title: The Blue Bird (Metzinger)

abstract: The Blue Bird is an oil painting created in 1912–1913 by the French artist and theorist Jean Metzinger. L'Oiseau bleu, one of Metzinger's most recognizable and frequently referenced works, was first exhibited in Paris at the Salon des Indépendants in the spring of 1913, several months after the publication of the first Cubist manifesto, Du "Cubisme", written by Jean Metzinger and Albert Gleizes (1912). It was subsequently exhibited at the 1913 Erster Deutscher Herbstsalon in Berlin. Apollinaire described L'Oiseau bleu as a 'very brilliant painting' and 'his most important work to date'. L'Oiseau bleu, acquired by the City of Paris in 1937, forms part of the permanent collection at the Musée d'Art Moderne de la Ville de Paris.

text:
# The Blue Bird (Metzinger)

***The Blue Bird*** (French: *L'Oiseau bleu*) is an oil painting created in 1912–1913 by the French artist and theorist Jean Metzinger. *L'Oiseau bleu*, one of Metzinger's most recognizable and frequently referenced works, was first exhibited in Paris at the Salon des Indépendants in the spring of 1913 (cat. no. 2087), several months after the publication of the first (and only) Cubist manifesto, *Du "Cubisme"*, written by Jean Metzinger and Albert Gleizes (1912). It was subsequently exhibited at the 1913 Erster Deutscher Herbstsalon in Berlin (titled *Der blaue Vogel*, cat. no. 287).

Apollinaire described *L'Oiseau bleu* as a 'very brilliant painting' and 'his most important work to date'. *L'Oiseau bleu*, acquired by the City of Paris in 1937, forms part of the permanent collection at the Musée d'Art Moderne de la Ville de Paris.

## Description

*L'Oiseau bleu* is an oil painting on canvas with dimensions 230 x 196 cm (90.5 by 77.2 in). The work represents three nude women in a scene that contains a wide variety of components. *L'Oiseau bleu*, writes Joann Moser, uses a wealth of anecdotal detail "which comprises a compendium of motifs found in earlier and later paintings by Metzinger: bathers, fan, mirror, ibis, necklace, a boat with water, foliage and an urban scene. It is a mélange of interior and exterior elements integrated into one of Metzinger's most intriguing and successful compositions."

The central standing 'foreground' figure is shown affectionately holding in both hands a *blue bird* (thus the title of the painting). The reclining figure wearing a necklace shown in the lower center of the canvas is placed next to a pedestal fruit bowl and another bird with the unmistakable coloration of the rare Scarlet ibis (*L'Ibis rouge*), a rich symbol for both exoticism and fashion. Costume designers for Parisian cabarets such as Le Lido, Folies Bergère, the Moulin Rouge and *haute couture* houses in Paris during the 1910s used the feathers of the scarlet Ibis in their shows and collections. The Ibis is a bird to which the ancient Egyptians paid religious worship and attributed to it a 'virgin purity'. A mysterious pyramidal shape is seen as if through a porthole to the right of the reclining figure's head, though it remains a matter of speculation whether there exists any relation to the ibis or pyramids of ancient Egypt. In front of the pyramid appears a shape that resembles a sundial, perhaps meant as the element of time, or 'duration', as the clock placed in the upper right hand corner of his *Nu à la cheminée (Nude)* of 1910.

Two other birds, in addition to the blue bird and scarlet ibis can be seen in the composition, one of which resembles a green heron. A large steamship can be seen bellowing gaseous vapor from its funnel in the distant sea or ocean, and a smaller boat (or *canot*) is visible below.

On the left half of Metzinger's *L'Oiseau Bleu*, holding in her right hand a yellow fan (éventail) is a sitting nude who in her left hand holds a mirror into which she gazes. In the rest of the scene, various items and divers elements are placed, including in the upper center (practically at the highest point of the painting) the Sacré-Cœur Basilica, located at the summit of the butte Montmartre, the highest point of the city. This popular monument is just up the hill from where Metzinger lived and worked (Rue Lamarck) prior to his move to Meudon around 1912. It is also a short distance from Le Bateau-Lavoir, widely known as the birthplace of Cubism.

### The flag

Edward F. Fry writes in *Cubism* (1978): "Three female nudes are in various postures, and the blue bird is held by the uppermost figure; in other parts of the composition are numerous birds, grapes in a dish on a table, the **striped canopy** of a Paris cafe, the dome of Sacre-Coeur in Montmartre, and a ship at sea." (Bold added). Noticeably, the 'striped canopy' to which Fry refers has the same color pattern as the American flag. Recall that *L'Oiseau bleu* was painted as the International Exhibition of Modern Art (the Armory Show) in New York was beginning to materialize; when Arthur B. Davies and Walt Kuhn came to Paris in the fall of 1912 to select works for the Armory Show, with the help of Walter Pach. The paintings of Metzinger, however, did not appear at the exhibition (to the surprise of many in his entourage); and this despite Picasso's 1912 recommendation. In a note to Kuhn, Picasso's handwritten list of artists recommended for the Armory Show include Gris, Metzinger, Gleizes, Léger, Duchamp, Delaunay, Le Fauconnier, Laurencin, La Fresnaye and Braque. He did however exhibit at the *Exhibition of Cubist and Futurist Pictures*, Boggs & Buhl Department Store, Pittsburgh, July 1913. His *Portrait of an American Smoking (Man with a Pipe)*, 1911–12 (Lawrence University, Appleton, Wisconsin) was reproduced on the front cover of the catalogue. It is highly likely, since Walter Pach knew practically all the artists in the exhibition (a good friend of Metzinger and other members of the Section d'Or group; e.g., Gleizes, Picabia and the Duchamp brothers), that he had something to do with the organization of the show. Sponsored by the Gimbel Brothers department store from May through the summer of 1913 the Cubist and Futurist show toured Milwaukee, Cleveland, Pittsburgh, Philadelphia and New York.

Metzinger had already been interviewed, circa 1908, by Gelett Burgess for his *Wild Men of Paris* article, published in *The Architectural Record*, May 1910 (New York). In 1915 (8 March - 3 April) Metzinger exhibited at the *Third Exhibition of Contemporary French Art*—Carstairs (Carroll) Gallery, New York—with Pach, Gleizes, Picasso, de la Fresnaye, Van Gogh, Gauguin, Derain, Duchamp, Duchamp-Villon and Villon.

Metzinger would soon exhibit six works in New York at the Montross Gallery, 550 Fifth Avenue (4–22 April 1916) with Gleizes, Picabia, Duchamp, and Jean Crotti. In 1917 Metzinger exhibited at the *People's Art Guild* (founded in 1915 to disseminate art to the masses) in New York, with Pach, Picabia, Picasso, Derain and Joseph Stella. In December 1917 Metzinger exhibited at the *Exhibition of Paintings by the Moderns*, held at Vassar College (located in the heart of the Hudson Valley in New York), with Pach, Derain, Edward Hopper, Diego Rivera and Max Weber.

Duchamp, Picabia, Gleizes and his wife (via Hamilton Bermuda) would soon leave for New York where they would stay an extended period of time. Maurice Metzinger, Jean's brother, made several trips to the United States, in 1906, 1910 and would soon move there permanently in pursuit of his career as a Cellist. In light of the turmoil surrounding his non-acceptance at the Armory show, his brother's experiences in New York, his soon to be exposition at the *Cubist Exhibition*, Boggs & Buhl's, and the representation of a steamship in the upper right quadrant of *L'Oiseau bleu*, it would not be out of the question that Metzinger made reference to the American flag (as opposed to a red and white stripped canopy of a Parisian café as suggested by Fry).

This would be remarkable in light of the growing trend of Nationalism surrounding modern art exhibitions in Paris, within which Metzinger was recognized as a French Cubist, and his work, in the French tradition: 'cubisme dans une tradition française'. Painting an American flag might have been seen as provocative, especially so as Roger de La Fresnaye was painting French flags: *Fourteenth of July*, 1913-14 (Museum of Fine Arts, Houston, TX), and *The Conquest of the Air*, 1913 (Museum of Modern Art, New York), two of his most original contributions to the diverse salons. André Lhote appears to show both the flag of the United Kingdom and the stripes of the American flag in his *L'Escale*, of 1913 (Musée d’Art Moderne de la Ville de Paris). The Futurist Gino Severini, too, included the French flag in his 1913 painting *Train of the Wounded*.

## Divisionism to Multiple perspective

As in the works of Étienne-Jules Marey and Eadweard Muybridge there is no smooth transition between the elements and sections of Metzinger's painting, but when sutured together (with the eye) in succession or simultaneously a dynamic ensemble emerges. The composition is divided, fragmented, splintered or faceted into series, not only of individual rectangles, squares or 'cubes' of color, but into individual planes or surfaces delineated by color and form. Just as other paintings by Metzinger of the pre-war period (such as *En Canot*, 1913) there is some continuity that transits between the foreground and background, blending perspective of objects close and far, the notion of depth perception has not been abolished, i.e., the spatial attributes of the scene have not been flattened, yet there is no absolute frame of reference.

