 1983 until his death from lung cancer in 2005. Despite dropping out of high school, Jennings transformed himself into one of American television's most prominent journalists. Jennings started his career early, hosting a Canadian radio show at age 9. He began his professional career with CJOH-TV in Ottawa during its early years, anchoring the local newscasts and hosting the teen dance show Saturday Date on Saturdays. In 1965, ABC News tapped him to anchor its flagship evening news program. Critics and others in the television news business attacked his inexperience, making his job difficult. He became a foreign correspondent in 1968, reporting from the Middle East. (Full article...)

    Jennings in 2002

    Peter Charles Archibald Ewart Jennings CM (July 29, 1938 – August 7, 2005) was a Canadian-American television journalist, best known for serving as the sole anchor of ABC World News Tonight from 1983 until his death from lung cancer in 2005. Despite dropping out of high school, Jennings transformed himself into one of American television's most prominent journalists.

    Jennings started his career early, hosting a Canadian radio show at age 9. He began his professional career with CJOH-TV in Ottawa during its early years, anchoring the local newscasts and hosting the teen dance show Saturday Date on Saturdays. In 1965, ABC News tapped him to anchor its flagship evening news program. Critics and others in the television news business attacked his inexperience, making his job difficult. He became a foreign correspondent in 1968, reporting from the Middle East. (Full article...)
  • Image 6 Pound photographed in 1913 by Alvin Langdon Coburn Ezra Weston Loomis Pound (30 October 1885 – 1 November 1972) was an expatriate American poet and critic, a major figure in the early modernist poetry movement, and a collaborator in Fascist Italy and the Salò Republic during World War II. His works include Ripostes (1912), Hugh Selwyn Mauberley (1920), and his 800-page epic poem, The Cantos (c. 1917–1962). Pound's contribution to poetry began in the early 20th century with his role in developing Imagism, a movement stressing precision and economy of language. Working in London as foreign editor of several American literary magazines, he helped discover and shape the work of contemporaries such as Robert Frost, T. S. Eliot, Ernest Hemingway, and James Joyce. He was responsible for the 1914 serialization of Joyce's A Portrait of the Artist as a Young Man, the 1915 publication of Eliot's "The Love Song of J. Alfred Prufrock", and the serialization from 1918 of Joyce's Ulysses. Hemingway wrote in 1932 that, for poets born in the late 19th or early 20th century, not to be influenced by Pound would be "like passing through a great blizzard and not feeling its cold." (Full article...)
    photograph of Ezra H. Pound
    Pound photographed in 1913 by Alvin Langdon Coburn



    Ezra Weston Loomis Pound (30 October 1885 – 1 November 1972) was an expatriate American poet and critic, a major figure in the early modernist poetry movement, and a collaborator in Fascist Italy and the Salò Republic during World War II. His works include Ripostes (1912), Hugh Selwyn Mauberley (1920), and his 800-page epic poem, The Cantos (c. 1917–1962).

