Because roads, streets, highways, boulevards, and freeways are an everyday part of our life, they understandably are part of our art. In the foreground or the background, they secure our art to reality, serve as symbols, or twist and turn in ways never dreamed by the imagination. Raymond Neher used roads and highways as his subject in many of his paintings. He began painting for his own benefit, because he “Enjoyed putting brush to canvas.”
Raymond George Neher was born in Orange, New Jersey on September 14, 1943; he was the only child to Rudolph Neher and Evelyn Posadzki. Neher was awarded his Bachelor of Architecture form the Carnegie Mellon University and his Masters from the Columbia University. He began his career as an architect in New York City. In 1973 he transferred to San Francisco, California, where he worked on the Master Plan for a New Community in Ahwaz, Iran. He was well known and appreciated for his work in historical restorations and adaptive reuse. His projects included work on art and science museums, hotels and spas, hospital and medical school, as well as construction administration. As an artist his career spanned nearly 40 years. Neher worked mostly in acrylic paint on canvas. His works have been shown in exhibitions all across the United States of America and are in private collections throughout the United States, as well as Amsterdam, Rome and Santorini, Greece. Neher joined the Fort Mason Printmakers in the early 1980’s and created etchings and monoprints that often complemented his canvas work. Many of his subjects sprang from his travels around California’s Central Valley Interstate 5 highway. His roadscapes paintings he created were on photo quality. The images he creates, whether it is a highway, a bridge or a suburban street, are always free of pollution, road kill and litter. The paintings are full of colour which makes the painting a bit surreal, as if the image is just too good to be true. All his roadscapes are from the perspective a person in a vehicle on the road, making the viewer feel more engaged with the painting, as if they are actually there. The painting above is called Mount Hood Highway. Neher has used such contrasting colours to layer the painting. His use of straight lines and angles on the road, pine trees and the snow covered mountain in the background brake up the painting causing the painting to be easier to take in by the viewer.
Joseph P. Reilly filed a complaint against Gwynne G. Zisko, Esq., on or about April 8, 2016. Reilly asserts that Zisko violated the Rules of Professional Conduct by serving a subpoena on his employer, the Plymouth County Sheriff’s Department. The details of the case relating to the subpoena will be discussed further on in this report. Within the complaint, Reilly alleges that Zisko has violated Mass.R.Prof.C. 3.4, as well as 4.4.
I am from a small town called Bristol Borough, Pennsylvania. It is along the Delaware River, about 25 miles northeast of Philadelphia. Bristol Borough was founded in 1681. This is the states third oldest borough, that was once a busy river port with important shipbuilding activities (Cohen 438). It is predominately residential, with the exception of Mill Street, the community's traditional commercial street. It includes fine examples of many major styles and idioms, reflecting the community's long history and its importance as a transportation and commercial center (Owen 133). The 28-acre Bristol Industrial Historic District includes the original town of Bristol and the residential area that extends northeast along the bank of the Delaware River (Owen 132). The Bristol Industrial Historic District is a significant collection of the factory and mill complexes containing elements dating from 1875-1937 (Owen 133). Among the mills is the Grundy Mill Complex. It is a visual representation of industrial growth of Bristol Borough. This mill was run by Joseph R. Grundy. The dramatic scale of later buildings stand as the source and monument to the wealth and power of Joseph Grundy (Owen 145). Joseph Grundy was the proprietor of the Bristol Worsted Mills, and one of the most prominent manufacturers and businessmen of Bucks County (Green 252). The Bristol Worsted Mills no longer run but the building is still standing. Bristol owes a lot to Joseph R. Grundy for his contributions to the people and the town itself.
People come to being on the road for countless reasons and though there is no real certainty on the road, there are two things that are certain, the road stands in opposition to home and your race and ethnicity plays a major role on the trajectory and the way others treat you on the journey. African Americans have an especially strong connection to road narratives. This is because, from the beginning, the race’s presence in America was brought by forcing them on to the road against their will. It is for this reason that there are countless narratives, fictional and non-fictional, of black peoples on the road. For Birdie Lee, a literary character, the beginning of the road marks the end of her comfortable home life and the beginning of her racial
Leroy Anderson was born June 29, 1908 in Cambridge, Massachusetts. His parents, as children, immigrated to the United States from Sweden with their families. His father, Bror Anton Anderson, worked as a postal clerk in the Central Square post office. He also played the mandolin. Anna Margareta Anderson, his mother, was the organist at the Swedish church in Cambridge. He lived in the suburbs of Boston for twenty seven years with his parents and brother.