Though not the first painting by Jean Metzinger to employ the concept of multiple perspective—three years had passed since he first propounded the idea in *Note sur la peinture*, published in 1910—*L'Oiseau bleu* arguably exemplifies the extreme, a maxima, a *summum bonum* of such pictorial processes, while still maintaining elements of recognizable form; the extreme activity of geometric faceting visible in *L'Oiseau bleu* is not frenzied to the point that any understandable link between physicality or naturalness is lost. Yet, what is achieved is, of course, fundamentally anti-naturalistic; at great distance from the appearance of the natural world.

Aimed at a large audience (the Salon des Indépendants, rather than a gallery setting), *L'Oiseau bleu* deliberately sets out to agitate and confront the standard expectation of art, in an attempt to implicated the viewer, to transfer beauty and elegance into a fresh cohesive dialogue that most accurately represents Modernism—one that is in tune with the intricacies of modern life, one that describes Cubism, his Cubism, whose order was only a phase in a continuous process of change.

To achieve his goal, Metzinger raises the concept of *mobile perspective* (as opposed to single-point perspective of the Renaissance) to a poetic principle: a form of literary art which uses the aesthetic qualities of iconography to evoke meanings in addition to, or in place of, the prosaic ostensible meaning. *L'Oiseau bleu* contains something that Metzinger spoke of as early as 1907; a "chromatic versification", as if for syllables. The rhythm of its pictorial phraseology translates the diverse emotions aroused by nature (in the words of Metzinger). *L'Oiseau bleu* no longer represented nature as seen, but was a complete byproduct of the human 'sensation.' A departure from nature it was, and a departure from all that had been painted to date it was too.

Metzinger's Divisionist technique had its parallel in literature. For him, there was an emblematic alliance between the Symbolist writers and Neo-Impressionism. Each brushstroke of color was equivalent to a word (or "syllable"). Together the pigments formed sentences (or "phrases") which translated the various emotions that nature would pass on to the artist. This is an important aspect of Metzinger's early work, and an important aspect of Metzinger's entire artistic output (as a painter, writer, poet, and theorist). Already then, Metzinger coupled Symbolist/Neo-Impressionist color theory with Cézannian perspective, beyond not just the preoccupations of Paul Signac and Henri-Edmond Cross, but beyond too the preoccupations of his avant-garde entourage.

> "I ask of divided brushwork not the objective rendering of light, but iridescences and certain aspects of color still foreign to painting. I make a kind of chromatic versification and for syllables I use strokes which, variable in quantity, cannot differ in dimension without modifying the rhythm of a pictorial phraseology destined to translate the diverse emotions aroused by nature." (Metzinger, 1907)
> An interpretation of this statement was made by Robert L. Herbert: "What Metzinger meant is that each little tile of pigment has two lives: it exists as a plane where mere size and direction are fundamental to the rhythm of the painting and, secondly, it also has color which can vary independently of size and placement." (Herbert, 1968)

During Metzinger's Divisionist period, each individual square of pigment associated with another of similar shape and color to form a group; each grouping of color juxtaposed with an adjacent collection of differing colors; just as syllables combine to form sentences, and sentences combine to form paragraphs, and so on. Now, the same concept formerly related to color has been adapted to form. Each individual facet associated with another adjacent shape form a group; each grouping juxtaposed with an adjacent collection of facets connect or become associated with a larger organization—just as the association of syllables combine to form sentences, and sentences combine to form paragraphs, and so on—forming what Metzinger described as the 'total image'.

## Underlying geometric armature

Though the primary role of Metzinger's syntax was played by the relations of its intricate parts within the whole, there was another key factor that emerged: the mobile underlying geometric armature organized as a dynamic composition of superimposed planes. Metzinger, Juan Gris and to some extent Jacques Lipchitz, would develop this concept further during the war; something Gleizes would notice when he returned to Paris from New York, and develop further still in *Painting and its Laws (La Peinture et ses lois)*, written in 1922 and published in 1923. In that text Gleizes would attribute to this underlying armature 'objective notions of translation and rotation', words in which 'movement is implicit'.

In this sense Metzinger's *L'Oiseau bleu* was a precursor in its genre, more so perhaps than his *Le goûter (Tea Time)* of 1911, *La Femme au Cheval*, 1911–12, or *Dancer in a café (Danseuse)* of 1912.

Now, the emergence of the 'total image' arises out of a multiplicity of relatively simple interacting planes or surfaces, loosely based on the Golden triangle and Fibonacci spiral. Whereas before, each disconnected element would unite forming complex relationships as a collective, now (and progressively), the collective components would be organized into an abstract mathematical concept that is much more general; giving rise to a global topology. This underlying geometric armature would facilitate the union of a set (or sets) of complex structures on a given orientable surface.

## Symbolism and interpretations

In *The Introduction to Metaphysics* (1903) Henri Bergson described in his theory of images how uniting a collection of disparate images acts on the consciousness and intuition, creating an alogical disposition. The Symbolist poet Tancrède de Visan, who prior to 1904 and some time leading up to 1911 attended the lectures of Bergson at the College de France, met regularly with the Cubists at the poet Paul Fort's soirees at the fashionable La Closerie des Lilas. He related Bergson's notion of 'accumulated successive images' to the writings of Maurice Maeterlinck circa 1907, and in 1910 advocated the technique in *Vers et Prose*.

In *Note sur la peinture* of the same year Metzinger argues that Delaunay's *Tour Eiffel* combines several different views captured throughout the day in one image. 'Intuitive, Delaunay has defined intuition as the brusque deflagration of all the reasonings accumulated each day'. The following year, in *Cubisme et Tradition* (1911) Metzinger writes of the immobility of paintings of the past, and that now, artists permit themselves the liberty of 'moving around the object to give, under the control of intelligence, a concrete representation derived from several successive aspects.' He continues, 'The painting possesses space, and now it also reigns in the duration' \["voilà qu'il règne aussi dans la durée"\]., With motion and time, intuition and consciousness, Metzinger could now claim his art had moved closer to nature, closer to a true, yet subjective, reality.

Parallel to the theories of Bergson, embraced by Metzinger, Gleizes and other members of the Section d'Or, Maeterlinck's ideas became of interest. Bolstered by mathematics, Reimannian geometry, and new discoveries in science that revealed existence of unseen realms (such as X-rays), and attracted to the concept of extra dimension (in addition the three spatial dimensions: the fourth dimension), Metzinger likely responded positively to Maeterlinck's popular stage play *The Blue Bird* (written in 1908), finding in it, perhaps, the analogy to the Cubist quest for higher realities.

Maeterlinck’s play, *The Blue Bird*, premiered in Moscow in 1908, New York 1910, and on 2 March 1911 the play premiered in Paris at the Théâtre Réjane (owned and run by the French actress Réjane from 1906 to 1918). The play subsequently was adapted to several films titled *The Blue Bird*. The French composer Albert Wolff wrote an opera (first performed at the N.Y. Metropolitan, 27 December 1919, in the presence of Maeterlinck) based on Maeterlinck's original 1908 play. Due to the early popularity of the play and Metzinger's various interests in science and Symbolism, and as his 1913 painting bears the same name as the play, it is relatively safe to assume that Metzinger was familiar with the work of Maeterlinck.

Edward Fry commented in *Cubism* that Metzinger's *L’Oiseau bleu* has "no significant connection with Maeterlinck’s 1910 play of the same name" may not be entirely justified. Aside from the presence of the *blue bird* (The Blue Bird of Happiness in Maeterlinck's play) there is no iconographic evidence relating to the painting to the play, but at the very least a connection between Maeterlinck and Symbolism, with Bergson and Cubism, has been established through Tancrede de Visan.

> "The Cubists also found support in Maeterlinck for their ideas regarding successive images and simultaneity. Contemporary critics like Visan recognized the parallel between Bergson and Maeterlinck, claiming that Maeterlinck had anticipated Bergson’s technique of successive images in *Serres chaudes*. While Bergson argued that the artist must induce an alogical state in the beholder by juxtaposing images as disparate as possible to enable the spectator to reconstruct his or her original intuition, Maeterlinck took the same approach in *Serres chaudes*, according to Visan. Furthermore, Maeterlinck used words and gestures in unusual ways and placed them in strange contexts with the same aim in mind. Maeterlinck’s highly popular *L’Oiseau bleu* and other writings, including *Le temple enseveli*, espoused a continuity of time previously suggested by Bergson. In addition, the faceted diamond of *L’Oiseau bleu* not only gave the children "true sight" that closely mimicked the X-ray, but also allowed them to perceive distant times and places. Clearly responding the play, Metzinger, in his painting of the same name, breaks the objects into facets and reveals a simultaneous view of places separated by great distance. Just as Poincaré advocated that a combination of multiple perspectives could represent a higher-dimensional object, Metzinger must have seen a parallel with Maeterlinck’s diamond—a faceted object that revealed higher reality". (Laura Kathleen Valeri, 2011)

LIGHT: "We are in the Kingdom of the Future," said Light, a character in Meaterlinck's play, "in the midst of the children who are not yet born. As the diamond allows us to see clearly in this region which is hidden from men, we shall perhaps find the Blue Bird here..."