    Pound's contribution to poetry began in the early 20th century with his role in developing Imagism, a movement stressing precision and economy of language. Working in London as foreign editor of several American literary magazines, he helped discover and shape the work of contemporaries such as Robert Frost, T. S. Eliot, Ernest Hemingway, and James Joyce. He was responsible for the 1914 serialization of Joyce's A Portrait of the Artist as a Young Man, the 1915 publication of Eliot's "The Love Song of J. Alfred Prufrock", and the serialization from 1918 of Joyce's Ulysses. Hemingway wrote in 1932 that, for poets born in the late 19th or early 20th century, not to be influenced by Pound would be "like passing through a great blizzard and not feeling its cold." (Full article...)
  • Image 7 Late Registration is the second studio album by the American rapper and producer Kanye West. It was released on August 30, 2005, through Def Jam Recordings and Roc-A-Fella Records. West recorded the album over the course of a year during sessions held at studios in Hollywood and New York City, in collaboration with Jon Brion. The album features guest appearances from Adam Levine, Jamie Foxx, Common, Brandy, Jay-Z, and Nas, among others. West's production for Late Registration departed from the sped-up soul samples of his debut studio album, The College Dropout (2004), moving towards a more elaborate and orchestral style with a 20-piece ensemble. Drawing creative inspiration from alternative acts such as Fiona Apple and Portishead, he experimented with musical shifts, string arrangements, and a variety of instruments not usually associated with hip hop, including a celesta, harpsichord, and Chinese bells. In an effort to write authentic yet relatable lyrics, West engages in storytelling while showcasing his Christian heritage that informed his relationship to the capitalist market economy. He critiques multiple issues, such as institutional racism, higher education, health care, and the blood diamond trade. (Full article...)
    Late Registration is the second studio album by the American rapper and producer Kanye West. It was released on August 30, 2005, through Def Jam Recordings and Roc-A-Fella Records. West recorded the album over the course of a year during sessions held at studios in Hollywood and New York City, in collaboration with Jon Brion. The album features guest appearances from Adam Levine, Jamie Foxx, Common, Brandy, Jay-Z, and Nas, among others.

    West's production for Late Registration departed from the sped-up soul samples of his debut studio album, The College Dropout (2004), moving towards a more elaborate and orchestral style with a 20-piece ensemble. Drawing creative inspiration from alternative acts such as Fiona Apple and Portishead, he experimented with musical shifts, string arrangements, and a variety of instruments not usually associated with hip hop, including a celesta, harpsichord, and Chinese bells. In an effort to write authentic yet relatable lyrics, West engages in storytelling while showcasing his Christian heritage that informed his relationship to the capitalist market economy. He critiques multiple issues, such as institutional racism, higher education, health care, and the blood diamond trade. (Full article...)
  • Image 8 Weird Tales is an American fantasy and horror fiction pulp magazine founded by J. C. Henneberger and J. M. Lansinger in late 1922. The first issue, dated March 1923, appeared on newsstands February 18. The first editor, Edwin Baird, printed early work by H. P. Lovecraft, Seabury Quinn, and Clark Ashton Smith, all of whom went on to be popular writers, but within a year, the magazine was in financial trouble. Henneberger sold his interest in the publisher, Rural Publishing Corporation, to Lansinger, and refinanced Weird Tales, with Farnsworth Wright as the new editor. The first issue to list Wright as editor was dated November 1924. The magazine was more successful under Wright, and despite occasional financial setbacks, it prospered over the next 15 years. Under Wright's control, the magazine lived up to its subtitle, "The Unique Magazine", and published a wide range of unusual fiction. Lovecraft's Cthulhu mythos stories first appeared in Weird Tales, starting with "The Call of Cthulhu" in 1928. These were well-received, and a group of writers associated with Lovecraft wrote other stories set in the same milieu. Robert E. Howard was a regular contributor, and published several of his Conan the Barbarian stories in the magazine, and Seabury Quinn's series of stories about Jules de Grandin, a detective who specialized in cases involving the supernatural, was very popular with the readers. Other well-liked authors included Nictzin Dyalhis, E. Hoffmann Price, Robert Bloch, and H. Warner Munn. Wright published some science fiction, along with the fantasy and horror, partly because when Weird Tales was launched, no magazines were specializing in science fiction, but he continued this policy even after the launch of magazines such as Amazing Stories in 1926. Edmond Hamilton wrote a good deal of science fiction for Weird Tales, though after a few years, he used the magazine for his more fantastic stories, and submitted his space operas elsewhere. (Full article...)

    Weird Tales is an American fantasy and horror fiction pulp magazine founded by J. C. Henneberger and J. M. Lansinger in late 1922. The first issue, dated March 1923, appeared on newsstands February 18. The first editor, Edwin Baird, printed early work by H. P. Lovecraft, Seabury Quinn, and Clark Ashton Smith, all of whom went on to be popular writers, but within a year, the magazine was in financial trouble. Henneberger sold his interest in the publisher, Rural Publishing Corporation, to Lansinger, and refinanced Weird Tales, with Farnsworth Wright as the new editor. The first issue to list Wright as editor was dated November 1924. The magazine was more successful under Wright, and despite occasional financial setbacks, it prospered over the next 15 years. Under Wright's control, the magazine lived up to its subtitle, "The Unique Magazine", and published a wide range of unusual fiction.