Throughout the book Tom Lewis goes back and forth between the good and bad that came about from building highways. While the paved roads connected our country, made travel time faster, provided recreation, and pushed the development of automobiles they also created more congestion and travel time, divided communities, and made us slaves to automobiles. The author is critical of the highways, but he does realize the great achievement it is in the building of America. Lewis said, “As much as we might dislike them, we cannot escape the fact that ...
In this country, the age of the internal combustion engine has found its niche, states Jack Burden. And where cars go, roads must follow. Warren uses the exposition to describe a road in detail. Highway 58 has two components. Jack notes that the road has a slick, black line down the center and a dazzling concrete slab on both sides of the line. Because of the heat and light reflecting off the slab, only the black line is clear. Since the contrasting colors of the road are specified, the archetypes of the colors can be examined. The white of the slab is associated with purity, peace, and wholesomeness, while black of the line is associated with darkness, ignorance, and even death. Warren develops tension in the symbol of the road through the
The short novel takes place in a speeding elegant sports car. The driver, who is the narrator, refers to himself as Papa. Papa is driving his daughter and a poet and family "friend," Henri. While driving, Papa informs them that he is aware of Henri's affair with both Papa's daughter and wife, and he is going to crash the car and all of its passengers into the stone wall of a desolate farmhouse. His purpose for this violent action is not, as would be easily concluded, to get revenge--that would simply be a bonus; his real purpose is to produce art. Papa is somewhat of an artist, and he has decided that the ultimate aesthetic is produced by the melding of the automobile into a new complex array according to his mental blueprint:
In an attempt to overcome writers’ block, Jack Kerouac, alongside Neal Cassady, explored the American West in a series of adventures that spanned from 1947 to 1950. On the Road is the “lovechild” of Kerouac and Cassady’s escapades, fueled by jazz, poetry, and drug use. Its political and aesthetic dimensions are thoroughly complex, yet intertwined. On the Road portrays the story of a personal quest in search of meaning and belonging in a time when conformity was praised and outsiders were scorned. It was during this ...
Neitzche once wrote “He who strays from tradition becomes a sacrifice to the extraordinary.” It might be said that this was a reflection of himself. Obviously a true romantic, his love for nature and humanity, even the sheer disgust he had for Christianity. All of his essays and writings represent his strong feelings about Romanticism. Frederich Neitzche was best known for his observations of humankind and their nature. It was commendable that he was passionate about his philosophical writings and his pre-Socratic thinking. Neitzche wrote about everything from life to death, and everything he wrote held a special importance to him.
* Levinson, H. (2004). Highways, People, and Places: Past, Present, and Future. Journal of Transportation Engineering, 130 (4), 406 – 412.
“Motor Age Geography” describes land use practices and new transportation policies, which in turn helped reshape roads. These key aspects helped centralized rural America, while urban areas in America were decentralized. Specific landscapes from then to now required that people of America would have to own a motor vehicle to function effectively on a day to day basis. “Fueling the Broom” goes into detail about oil wells, pipelines, service stations, and so forth. This term explains how taxes on gas became a significant source of funding for road building. “The Paths Out of Town” examines mass production and how it increased the demand for the iron ore, wood, rubber, and many other raw materials. As the need for automobiles steadily increased, American construction workers built one mile of road per square mile of land. When Americans built highways, soil erosion came into the picture along with the natural habitat for wildlife. At this time planners focused on creating a “car friendly nature” (Wells). The book informs the reader on the historical period from 1940-1960 where the government granted housing to the suburban area and highways
The poem “The Road Not Taken”, by Robert Frost has an interesting story to its creatively written lines. Briefly, the poem is about the nar...
Robert Frost’s “The Road Not Taken”, when first read on a very simple level appears to be a poem about a man’s decision on whether to take one road or the other. The poem obviously has a much deeper meaning to it. The most apparent metaphor in the poem is one of the two roads representing decisions in one’s life. Everyone goes through decisions in their life, so this metaphor connects the reader to the poem more personally. In Robert Frost’s poem, “The Road Not Taken”, Frost successfully creates a poem that a reader can connect to, a poem about difficult decisions in one’s life.
Robert Frost’s “The Road Not Taken” is a symbolic poem of the complications people must face in the course of their lives. Although it is not difficult to understand the meaning of the poem through it’s title, it is however hard to interpret what the author means when he describes the roads. Throughout the poem, the two roads appear similar at times and different at others. He uses free imagery to make his poem more complex for the audience.
In analyzing the poem 'The Road Not Taken'; by Robert Frost, it represents 'the classic choice of a moment and a lifetime.';(pg 129) He relies much on the reflections of nature to convey his theme. However, this poem seems to be in essence very simple but