THE FAIRY: (Pointing to the diamond) "When you hold it like this, do you see?… One little turn more and you behold the past…. Another little turn and you behold the future…"

LIGHT: "We are in the Kingdom of the Future, in the midst of the children who are not yet born. As the diamond allows us to see clearly in this region which is hidden from men, we shall very probably find the Blue Bird here..."

The enchanted diamond in *The Blue Bird*, when turned, has the virtue of setting free the spirits temporarily, a diamond " which opens your eyes" and "makes people see", even "the inside of things".

The same year that he painted *L’Oiseau bleu* Metzinger wrote: 'We will not consider the forms as signs of an idea, but as living portions of the universe.' (1913)

Guillaume Apollinaire, in a poem written in 1907 entitled *La Tzigane*, writes of a *blue bird*: "Et l'oiseau bleu perdit ses plumes Et les mendiants leurs Avé". He does so again in 1908 in another poem, entitled *Fiançailles*: "Le printemps laisse errer les fiancés parjures, Et laisse feuilloler longtemps les plumes bleues, Que secoue le cyprès où niche l'oiseau bleu". And yet again, this time in 1918, in *Un oiseau chante*: Moi seul l'oiseau bleu s'égosille, Oiseau bleu comme le coeur bleu, De mon amour au coeur céleste".

*The Blue Bird* is also 1910 silent film, based on the play by Maurice Maeterlinck and starring Pauline Gilmer as Mytyl and Olive Walter as Tytyl. It was filmed in England. The original Broadway production of *The Blue Bird* or *L'Oiseau Bleu* by Maurice Maeterlinck opened at the New Theatre in New York (followed by the Majestic Theater) on October 1, 1910, and closed on January 21, 1911. Revivals were produced in 1911 and 1924.

## L'Oiseau bleu (Tchaikovsky and Stravinsky)

L'Oiseau bleu et la Princesse Florine appear in a Pas de deux, Act III of *The Sleeping Beauty*, a ballet in three acts first performed in 1890. The music was by Pyotr Tchaikovsky (his Opus 66). The original scenario was conceived by Ivan Vsevolozhsky, and is based on Charles Perrault's *La Belle au bois dormant*. Marius Petipa choreographed the original production. The premiere performance took place at the Mariinsky Theatre in St. Petersburg in 1890.

Russian composer Igor Stravinsky, working for Sergei Diaghilev and the Ballets Russes, achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: *The Firebird (L'Oiseau de feu)* (1910), *Petrushka* (1911) and *The Rite of Spring* (1913). The rhythmic structure of these compositions were largely responsible for Stravinsky's enduring reputation as a musical revolutionary who pushed the boundaries of musical design.

Stravinsky's admiration for Tchaikovsky is well documented. Stravinsky's music has often been compared with Cubism. His path often crossed with the Cubists, notably Picasso and Gleizes, and through Ricciotto Canudo contributed to and became closely associated with the pro-Cubist publication *Montjoie*., Gleizes published an article in Canudo's Montjoie entitled *Cubisme et la tradition*, 10 February 1913. It was through the intermediary of Ricciotto Canudo that Gleizes would meet the artist Juliette Roche (soon to become Juliette Roche-Gleizes); a childhood friend of Jean Cocteau. Stravinsky would later collaborate with both Picasso (Pulcinella, 1920), and Cocteau (Oedipus Rex, 1927).

Albert Gleizes painted the *Portrait of Igor Stravinsky* in 1914.

The connection between Tchaikovsky's *L'Oiseau Bleu* and Metzinger's *L'Oiseau Bleu* is not entirely far fetched in light of the close association between Stravinsky and both circles: that of the Russian Ballets and that of the Cubists. At the opening night of the Ballets Russes in Paris, May 1909, Vaslav Nijinsky's performed with Tamara Karsavina in the *Bluebird pas de deux*.

## L'Oiseau bleu (Madame d'Aulnoy)

The title *L'Oiseau bleu (The Blue Bird)* can be traced back to a French literary fairy tale by Madame d'Aulnoy (1650/1651 – 4 January 1705), published in 1697. When d'Aulnoy termed her works *contes de fées* (fairy tales), she originated the term that is now generally used for the genre. Prince Charming, in the story, is transformed by the fairy godmother into a blue bird. Aside from the subject of the title of Madame d'Aulnoy's story, there is further iconographic evidence in Metzinger's painting that suggests a link between the two. The first relates to the woman gazing into a mirror on the left side of Metzinger's painting.

In the Madame d'Aulnoy 1697 story it is written:

> 'The entire valley was a mirror. Around the valley there were more than sixty thousand women who gazed at themselves with extreme pleasure... Each saw herself as she wanted to be: the redhead seemed blonde, the brunette had black hair, the old thought she was young, the young didn't become old; finally, all defects were so well hidden that the people came from all over the world'.

With reference to the fruit visible in Metzinger's work, a link could be established as articulated in d'Aulnoy's tale: 'As soon as the day broke, the \[blue\] bird flew deep into the tree where fruits served as food.'

And with reference to the necklace worn by Metzinger's reclining figure, a comparison could be made with d'Aulnoy's story:

> 'No day passed without \[the Blue Bird – King Charming\] bringing a present \[présent\] to Florine: sometimes a perl necklace, or the brightest and well-made rings, fastened with diamonds, an official marking \[des poinçons\], with bouquets of precious cut gems, that mimic the colors of flowers, pleasant books, medals, finally, she had a collection of wonderful treasures'.

## Diversity and inspiration

It is difficult to ascertain to what extent Metzinger was influenced, moved, provoked or inspired by the works of Maeterlinck, Tchaikovsky, Stravinsky or d'Aulnoy. What does emerge is the closer iconographic detail visible in Metzinger's painting with the original version of *L'Oiseau bleu* (the first version, that also happens to be French, of 1697) by Madame d'Aulnoy. In fact, it is the only version of *L'Oiseau bleu* that appears to be mirrored iconographically in Metzinger's painting.

The fact that the difficulty even exists attests to the diversity of Metzinger's interest in widely disparate subjects, widely faceted interests and sensitivities, ranging from women to fashion, from literature to science, in passing through mathematics, geometry, physics, metaphysics, philosophy, nature, classical music, opera, dance, theater, cafés, travel and poetry. He was open to all the idioms that he considered genuinely popular.

'The art that does not pass leans on mathematics' Metzinger wrote, 'Whether the result of patient study or of flashing intuition, it alone is capable of reducing our diverse, pathetic sensations to the strict unity of a mass (Bach), a fresco (Michelangelo), a bust (antiquity)."

"Jean Metzinger, then" wrote art historian Daniel Robbins, "was at the center of Cubism, not only because of his role as intermediary among the orthodox Montmartre group and right bank or Passy Cubists, not only because of his great identification with the movement when it was recognized, but above all because of his artistic personality. His concerns were balanced; he was deliberately at the intersection of high intellectuality and the passing spectacle."

## Selected exhibitions

### Salon des Indépendants, 1913

The Salon des Indépendants was held 19 March through 18 May, the Cubist works were shown in room 46. Metzinger exhibited three works: *Paysage, Nature Morte*, and his large *L'Oiseau bleu*, number 2087 of the catalogueAlbert Gleizes exhibited three works: *Paysage*, *Le port marchand*, 1912, Art Gallery of Ontario, and *Les Joueurs de football (Football Players)* 1912–13, National Gallery of Art, Washington D.C. m. 1293 of the catalogueRobert Delaunay, *L'équipe du Cardiff F.C.*, 1912–13, Van Abbemuseum, Eindhoven, n. 787 of the catalogueFernand Léger, *Le modèle nu dans l'atelier (Nude Model In The Studio)* 1912–13, Solomon R. Guggenheim Museum, New York — Juan Gris, *L'Homme dans le Café (Man in Café)* 1912, Philadelphia Museum of Art.

In room 45 hung the works of Robert Delaunay, Sonia Delaunay, František Kupka, Morgan Russell and Macdonald-Wright. This was the first exhibition where Orphism and Synchromism were emphatically present. Apollinaire in *L'Intransigeant* mentioned la Salle hollandaise (room 43), which included Jacoba van Heemskerck, Piet Mondrian, Otto van Rees, Jan Sluyters en Leo Gestel and Lodewijk Schelfhout.