    Lovecraft's Cthulhu mythos stories first appeared in Weird Tales, starting with "The Call of Cthulhu" in 1928. These were well-received, and a group of writers associated with Lovecraft wrote other stories set in the same milieu. Robert E. Howard was a regular contributor, and published several of his Conan the Barbarian stories in the magazine, and Seabury Quinn's series of stories about Jules de Grandin, a detective who specialized in cases involving the supernatural, was very popular with the readers. Other well-liked authors included Nictzin Dyalhis, E. Hoffmann Price, Robert Bloch, and H. Warner Munn. Wright published some science fiction, along with the fantasy and horror, partly because when Weird Tales was launched, no magazines were specializing in science fiction, but he continued this policy even after the launch of magazines such as Amazing Stories in 1926. Edmond Hamilton wrote a good deal of science fiction for Weird Tales, though after a few years, he used the magazine for his more fantastic stories, and submitted his space operas elsewhere. (Full article...)
  • Image 9 The York City War Memorial is a First World War memorial designed by Sir Edwin Lutyens and located in York in the north of England. Proposals for commemorating York's war dead originated in 1919 but proved controversial. Initial discussions focused on whether a memorial should be a monument or should take on some utilitarian purpose. Several functional proposals were examined until a public meeting in January 1920 opted for a monument. The city engineer produced a cost estimate and the war memorial committee engaged Lutyens, who had recently been commissioned by the North Eastern Railway (NER) to design their own war memorial, also to be sited in York. Lutyens' first design was approved, but controversy enveloped proposals for both the city's and the NER's memorials. Members of the local community became concerned that the memorials as planned were not in keeping with York's existing architecture, especially as both were in close proximity to the ancient city walls, and that the NER's memorial would overshadow the city's. Continued public opposition forced the committee to abandon the proposed site in favour of one on Leeman Road, just outside the walls, and Lutyens submitted a new design of a War Cross and Stone of Remembrance to fit the location. This was scaled back to the cross alone due to lack of funds. (Full article...)

    The York City War Memorial is a First World War memorial designed by Sir Edwin Lutyens and located in York in the north of England. Proposals for commemorating York's war dead originated in 1919 but proved controversial. Initial discussions focused on whether a memorial should be a monument or should take on some utilitarian purpose. Several functional proposals were examined until a public meeting in January 1920 opted for a monument. The city engineer produced a cost estimate and the war memorial committee engaged Lutyens, who had recently been commissioned by the North Eastern Railway (NER) to design their own war memorial, also to be sited in York.

    Lutyens' first design was approved, but controversy enveloped proposals for both the city's and the NER's memorials. Members of the local community became concerned that the memorials as planned were not in keeping with York's existing architecture, especially as both were in close proximity to the ancient city walls, and that the NER's memorial would overshadow the city's. Continued public opposition forced the committee to abandon the proposed site in favour of one on Leeman Road, just outside the walls, and Lutyens submitted a new design of a War Cross and Stone of Remembrance to fit the location. This was scaled back to the cross alone due to lack of funds. (Full article...)
  • Image 10 Marriage License is an oil painting by American illustrator Norman Rockwell created for the cover of the June 11, 1955, edition of The Saturday Evening Post. It depicts a young man and woman filling out a marriage license application at a government building in front of a bored-looking clerk. The man is dressed in a tan suit and has his arm around his partner, who is wearing a yellow dress and standing on tiptoe to sign her name. Although the room and its furnishings are dark, the couple are illuminated by the window beside them. The contrast between the couple and the clerk highlights two reoccurring themes in Rockwell's works: young love and ordinary life. Rockwell had a long history of using people who lived near him as models. He used photographs of local shopkeeper Jason Braman; Stockbridge, Massachusetts, native Joan Lahart; and her fiancé Francis Mahoney as a reference while creating the painting. Lahart was suggested for the role by her sister Peggy, a nurse at the Austen Riggs Center where Mary Rockwell was receiving treatment. During the photo shoot, Braman was captured in a more natural and uninterested pose compared to the one envisioned by the artist. Rockwell liked it and used it for his painting instead. (Full article...)
    Marriage License is an oil painting by American illustrator Norman Rockwell created for the cover of the June 11, 1955, edition of The Saturday Evening Post. It depicts a young man and woman filling out a marriage license application at a government building in front of a bored-looking clerk. The man is dressed in a tan suit and has his arm around his partner, who is wearing a yellow dress and standing on tiptoe to sign her name. Although the room and its furnishings are dark, the couple are illuminated by the window beside them. The contrast between the couple and the clerk highlights two reoccurring themes in Rockwell's works: young love and ordinary life.

    Rockwell had a long history of using people who lived near him as models. He used photographs of local shopkeeper Jason Braman; Stockbridge, Massachusetts, native Joan Lahart; and her fiancé Francis Mahoney as a reference while creating the painting. Lahart was suggested for the role by her sister Peggy, a nurse at the Austen Riggs Center where Mary Rockwell was receiving treatment. During the photo shoot, Braman was captured in a more natural and uninterested pose compared to the one envisioned by the artist. Rockwell liked it and used it for his painting instead. (Full article...)
  • Image 11 The Hitler Diaries (German: Hitler-Tagebücher) were a series of sixty volumes of journals purportedly written by Adolf Hitler, but forged by Konrad Kujau between 1981 and 1983. The diaries were purchased in 1983 for 9.3 million Deutsche Marks (£2.3 million or $3.7 million) by the West German news magazine Stern, which sold serialisation rights to several news organisations. One of the publications involved was The Sunday Times, who asked their independent director, the historian Hugh Trevor-Roper, to authenticate the diaries; he did so, pronouncing them genuine. At the press conference to announce the publication, Trevor-Roper announced that on reflection he had changed his mind, and other historians also raised questions concerning their validity. Rigorous forensic analysis, which had not been performed previously, quickly confirmed that the diaries were fakes. Kujau, born and raised in East Germany, had a history of petty crime and deception. In the mid-1970s he began selling Nazi memorabilia which he had smuggled from the East, but found he could raise the prices by forging additional authentication details to associate ordinary souvenirs to the Nazi leaders. He began forging paintings by Hitler and an increasing number of notes, poems and letters, until he produced his first diary in the mid-to-late 1970s. The West German journalist with Stern who "discovered" the diaries and was involved in their purchase was Gerd Heidemann, who had an obsession with the Nazis. When Stern started buying the diaries, Heidemann stole a significant proportion of the money. (Full article...)
    The Hitler Diaries (German: Hitler-Tagebücher) were a series of sixty volumes of journals purportedly written by Adolf Hitler, but forged by Konrad Kujau between 1981 and 1983. The diaries were purchased in 1983 for 9.3 million Deutsche Marks (£2.3 million or $3.7 million) by the West German news magazine Stern, which sold serialisation rights to several news organisations. One of the publications involved was The Sunday Times, who asked their independent director, the historian Hugh Trevor-Roper, to authenticate the diaries; he did so, pronouncing them genuine. At the press conference to announce the publication, Trevor-Roper announced that on reflection he had changed his mind, and other historians also raised questions concerning their validity. Rigorous forensic analysis, which had not been performed previously, quickly confirmed that the diaries were fakes.