### Erster Deutscher Herbstsalon, Berlin, 1913

20 September — 1 November 1913: Metzinger exhibited *L'Oiseau bleu* (*Der Blaue Vogel*), catalogue number 287, at Erster Deutscher Herbstsalon in Berlin, an exhibition organized by Herwarth Walden (Galerie Der Sturm). Artists include Henri Rousseau, the Delaunays, Gleizes, Léger, Marcoussis, Archipenko, Picabia, Kandinsky, Severini, Chagal, Klee, Jawlensky, Russolo, Mondrian and others.

Following the Salon d'Automne of 1913 in Paris this show took place at Potsdamer Strasse 75, Berlin. 75 artists from 12 countries exhibited 366 works. This exhibition was supported financially by the manufacturer and art collector Bernhardt Köhler.

Apollinaire described the Herbst salon of 1913 as the first Orphist Salon. There were many works by Robert and Sonia Delaunay, in addition to abstract works by Picabia and Cubist works by Metzinger, Gleizes, Léger and a large number of Futurist paintings. This exhibition was a turning-point in Apollinaire's artistic strategy for Orphism. After becoming entangled through some remarks in an argument between Delaunay and Umberto Boccioni about the ambiguousness of the term ‘simultaneity’ he did not use the term Orphism again in his art related articles. The artists labeled Orphists also brushed off the term and developed stylistic trends of their own.

### Paris International Exposition, 1937

The Exposition Internationale des Arts et Techniques dans la Vie Moderne, dedicated to Art and Technology in Modern Life, was held from May 25 to November 25, 1937, in Paris. *L'Oiseau Bleu* (n. 11) was exhibited in a show entitled *Les Maitres de I'Art Indépendant 1895-1937*, held at the Petit Palais, in Paris. *L'Oiseau Bleu* was purchased by *la Ville de Paris* (the City of Paris) the same year. The Musée d'Art Moderne de la Ville de Paris, within the Palais de Tokyo, which would soon house *L'Oiseau Bleu*, was designed for the International Art and Technical Exhibition of 1937. This exhibition provided the opportunity for some remarkable acquisitions including: *The Dance (La Danse)* by Henri Matisse, *Nude in the bath* and *The Garden* by Pierre Bonnard, *The Cardiff Team (L'équipe de Cardiff )* by Robert Delaunay, *The River* by André Derain, *Discs (Les Disques)* by Fernand Léger, *The Stopover (l'Escale)* by André Lhote, *L'Oiseau Bleu (The Blue Bird)* by Jean Metzinger, Les Baigneuses (The Bathers) by Albert Gleizes, four Artists’ Portraits by Édouard Vuillard, which still number among the museum's masterpieces, not forgetting the large murals by Robert and Sonia Delaunay, Albert Gleizes and Jacques Villon, acquired during the exhibition (donated by the Salon des Réalités Nouvelles in 1939).

For this same massive exhibition Metzinger was commissioned to paint a large mural, *Mystique of Travel*, which he executed for the *Salle de Cinema* in the railway pavilion.

### Paris 1937, l'art indépendant, 1987

Paris 1937, l'art indépendant: MAM, Musée d'art moderne de la Ville de Paris. From 12 June to 30 August 1987 *L'Oiseau bleu* (n. 254) was exhibited at the Musée d'art moderne de la Ville de Paris in a show entitled *Paris 1937, l'art indépendant*, held for the occasion of the 50th anniversary of the Paris International Exposition of 1937. At the 1987 memorial exhibition, consisting of 122 artists exhibiting 354 works, there were displayed considerably less works than the 1,557 presented in 1937.

### Centre Pompidou, Kunstmuseum Basel

*Le cubisme*, 17 October 2018 to 25 February 2019, Centre Pompidou, the first large-scale exhibition devoted to Cubism in France since 1973, with over 300 works on display. The 1973 exhibition, *Les Cubistes*, included over 180 works and was held at the Musée d'Art Moderne de la Ville de Paris and Galerie des Beaux-Arts, Bordeaux. The motivation for the Pompidou exhibition resides in broadening the scope of Cubism, usually focused on Georges Braque and Pablo Picasso, to include the major contributions of the Salon Cubists, the Section d'Or, and others who participated in the over-all movement. The exhibition is held at Kunstmuseum Basel, from March 31 to August 5, 2019.

## *L'Oiseau Bleu* postage stamp

For the occasion of the 100th anniversary of the publication of the Cubist manifesto *Du "Cubisme"*, 1912–2012, a French postage stamp was printed with the image of Metzinger's *L'Oiseau bleu*. A postage stamp representing *Le Chant de guerre, portrait de Florent Schmitt* (1915) by Albert Gleizes was also printed, in a series that includes stamps representing the works of other Cubists such as Roger de La Fresnaye, Georges Braque, Fernand Léger, Pablo Picasso and others. For the same occasion in 2012 the Musée national de la Poste (France) (the logo of which is a blue bird) mounted an exhibition entitled *Gleizes-Metzinger. Du Cubisme et après* dedicated to Jean Metzinger and Albert Gleizes, in which appeared the works of other members of the Section d'Or group.

## 1913 in context

Niels Bohr presents his quantum model of the atom.Robert Millikan measures the fundamental unit of electric chargeGeorges Sagnac demonstrates the Sagnac effect, showing that light propagates at a speed independent of the speed of its source.William Henry Bragg and William Lawrence Bragg work out the Bragg condition for strong X-ray reflection — Publication of the 3rd volume of *Principia Mathematica* by Alfred North Whitehead and Bertrand Russell, one of the most important and seminal works in mathematical logic and philosophy — February 17 - The Armory Show opens in New York City. It displays works of artists who are to become some of the most influential painters of the early 20th century — Marcel Proust, *Swann's Way*D. H. Lawrence, *Sons and Lovers*Franz Kafka, *The Judgement*Blaise Cendrars, *La prose du Transsibérien et de la Petite Jehanne de France* — Guillaume Apollinaire, *Alcools: Poemes 1898-1913*, edited by Tristan TzaraBlaise Cendrars, *La prose du Transsibérien et de la Petite Jehanne de France*, a collaborative artists' book with near abstract pochoir print by Sonia Delaunay-TerkFrancis Jammes, *Feuilles dans le vent* — 29 May - Igor Stravinsky's ballet score *The Rite of Spring* is premiered in Paris — 12 December - Vincenzo Perugia tries to sell *Mona Lisa* in Florence and is arrested. Apollinaire had been a suspect in Paris for its theft — 30 December - Italy returns *Mona Lisa* to France — 23 September - Aviator Roland Garros flies over the Mediterranean

### Further exhibitions

* *Apollinaire critique d'art*, Pavillon des Arts, Paris, 1993, n. 86
* *De Picasso à Soulages*, Otsu (Japan), Museum of Modern Art, Shiga, 3 April 1999 – 9 May 1999, Akita (Japan), Akita Senshu Museum of Art, 15 May 1999 – 13 June 1999, Tokyo (Japon), Yasuda Kasai Museum of Art, 19 June 1999 – 15 August 1999
* *De Picasso à Soulages*, Marugame (Japan), Marugame Genichiro-Inokuma Museum of Contemporary Art, 21 August 1999 – 26 September 1999
* *Der Sturm - Aufbruch zur Moderne*, Wuppertal (Germany), Von der Heydt-Museum Wuppertal, 11 March 2012 – 11 June 2012
* *Apollinaire, le regard du poète*, Paris (France), Musée de l'Orangerie, 5 April 2016 – 18 July 2016, n. 97
* *Le Cubisme : Repenser le monde*, Paris (France), Musée national d'art moderne, Centre de création industrielle, 17 October 2018 – 25 February 2019
* *Paris Moderne*, Schwäbisch Hall (Germany), Kunsthalle Würth, 15 April 2019 – 15 September 2019
* *Accrochage automne 2019*, Paris (France), Musée d'art moderne de la Ville de Paris, 8 October 2019 – 31 December 2020

## Further reading

* Fry, Edward F., *Cubism*, Londres, Thames and Hudson, 1966, p. 191
* *Les Cubistes*, Musée d'art moderne de la Ville de Paris, 1973, cat 156 p. 83
* *Chefs-d'oeuvre du Musée d'Art Moderne de la Ville de Paris*, Paris-Musées et SAMAM, 1985, pp. 38, 140
* Caffin Madaule, Liliane, *Maria Blanchard 1881-1932*, catalogue raisonné tome I, Canterbury, UK, 1992, p. 173, ISBN 0-9518533-0-9
* Pagé, Suzanne, Musée d'Art Moderne de la Ville de Paris: *La collection*, Paris Musées, 2009, pp. 372–373, ISBN 978-2-879008-88-2
* *Gleizes-Metzinger, Du cubisme et après*, Musée de la Poste, 2012; Musée de Lodève, 2012; École nationale supérieure des Beaux-Arts, 2012, pp. 35, 43–47, ISBN 978-2-84056-368-6
* *Der Sturm-Zentrum der Avant-Garde*, Von der Heydt-Museum Wuppertal, 2012, p. 189, ISBN 978-3-89202-081-3

## InfoBox

| The Blue Bird | |
| --- | --- |
| French: *L'Oiseau bleu* | |
|  | |
| Artist | Jean Metzinger |
| Year | 1912-13 |
| Medium | Oil on canvas |
| Dimensions | 230 cm × 196 cm (90.5 in × 77.2 in) |
| Location | Musée d'Art Moderne de la Ville de Paris, Paris |


title: The Body Corporate

abstract: The Body Corporate is a 1983 Australian television film directed by Eric Taylor and starring Leonard Teale, Pat McDonald, and Mervyn Drake.

text:
# The Body Corporate

***The Body Corporate*** is a 1983 Australian television film directed by Eric Taylor and starring Leonard Teale, Pat McDonald, and Mervyn Drake.