    Kujau, born and raised in East Germany, had a history of petty crime and deception. In the mid-1970s he began selling Nazi memorabilia which he had smuggled from the East, but found he could raise the prices by forging additional authentication details to associate ordinary souvenirs to the Nazi leaders. He began forging paintings by Hitler and an increasing number of notes, poems and letters, until he produced his first diary in the mid-to-late 1970s. The West German journalist with Stern who "discovered" the diaries and was involved in their purchase was Gerd Heidemann, who had an obsession with the Nazis. When Stern started buying the diaries, Heidemann stole a significant proportion of the money. (Full article...)
  • Image 12 Front of the church Old Pine Church, also historically known as Mill Church, Nicholas Church, and Pine Church, is a mid-19th century church located near to Purgitsville, West Virginia, United States. It is among the earliest extant log churches in Hampshire County, along with Capon Chapel and Mount Bethel Church. The church was constructed in 1838 to serve as a nondenominational "union church". As many of the Mill Creek valley's earliest settlers were of German descent, Old Pine Church may also have been built as a meeting place for Schwarzenau Brethren adherents, known as "Dunkers" or "Dunkards". The church is believed to have also been a meeting place for German Methodist settlers. By 1870, the church was primarily used by the Brethren denomination, and in 1878, the church's congregation split into White Pine Church of the Brethren and Old Pine Church congregations. Both congregations continued to use the church until 1907. (Full article...)

    Front of the church

    Old Pine Church, also historically known as Mill Church, Nicholas Church, and Pine Church, is a mid-19th century church located near to Purgitsville, West Virginia, United States. It is among the earliest extant log churches in Hampshire County, along with Capon Chapel and Mount Bethel Church.

    The church was constructed in 1838 to serve as a nondenominational "union church". As many of the Mill Creek valley's earliest settlers were of German descent, Old Pine Church may also have been built as a meeting place for Schwarzenau Brethren adherents, known as "Dunkers" or "Dunkards". The church is believed to have also been a meeting place for German Methodist settlers. By 1870, the church was primarily used by the Brethren denomination, and in 1878, the church's congregation split into White Pine Church of the Brethren and Old Pine Church congregations. Both congregations continued to use the church until 1907. (Full article...)
  • Image 13 Velasquez in 2010 Regina Encarnacion Ansong Velasquez (/rɪˈdʒiːn vɛˈlæskɛz/ rij-EEN vel-ASK-ez; born April 22, 1970) is a Filipino singer and actress. She is considered one of the most influential figures in Philippine popular culture and is known for her vocal range and belting technique. She had unorthodox voice training during her childhood, where she was immersed neck-deep in the sea. Velasquez rose to prominence after winning the television talent show Ang Bagong Kampeon in 1984 and the Asia Pacific Singing Contest in 1989. Under the name Chona, she signed a recording contract with OctoArts International in 1986 and released the single "Love Me Again", which was commercially unsuccessful. The following year, she adopted the stage name Regine Velasquez for her debut studio album, Regine (1987), under the guidance of Viva Records executive Vic del Rosario and producer Ronnie Henares. She explored Manila sound and kundiman genres on her second and third studio albums, Nineteen 90 (1990) and Tagala Talaga (1991). After signing an international record deal with PolyGram Records, Velasquez achieved commercial success in some Asian territories with her fifth album Listen Without Prejudice (1994), which sold more than 700,000 copies and became her highest-selling album to date, aided by its lead single "In Love with You". She experimented further with jazz and adult contemporary genres on My Love Emotion (1995), while she recorded covers on Retro (1996). After she left PolyGram to sign with Mark J. Feist's MJF Company in 1998, she released the R&B-influenced album Drawn. Velasquez's follow-up record, R2K (1999), was supported by remakes of "On the Wings of Love", "I'll Never Love This Way Again", and "I Don't Want to Miss a Thing", and was subsequently certified twelve-times platinum by the Philippine Association of the Record Industry (PARI). (Full article...)