## InfoBox

| *The Body Corporate* | |
| --- | --- |
| Written by | Robert Caswell |
| Directed by | Eric Taylor |
| Starring | Leonard Teale
Pat McDonald
Mervyn Drake |
| Country of origin | Australia |
| Original language | English |
| Production | |
| Running time | 80 mins |
| Production company | ABC |
| Original release | |
| Network | ABC |
| Release | 1983 (1983) |


title: The Baltic Times

abstract: The Baltic Times is an independent monthly newspaper that covers the latest political, economic, business, and cultural events in Estonia, Latvia and Lithuania.

text:
# The Baltic Times

***The Baltic Times*** is an independent monthly newspaper that covers the latest political, economic, business, and cultural events in Estonia, Latvia and Lithuania.

## History

The paper was formed from a merger in 1996 of the *Baltic Independent* and *Baltic Observer*. With offices in Tallinn and Vilnius and its headquarters in Riga, *The Baltic Times* remains the only English language print and online newspaper covering all three Baltic states.

Between 1996 and 2012 *The Baltic Times* was published weekly and then, until September 2013, twice a month.

## InfoBox

The Baltic Times
|  | |
| --- | --- |
| Type | Monthly newspaper |
| Format | Print; online |
| Founded | 1996 |
| Headquarters | Riga, Latvia |
| Country | Latvia |
| ISSN | 1407-2300 |
| Website | www.baltictimes.com |
|  | |


title: The Black League

abstract: The Black League was a Finnish heavy metal band. They were formed in 1998 by Taneli Jarva, three years after his departure from the gothic metal band Sentenced. The Black League's first two full-lengths carry on the spirit from Taneli's work with his former band, seasoning their metal with elements of traditional rock 'n' roll. On their third release, Man's Ruin Revisited, these influences take an even more prominent role in their sound. In October 2014, Taneli Jarva pronounced of his decision to call the band the quits due to "lack of personal inspiration".

text:
# The Black League

**The Black League** was a Finnish heavy metal band. They were formed in 1998 by Taneli Jarva, three years after his departure from the gothic metal band Sentenced. The Black League's first two full-lengths carry on the spirit from Taneli's work with his former band, seasoning their metal with elements of traditional rock 'n' roll. On their third release, *Man's Ruin Revisited*, these influences take an even more prominent role in their sound. In October 2014, Taneli Jarva pronounced of his decision to call the band the quits due to "lack of personal inspiration".

## Band members

* Taneli Jarva – lead vocals (1998–2014)
* Maike Valanne – rhythm guitar, backing vocals (1998–2014)
* Heavy Hiltunen – lead guitar (2005–2014)
* Ilkka Tanska – bass (2005–2014)
* Rale Tiiainen – drums (2005–2014)

### Previous members

* Alexi Ranta – lead guitar (1998–2005)
* Mikko Laurila (a.k.a. Florida) – bass (1998–2005)
* Kimmo Luttinen (a.k.a. Sir Luttinen) – drums (1998–2005)

### Session members

* Lene Leinonen – bass (live 2004)

## Discography

### Demos

* *Demo 98* (1998)

### Singles

* *Cold Women & Warm Beer* (2003)

### EPs

* *Doomsday Sun* (2001)

### Albums

## Videography

* *Winter Winds Sing* (2000)
* *Rex Talionis* (2002)
* *Same Ol' Fuckery* (2005)
* *The Pusher* (2007)
* *The Beast Is a Riddle* (2009)

## InfoBox

| The Black League | |
| --- | --- |
|  | |
| Background information | |
| Origin | Oulu, Finland |
| Genres |  |
| Years active | 1998–2014 |
| Labels |  |
|  | |
| Members | Taneli Jarva
Heavy Hiltunen
Maike Valanne
Ilkka Tanska
Rale Tilainen |
|  | |
| Past members | Alexi Ranta
Mikko "Florida" Laurila
Kimmo "Sir" Luttinen |


title: Sărăteni, Leova

abstract: Sărăteni is a commune in Leova District, Moldova. It is composed of two villages, Sărăteni and Victoria.

text:
# Sărăteni, Leova

**Sărăteni** is a commune in Leova District, Moldova. It is composed of two villages, Sărăteni and Victoria.

## InfoBox

| Sărăteni | |
| --- | --- |
| Commune | |
| Sărăteni | |
| Coordinates: 46°36′37″N 28°27′59″E / 46.61028°N 28.46639°E / 46.61028; 28.46639 | |
| Country | Moldova |
| Elevation | 50 m (160 ft) |
| Population (2014) | |
| Total | 987 |
| Time zone | UTC+2 (EET) |
| Summer (DST) | UTC+3 (EEST) |
| Postal code | MD-6326 |


title: The Ballad of Lost C'Mell

abstract: "The Ballad of Lost C'Mell" is a science fiction novella by American writer Cordwainer Smith. It was first published in October 1962 in Galaxy Magazine, and since reprinted in several compilations and omnibus editions. The main characters are Jestocost, a lord of the Instrumentality of Mankind, and C'mell, a beautiful cat-derived "underperson" who works as a "girly-girl" at the main spaceport.

text:
# The Ballad of Lost C'Mell

"**The Ballad of Lost C'Mell**" is a science fiction novella by American writer Cordwainer Smith. It was first published in October 1962 in *Galaxy Magazine*, and since reprinted in several compilations and omnibus editions.

The main characters are Jestocost, a lord of the Instrumentality of Mankind, and C'mell, a beautiful cat-derived "underperson" (an animal given human speech and form but no rights, while retaining some of its inherent genetics – for example, C'mell's father held the long-jump record at the time) who works as a "girly-girl" (similar to an escort) at the main spaceport.

## Plot summary

The story revolves around Jestocost's ambition to help the oppressed underpeople gain rights without upsetting the established social order. While debating how to make contact, Jestocost telepathically accesses C'mell's thoughts during the funeral of her athlete father, and overhears her call for help to someone named E-telly-kelly. After awkwardly questioning her later (which she at first mistakes for a crude pass), he is permitted to make contact with the E'telekeli, an eagle-derived underperson unknown to the Instrumentality with immense telepathic powers, who may be the leader of the underpeople.

Jestocost and the E'telekeli agree to a scheme in which C'mell will pretend to be a witness to illegal smuggling. When this case is brought before the assembled Lords of the Instrumentality, C'mell provides manufactured evidence which causes the Instrumentality's computer system, the Bank, to display probable smuggling routes and hideouts on the Bell, the Bank's three-dimensional display system. While this is going on, C'mell remains surreptitiously in physical contact with Jestocost. This allows him to telepathically relay the images on the Bell to the E'telekeli. The images appear too quickly for a normal human mind to interpret, but the E'telekeli is able to do so.

Since C'mell's "evidence" proves worthless the Lords dismiss her angrily, but the information stolen from the Bank and Bell provides the underpeople with details about the main human checkpoints and a list of safe havens where they can hide from the Instrumentality while seeking rights.

Their plan has required C'mell and Jestocost to work closely together, and C'mell (working for the first time with a human who respects her intelligence) falls in love with Jestocost, but he suppresses his own feelings as a distraction, and they separate when the plan succeeds. They only meet again once, many years later when the underpeople are well on their way to achieving their rights. Their discussion is friendly, but C'mell is privately saddened by Jestocost's lack of romantic feeling toward her.

Ultimately, during Jestocost's life, underpeople achieve a lower-grade citizenship, for which their efforts were partly responsible. The story of Jestocost and C'mell never becomes public, but a folk song among the underpeople entitled "The Ballad of Lost C'mell" tells a poetic and partial version of the events.

On his deathbed, many years after C'mell has died of old age, Jestocost has a brief telepathic conversation, apparently with the E'telekeli's successor, in which he learns that she never loved anyone but him. The telepathic underperson assures Jestocost that his name will be linked with C'mell's forever in history and folklore.

## Connections to other works

Smith's novel *Norstrilia* is partly a sequel to this story (it is set a few years after the main part of the story, includes all of the main characters, and is concerned with some of the same issues). C'mell also appears in Smith's story "Alpha Ralpha Boulevard", which takes place earlier in terms of chronology and order of publication.

C'mell's adventures take place during the early years of the Rediscovery of Man. According to J. J. Pierce's conjectural timeline of the Instrumentality (included in *We, the Underpeople* and other collections of Smith's stories) this seems to be some time between AD 15,000 and 16,000.

"The Ballad of Lost C'Mell" was included in *The Science Fiction Hall of Fame, Volume Two*, a collection of the 22 greatest science fiction novellas published before the introduction of the Nebula Awards in 1965, as selected by the Science Fiction and Fantasy Writers of America.

Note: The M of C'mell is often capitalized in the title of the story (as in this article) but in the text it is uncapitalized.

The name "C'mell" is derived from that of Smith's (real name Paul Linebarger) pet cat, Melanie.

The title was not the one that Smith originally gave the story, but was derived from the text by *Galaxy* magazine's then-editor Frederik Pohl. This was one of a number of Smith's story-titles that Pohl changed for publication because he disliked the originals. Pohl's replacement titles are all derived from the texts of the stories in order to retain the character of Smith's writing.

## InfoBox

| "The Ballad of Lost C'Mell" | |
| --- | --- |
| Short story by Cordwainer Smith | |
|  | |
| Country | USA |
| Language | English |
| Genre(s) | Science fiction |
| Publication | |
| Published in | *Galaxy Magazine* |
| Publication type | Print (Magazine, Hardback & Paperback) |
| Publisher | Galaxy Publishing |
| Publication date | October 1962 |
| Chronology | |
| Series | Instrumentality of Mankind |
|
Alpha Ralpha Boulevard
*Norstrilia* | |


title: Shimogo Pumped Storage Power Station

abstract:
Shimogo Pumped Storage Power Station The Shimogo Pumped Storage Power Station is a large pumped-storage hydroelectric power plant in Shimogō, Minamiaizu, Fukushima Prefecture, Japan. With an installed capacity of 1,000 megawatts (1,300,000 hp), the system is one of the largest pumped-storage power stations in Japan. The facility is run by Electric Power Development Company (J-Power).
Like most pumped-storage facilities, the power station uses two reservoirs, releasing and pumping as the demand rises and falls. The Ouchi Dam Reservoir, formed by the Ouchi Dam, is the upper artificial reservoir, while Okawa Dam forms the lower reservoir. Ogawa Dam is a rockfill-concrete gravity combined dam, with a height of 75 m and a length of 406 m. Construction on the dam started in 1971 and was completed in 1987. The dam is also used for flood control, irrigation, and domestic and industrial water supply.
Ouchi Dam is a rockfill dam with a height of 102 m and a length of 340 m. Construction started in 1974 and was completed in 1991.
The power plant employs four 250 MW pump/generator units, for a total net capacity of 1000 MW. The maximum water flow is 314 cubic meters per second. Unit 1 and 2 became operational in April 1988 after the completion of the Okawa Dam. Units 3 and 4 were commissioned in 1991. The station includes a visitor center with a model of the power station and media to explain its operation. A smaller conventional hydroelectric power plant, the Ogawa hydroelectric power plant is in operation downstream of Ogawa Dam since May 1986. The plant, operated by Tohoku Electric Power Company, has an installed capacity of 21 MW and an effective head of 56 m. The maximum water flow is 45 cubic meter per second. The plant operates with a single Kaplan turbine.

text:
# Shimogo Pumped Storage Power Station

The **Shimogo Pumped Storage Power Station** (Japanese: 下郷発電所, Hepburn: *Shimogō Hatsudensho*) is a large pumped-storage hydroelectric power plant in Shimogō, Minamiaizu, Fukushima Prefecture, Japan. With an installed capacity of 1,000 megawatts (1,300,000 hp), the system is one of the largest pumped-storage power stations in Japan.

The facility is run by Electric Power Development Company (J-Power). Like most pumped-storage facilities, the power station uses two reservoirs, releasing and pumping as the demand rises and falls. The Ouchi Dam Reservoir, formed by the Ouchi Dam, is the upper artificial reservoir, while Okawa Dam forms the lower reservoir.

Ogawa Dam is a rockfill-concrete gravity combined dam, with a height of 75 m and a length of 406 m. Construction on the dam started in 1971 and was completed in 1987. The dam is also used for flood control, irrigation, and domestic and industrial water supply. Ouchi Dam is a rockfill dam with a height of 102 m and a length of 340 m. Construction started in 1974 and was completed in 1991. The power plant employs four 250 MW pump/generator units, for a total net capacity of 1000 MW. The maximum water flow is 314 cubic meters per second. Unit 1 and 2 became operational in April 1988 after the completion of the Okawa Dam. Units 3 and 4 were commissioned in 1991.

The station includes a visitor center with a model of the power station and media to explain its operation.

A smaller conventional hydroelectric power plant, the **Ogawa hydroelectric power plant** (大川発電所, *Ogawa Hatsudensho*) is in operation downstream of Ogawa Dam since May 1986. The plant, operated by Tohoku Electric Power Company, has an installed capacity of 21 MW and an effective head of 56 m. The maximum water flow is 45 cubic meter per second. The plant operates with a single Kaplan turbine.

## InfoBox

| Shimogo Pumped Storage Power Station | |
| --- | --- |
|  | |
| Country | Japan |
| Location | Shimogō, Minamiaizu, Fukushima Prefecture |
| Coordinates | 37°20′42.2″N 139°54′30.0″E / 37.345056°N 139.908333°E / 37.345056; 139.908333 |
| Status | Operational |
| Construction began | 1974 |
| Opening date | 1988
1991 (complete) |
| Operator(s) | J-Power |
| Upper reservoir | |
| Creates | Ouchi Dam Reservoir |
| Total capacity | 18,500,000 m3 (15,000 acre⋅ft) (total)
16,000,000 m3 (13,000 acre⋅ft) (usable) |
| Lower reservoir | |
| Creates | Wakasato Lake |
| Total capacity | 57,500,000 m3 (46,600 acre⋅ft) (total)
44,500,000 m3 (36,100 acre⋅ft) (usable) |
| Power Station | |
| Hydraulic head | 387 m (1,270 ft) |
| Pump-generators | 4 x 250 MW reversible Francis turbines |
| Installed capacity | 1,000 MW (1,300,000 hp) |


title: Mary Dennett (prior)

abstract: Mary "Christina" Dennett was a British prioress of the Canonesses Regular of the Holy Sepulchre in Liège from 1770 to 1781. New Hall School in Chelmsford credits Susan Hawley with founding their school, but it was Dennett who expanded the convent's school in Liege to have an international reputation in the 18th century, years before it moved to England in 1794.

text:
# Mary Dennett (prior)

**Mary "Christina" Dennett** (1730 – 12 July 1781) was a British prioress of the Canonesses Regular of the Holy Sepulchre in Liège from 1770 to 1781. New Hall School in Chelmsford credits Susan Hawley with founding their school, but it was Dennett who expanded the convent's school in Liege to have an international reputation in the 18th century, years before it moved to England in 1794.

## Life

Dennett was born in Appleton near Widnes in 1730. Her father Henry was a Protestant and her mother, Mary, was a Catholic. She was the last of their four children so when her father died when she was about five she was brought up as a catholic.

In 1746 she went to the convent of the Canonesses Regular of the Holy Sepulchre in Liege where her sister was already a nun. She was committed to a religious life and was said to have taken a vow of chastity when she was ten. The convent in Liege had been founded in 1642 by an English woman Dame Susan Hawley (Mother Mary of the Conception) who became the first prioress in 1656. Dennett was to young in 1746 to commit to becoming a nun so she was sent to gain an education at the school in Liege belonging to the Ursuline nuns. She became the sub prioress in 1769 and the sixth prioress of the Holy Sepulchre in 1770. That first year she turned her interest to the convent's school which had existed since 1651, but she now wanted to provide an education to Catholic girls that would compete with any school in England. The community was able to provide an education for the daughters of Catholic families under the Penal Laws She knew that girls would come to the convent, but they would not want to become nuns. Dennett was determined that these girls would be educated wives and mothers.

A new school building was started in 1772 and another was needed by 1776 when there were sixty girls living there and gaining an education. The school thrived and became well known. The school had always attracted English Catholic girls but the school's reputation meant that they attracted girls from many different countries. The school offered English, Maths and modern languages as well as wider ranging subjects including debating and double-entry book-keeping.