    Velasquez in 2010

    Regina Encarnacion Ansong Velasquez (/rɪˈdʒiːn vɛˈlæskɛz/ rij-EEN vel-ASK-ez; born April 22, 1970) is a Filipino singer and actress. She is considered one of the most influential figures in Philippine popular culture and is known for her vocal range and belting technique. She had unorthodox voice training during her childhood, where she was immersed neck-deep in the sea. Velasquez rose to prominence after winning the television talent show Ang Bagong Kampeon in 1984 and the Asia Pacific Singing Contest in 1989. Under the name Chona, she signed a recording contract with OctoArts International in 1986 and released the single "Love Me Again", which was commercially unsuccessful. The following year, she adopted the stage name Regine Velasquez for her debut studio album, Regine (1987), under the guidance of Viva Records executive Vic del Rosario and producer Ronnie Henares. She explored Manila sound and kundiman genres on her second and third studio albums, Nineteen 90 (1990) and Tagala Talaga (1991).

    After signing an international record deal with PolyGram Records, Velasquez achieved commercial success in some Asian territories with her fifth album Listen Without Prejudice (1994), which sold more than 700,000 copies and became her highest-selling album to date, aided by its lead single "In Love with You". She experimented further with jazz and adult contemporary genres on My Love Emotion (1995), while she recorded covers on Retro (1996). After she left PolyGram to sign with Mark J. Feist's MJF Company in 1998, she released the R&B-influenced album Drawn. Velasquez's follow-up record, R2K (1999), was supported by remakes of "On the Wings of Love", "I'll Never Love This Way Again", and "I Don't Want to Miss a Thing", and was subsequently certified twelve-times platinum by the Philippine Association of the Record Industry (PARI). (Full article...)
  • Image 14 The illusion of Kate Moss is an art piece first shown at the conclusion of the Alexander McQueen runway show The Widows of Culloden (Autumn/Winter 2006). It consists of a short film of English model Kate Moss dancing slowly while wearing a long, billowing gown of white chiffon, projected life-size within a glass pyramid in the centre of the show's catwalk. Although sometimes referred to as a hologram, the illusion was made using a 19th-century theatre technique called Pepper's ghost. McQueen conceived the illusion as a gesture of support for Moss; she was a close friend of his and was embroiled in a drug-related scandal at the time of the Widows show. It is regarded by many critics as the highlight of the Widows runway show, and it has been the subject of a great deal of academic analysis, particularly as a wedding dress and as a memento mori. The illusion appeared in both versions of Alexander McQueen: Savage Beauty, a retrospective exhibition of McQueen's designs. (Full article...)
    The illusion of Kate Moss is an art piece first shown at the conclusion of the Alexander McQueen runway show The Widows of Culloden (Autumn/Winter 2006). It consists of a short film of English model Kate Moss dancing slowly while wearing a long, billowing gown of white chiffon, projected life-size within a glass pyramid in the centre of the show's catwalk. Although sometimes referred to as a hologram, the illusion was made using a 19th-century theatre technique called Pepper's ghost.