## Death and legacy

Dennett died in Liège in 1781. New Hall School in Chelmsford credits Susan Hawley with founding their school in 1642, but that school developed an international reputation under the management of Dennett. It is said that when the convent moved to England in 1794 to avoid the French Revolution, the reputation of the school meant that they found it difficult to leave. One the houses of New Hall School is called Dennett House.

## InfoBox

| Mary Dennett | |
| --- | --- |
| portrait by an unknown person | |
| Born | 1730
Widnes |
| Died | July 12, 1781(1781-07-12) (aged 50–51)
Liège |
| Nationality | Great Britain |
| Other names | name in religion was Christina |
| Occupation | nun |
| Known for | prioress of the Holy Sepulchre, Liège |


title: Ulrich Habsburg-Lothringen

abstract: Ulrich Habsburg-Lothringen is an Austrian forester and politician, who was formerly in the Green Party of Austria, but is now non-partisan. He is a member of the Habsburg Family who wanted to participate in the election for the Austrian Federal President in the 2010 election. However, being member of a formerly ruling family, he was not eligible to do so. That law has been cancelled since, so he can now participate. He thought about another try for the following presidential election, which was held in April 2016, but finally decided to endorse the non-partisan judge Irmgard Griss instead. He is the grandson of Archduke Heinrich Ferdinand, fourth son of the last Grand Duke of Tuscany, Ferdinand IV, and a distant cousin of the late Otto von Habsburg. All parties in the Austrian National Council voted for allowing members of ruling or formerly ruling families to participate on national elections. Another of Ulrich's proposals is to re-introduce the use of hereditary noble titles in Austria. The Green Party, of which he was a member, does not support his proposal. The right-wing FPÖ supports it though.

text:
# Ulrich Habsburg-Lothringen

**Ulrich Habsburg-Lothringen** (born 1941 in Wolfsberg, Carinthia Nazi Germany (now Austria)) is an Austrian forester and politician, who was formerly in the Green Party of Austria, but is now non-partisan. He is a member of the Habsburg Family who wanted to participate in the election for the Austrian Federal President in the 2010 election. However, being member of a formerly ruling family, he was not eligible to do so. That law has been cancelled since, so he can now participate. He thought about another try for the following presidential election, which was held in April 2016, but finally decided to endorse the non-partisan judge Irmgard Griss instead.

He is the grandson of Archduke Heinrich Ferdinand, fourth son of the last Grand Duke of Tuscany, Ferdinand IV, and a distant cousin of the late Otto von Habsburg. All parties in the Austrian National Council voted for allowing members of ruling or formerly ruling families to participate on national elections.

Another of Ulrich's proposals is to re-introduce the use of hereditary noble titles in Austria. The Green Party, of which he was a member, does not support his proposal. The right-wing FPÖ supports it though.

## Sources


title: Tsukahara (vault)

abstract: The Tsukahara can refer to a specific vault and a family of vaults in artistic gymnastics. The first Tsukahara vault was performed by Mitsuo Tsukahara in 1972. A Tsukahara vault consists of a half turn off the springboard onto the vault table, then a push backwards, usually into a back salto or layout. In Japanese, this technique is known as a "Moonsault".

text:
# Tsukahara (vault)

The **Tsukahara** can refer to a specific vault and a family of vaults in artistic gymnastics. The first Tsukahara vault was performed by (and named after) Mitsuo Tsukahara in 1972.

A Tsukahara vault consists of a half turn off the springboard onto the vault table, then a push backwards, usually into a back salto or layout.

In Japanese, this technique is known as a "Moonsault".

## Variations

Any vault that has a handspring with 1/4 - 1/2 turn onto the vault table into a salto backwards is classified as a Tsukahara vault. Some variations on the Tsukahara vaults include:

* Kim - Tsukahara tucked or stretched with full twist (360°) off
* Zamolodchikova - Tsukahara stretched with a 2/1 turn (720°) off
* Phelps - a half turn onto the vault table, followed by a half turn off and into a front layout.


title: Ondřej Zahustel

abstract: Ondřej Zahustel is a former professional Czech football player who last played for the B-team of Mladá Boleslav.

text:
# Ondřej Zahustel

**Ondřej Zahustel** (born 18 June 1991) is a former professional Czech football player who last played for the B-team of Mladá Boleslav.

## International career

Zahustel made his senior debut for the Czech Republic on 13 November 2015 and scored one of the goals in a 4-1 win over Serbia.

## InfoBox

Ondřej Zahustel
| Personal information | | | |
| --- | --- | --- | --- |
| Date of birth | (1991-06-18) 18 June 1991 | | |
| Place of birth | Mladá Boleslav, Czechoslovakia | | |
| Height | 1.86 m (6 ft 1 in) | | |
| Position(s) | Right-back | | |
| Team information | | | |
| Current team | Mladá Boleslav (youth) | | |
| Youth career | | | |
| 2008–2009 | Mladá Boleslav | | |
| Senior career\* | | | |
| Years | **Team** | **Apps** | **(Gls)** |
| 2009–2015 | Mladá Boleslav | 91 | (19) |
| 2016–2021 | Sparta Prague | 67 | (6) |
| 2020 | Slovácko (loan) | 6 | (1) |
| 2020 | Mladá Boleslav (loan) | 13 | (2) |
| 2021–2022 | Mladá Boleslav B | 19 | (7) |
| International career | | | |
| 2010 | Czech Republic U19 | 1 | (0) |
| 2012 | Czech Republic U21 | 1 | (2) |
| 2015–2016 | Czech Republic | 3 | (1) |
| Managerial career | | | |
| 2022–2023 | Mladá Boleslav B (assistant) | | |
| 2023– | Mladá Boleslav (youth) | | |
| \*Club domestic league appearances and goals, correct as of 20:41, 25 January 2023 (UTC) | | | |


title: Walter Friedländer

abstract: Walter Ferdinand Friedlaender was a German art historian. Walter Friedlaender was the son of Sigismund Friedlaender and Anna Joachimsthal. Born in Glogau, he was taught art history by Heinrich Wölfflin and others. Among his first students was Erwin Panofsky. He taught at the Freiburg University (1914–1933), and the Institute of Fine Arts at New York University (1935-1966). According to architecture and art historian Rocky Ruggiero, in a seminal observation about Mannerism by Friedlaender in his work, Mannerism and Anti-mannerism in Italian Painting, he presented the most sophisticated explanation of the transition from Renaissance art into the modern subjective "-isms" that followed the Baroque synthesis of Renaissance and High Renaissance styles. The concept Friedlaender presented was that artists moved from the objective and scientific work of Leonardo Da Vinci to the subjective presentations that have followed the break with Classical styles. Friedlaender died in New York.

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# Walter Friedländer

**Walter Ferdinand Friedlaender** (March 10, 1873 – September 8, 1966) was a German art historian (who should not be confused with Max Jakob Friedländer).

Walter Friedlaender was the son of Sigismund Friedlaender and Anna Joachimsthal. Born in Glogau, he was taught art history by Heinrich Wölfflin and others. Among his first students was Erwin Panofsky.

He taught at the Freiburg University (1914–1933), and the Institute of Fine Arts at New York University (1935-1966).

According to architecture and art historian Rocky Ruggiero, in a seminal observation about Mannerism by Friedlaender in his work, *Mannerism and Anti-mannerism in Italian Painting*, he presented the most sophisticated explanation of the transition from Renaissance art into the modern subjective "-isms" that followed the Baroque synthesis of Renaissance and High Renaissance styles. The concept Friedlaender presented was that artists moved from the objective and scientific work of Leonardo Da Vinci to the subjective presentations that have followed the break with Classical styles.

Friedlaender died in New York.

## Works

* *David to Delacroix*, 1952
* *Caravaggio Studies*, 1955
* *Mannerism and Anti-mannerism in Italian Painting*, 1957
* *Mannerism and Anti-mannerism in Italian Painting*, 1965
* *Poussin*. The Library of Great Painters. 1964. Harry N. Abrams, Inc., Publishers. New York, N.Y. 204 pp.


title: Walter Fries

abstract: Walter Fries was a German general in the Wehrmacht of Nazi Germany during World War II. He was a recipient of the Knight's Cross of the Iron Cross with Oak Leaves and Swords.

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# Walter Fries

**Walter Fries** (22 April 1894 – 6 August 1982) was a German general in the Wehrmacht of Nazi Germany during World War II. He was a recipient of the Knight's Cross of the Iron Cross with Oak Leaves and Swords.