    McQueen conceived the illusion as a gesture of support for Moss; she was a close friend of his and was embroiled in a drug-related scandal at the time of the Widows show. It is regarded by many critics as the highlight of the Widows runway show, and it has been the subject of a great deal of academic analysis, particularly as a wedding dress and as a memento mori. The illusion appeared in both versions of Alexander McQueen: Savage Beauty, a retrospective exhibition of McQueen's designs. (Full article...)
  • Image 15 Hellraiser: Judgment is a 2018 American horror film written and directed by Gary J. Tunnicliffe, based on the characters created by Clive Barker. The tenth installment in the Hellraiser film series, the film stars Damon Carney, Randy Wayne, Alexandra Harris, Heather Langenkamp, and Paul T. Taylor, and centers on three police detectives who, investigating a series of murders, are confronted by the denizens of hell. The film expands the fictional universe by introducing a new faction of hell: the Stygian Inquisition. While the Cenobites offer sadomasochistic pleasures to humans that enter their dominion, the Inquisition processes the souls of sinners. Tunnicliffe plays the Inquisition's auditor, a prominent role in the film. Unable to direct his screenplay for Hellraiser: Revelations due to a scheduling conflict, Tunnicliffe initially removed all references to the series from his Judgment concept and tried to have it funded as an independent film in 2013. He intended on making a "true" Hellraiser film because of his disappointment with the later films. Several years later, Dimension Films was required to make another Hellraiser film to retain the rights, giving Tunnicliffe a chance to propose his vision. The concept was initially rejected but accepted after he negotiated changes with the studio executives. It was filmed in Oklahoma with Children of the Corn: Runaway, both films produced by Michael Leahy. It is the second Hellraiser film without Doug Bradley as Pinhead; newcomer Taylor was cast after impressing Tunnicliffe in an audition. He and Tunnicliffe decided to develop a new look and interpretation, rather than imitating Bradley's performance. (Full article...)
    Hellraiser: Judgment is a 2018 American horror film written and directed by Gary J. Tunnicliffe, based on the characters created by Clive Barker. The tenth installment in the Hellraiser film series, the film stars Damon Carney, Randy Wayne, Alexandra Harris, Heather Langenkamp, and Paul T. Taylor, and centers on three police detectives who, investigating a series of murders, are confronted by the denizens of hell. The film expands the fictional universe by introducing a new faction of hell: the Stygian Inquisition. While the Cenobites offer sadomasochistic pleasures to humans that enter their dominion, the Inquisition processes the souls of sinners. Tunnicliffe plays the Inquisition's auditor, a prominent role in the film.

    Unable to direct his screenplay for Hellraiser: Revelations due to a scheduling conflict, Tunnicliffe initially removed all references to the series from his Judgment concept and tried to have it funded as an independent film in 2013. He intended on making a "true" Hellraiser film because of his disappointment with the later films. Several years later, Dimension Films was required to make another Hellraiser film to retain the rights, giving Tunnicliffe a chance to propose his vision. The concept was initially rejected but accepted after he negotiated changes with the studio executives. It was filmed in Oklahoma with Children of the Corn: Runaway, both films produced by Michael Leahy. It is the second Hellraiser film without Doug Bradley as Pinhead; newcomer Taylor was cast after impressing Tunnicliffe in an audition. He and Tunnicliffe decided to develop a new look and interpretation, rather than imitating Bradley's performance. (Full article...)
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Apollo and Daphne
Sculpture credit: Gian Lorenzo Bernini
Apollo and Daphne is a life-sized Baroque marble sculpture by the Italian artist Gian Lorenzo Bernini, created between 1622 and 1625. Housed in the Galleria Borghese in Rome as part of the Borghese Collection, the work depicts the climax of the story of Apollo and Daphne in Ovid's Metamorphoses. Apollo clutches Daphne's hip, pursuing her as she flees from him. Apollo wears a laurel crown, and Daphne is portrayed halfway through her metamorphosis from human form into the laurel tree, with her arms already transforming into its branches as she flees and calls to her father to save her from Apollo.
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Roman Vishniac, c. 1981

Roman Vishniac was a Russian-American photographer, best known for capturing on film the culture of Jews in Eastern Europe before the Holocaust. He was, however, an extremely diverse photographer, an accomplished biologist and a knowledgeable student and teacher of art history. Throughout his life, he made significant scientific contributions to the fields of photomicroscopy and time-lapse photography. He later became a teacher and collector of historic art and artifacts.

Vishniac was very interested in history, especially that of his ancestors. In turn, he was strongly tied to his Jewish roots and was a Zionist later in life. Roman Vishniac won international acclaim for his photography: his pictures from the shtetlach and Jewish ghettos, celebrity portraits, and images of microscopic biology. He is known for his book A Vanished World, published in 1947, which was one of the first such pictorial documentations of Jewish culture in Eastern Europe from that period. He is known also for his extreme humanism and respect and awe for life, sentiments that can be seen in all aspects of his creation and his work. (Full article...)

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A Chantar
A 12th-century song by Comtessa Beatritz de Dia, "A Chantar" is the only existing song by a trobairitz which survives with its music.

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