## Awards

**Citations**

**Bibliography**

* Patzwall, Klaus D.; Scherzer, Veit (2001). *Das Deutsche Kreuz 1941 – 1945 Geschichte und Inhaber Band II* \[*The German Cross 1941 – 1945 History and Recipients Volume 2*\] (in German). Norderstedt, Germany: Verlag Klaus D. Patzwall. ISBN 978-3-931533-45-8.
* Scherzer, Veit (2007). *Die Ritterkreuzträger 1939–1945 Die Inhaber des Ritterkreuzes des Eisernen Kreuzes 1939 von Heer, Luftwaffe, Kriegsmarine, Waffen-SS, Volkssturm sowie mit Deutschland verbündeter Streitkräfte nach den Unterlagen des Bundesarchives* \[*The Knight's Cross Bearers 1939–1945 The Holders of the Knight's Cross of the Iron Cross 1939 by Army, Air Force, Navy, Waffen-SS, Volkssturm and Allied Forces with Germany According to the Documents of the Federal Archives*\] (in German). Jena, Germany: Scherzers Militaer-Verlag. ISBN 978-3-938845-17-2.
* Wegmann, Günter (2010). *Die Ritterkreuzträger der Deutschen Wehrmacht 1939–1945 Teil III: Infanterie Band 7: Fl–Fu* \[*The Knight's Cross Bearers of the German Wehrmacht 1939–1945 Part III: Infantry Volume 7: Fl–Fu*\] (in German). Osnabrück, Germany: Biblio-Verlag. ISBN 978-3-7648-2380-1.

## InfoBox

| Walter Fries | |
| --- | --- |
| Born | (1894-04-22)22 April 1894
Gusternhain (Breitscheid, Hesse) |
| Died | 6 August 1982(1982-08-06) (aged 88)
Weilburg / Lahn |
| Allegiance | German Empire
Weimar Republic)
Nazi Germany |
| Service/branch | Army |
| Years of service | 1912–45 |
| Rank | General der Panzertruppe |
| Commands | 29th Panzergrenadier Division
XXXXVI Army Corps |
| Battles/wars | World War II |
| Awards | Knight's Cross of the Iron Cross with Oak Leaves and Swords |


title: Walter Friedensburg

abstract: Karl Walter Friedensburg was a German historian and archivist. He studied history at the Universities of Göttingen and Breslau, obtaining his habilitation at the University of Marburg in 1878. In 1880, he served as an archivist in Marburg, later working as a university lecturer in Marburg and Göttingen. From 1888 to 1901, he was associated with the Deutsches Historisches Institut Rom. In 1901, he was appointed director of the Staatsarchiv Stettin, and in 1913 succeeded Georg Winter (1856–1912) as director of the State Archives of Magdeburg. Here, he became the co-author of Geschichte des Staatsarchiv Magdeburg. He entered into retirement in 1923, relocating to Wernigerode during the following year. From 1913, he was a member of the Historischen Kommission für die Provinz Sachsen und für Anhalt, serving as its chairman in 1922–23.

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# Walter Friedensburg

**Karl Walter Friedensburg** (6 March 1855 in Hamburg – 19 February 1938 in Wernigerode) was a German historian and archivist.

He studied history at the Universities of Göttingen and Breslau, obtaining his habilitation at the University of Marburg in 1878. In 1880, he served as an archivist in Marburg, later working as a university lecturer in Marburg and Göttingen. From 1888 to 1901, he was associated with the *Deutsches Historisches Institut Rom* (German Historical Institute in Rome).

In 1901, he was appointed director of the *Staatsarchiv Stettin* (National Archives in Stettin), and in 1913 succeeded Georg Winter (18561912) as director of the State Archives of Magdeburg. Here, he became the co-author of *Geschichte des Staatsarchiv Magdeburg* (History of the State Archives of Magdeburg). He entered into retirement in 1923, relocating to Wernigerode during the following year.

From 1913, he was a member of the *Historischen Kommission für die Provinz Sachsen und für Anhalt* (Historical Commission for the Province of Saxony and for Anhalt), serving as its chairman in 192223.

## Written works

Friedensburg's prime area of research involved the history of the Reformation. The following are a few of his better known publications:

* *Der Reichstag zu Speier 1526, im Zusammenhang der politischen und kirchlichen Entwicklung Deutschlands im Reformationzeitalte*, 1887 - The Diet of Speyer in 1526, in the context of political and religious development in Germany.
* *Die chronik des Cerbonio Besozzi, 1548-1563*, 1904 (edition) - Chronicles of Cerbonio Besozzi.
* *Geschichte der Universität Wittenberg*, 1917 - History of the University of Wittenberg.
* *Die Protokolle der Kirchenvisitationen im Stift Merseburg von 1562 und 1578*, 1931
* *Kaiser Karl v. und papst Paul III. (1534-1549)*, 1932 - Emperor Charles V and Pope Paul III.
* *Johannes Sleidanus, der geschichtsschreiber und die schicksalsmächte der reformationszeit*, 1935 - book on historian Johannes Sleidanus (1506-1556).


title: Merenii Noi

abstract: Merenii Noi is a village in the Anenii Noi District of Moldova. It is home to the Dionysos-Mereni SA winery. Of 1,512 inhabitants, 1,303 are ethnic Romanians, 66 Ukrainians, 67 Russians, 30 Gagauzes, 28 Bulgarians, 1 Jew, 10 Gypsies, and 7 other/undeclared.

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# Merenii Noi

**Merenii Noi** is a village in the Anenii Noi District of Moldova. It is home to the Dionysos-Mereni SA winery. Of 1,512 inhabitants, 1,303 are ethnic Romanians, 66 Ukrainians, 67 Russians, 30 Gagauzes, 28 Bulgarians, 1 Jew, 10 Gypsies, and 7 other/undeclared.

## InfoBox

| Merenii Noi | |
| --- | --- |
| Village | |
| Merenii NoiLocation within Anenii Noi DistrictMerenii NoiLocation within Moldova | |
| Coordinates: 46°55′N 29°03′E / 46.917°N 29.050°E / 46.917; 29.050 | |
| Country | Moldova |
| District | Anenii Noi District |
| Government | |
| Mayor | Lilia Antoci |
| Population (2014 census) | |
| Total | 1,454 |
| Time zone | UTC+2 (EET) |
| Summer (DST) | UTC+3 (EEST) |


title: Melody Rose

abstract: Melody Rose became the 15th president of Marylhurst University in 2014. Prior to her Marylhurst presidency, Rose was the first female Chancellor of the Oregon University System (OUS). She was appointed the interim chancellor of the OUS from February 2013 to May 2014, and was later appointed Chancellor from May 2014 to August 2014. Before moving to the Oregon University System, Rose served in a number of roles at Portland State University, culminating in her service as vice provost for academic programs and instruction and dean of undergraduate studies. She is also the founder and first director of the Center for Women's Leadership. Rose was also professor and chair of the political science division before moving into academic administration. While on the PSU faculty, Rose authored a number of award-winning books, articles and chapters on the U.S. presidency, social policy, women and politics, and elections. Her fourth book, an edited volume entitled Women and Executive Office: Pathways and Performance, was published during the 2012 elections. She received her bachelor's degree in politics from the University of California at Santa Cruz and a master's degree in public administration, a master's in government and a Ph.D. in government from Cornell University. Rose volunteers for education, civic engagement and women's organizations. She was a 2013 Portland Business Journal Women of Influence honoree, and she received the 2010 Governor's Women of Achievement Award. She served as president of the City Club of Portland in 2011–12, and she is an active member of the International Women's Forum. On May 17, 2018, Marylhurst University announced it would close its doors after 125 years of service. In a May 17, 2018, press release, Chip Terhune, chair-elect of the Marylhurst Board of Trustees, which voted on May 16, 2018, to close the institution, thanked Rose for her leadership in difficult times. "On behalf of my fellow Trustees, I want to thank Dr. Rose for her expertise and leadership during these challenging times and express our continued trust in her as she shepherds our community through this transition," Terhune said. "We value her guidance and her insistence on prioritizing what’s best for students, faculty and the rest of the Marylhurst community."

text:
# Melody Rose

**Melody Rose** became the 15th president of Marylhurst University in 2014. Prior to her Marylhurst presidency, Rose was the first female Chancellor of the Oregon University System (OUS).

She was appointed the interim chancellor of the OUS from February 2013 to May 2014, and was later appointed Chancellor from May 2014 to August 2014.

Before moving to the Oregon University System, Rose served in a number of roles at Portland State University, culminating in her service as vice provost for academic programs and instruction and dean of undergraduate studies. She is also the founder and first director of the Center for Women's Leadership. Rose was also professor and chair of the political science division before moving into academic administration.

While on the PSU faculty, Rose authored a number of award-winning books, articles and chapters on the U.S. presidency, social policy, women and politics, and elections. Her fourth book, an edited volume entitled *Women and Executive Office: Pathways and Performance*, was published during the 2012 elections.

She received her bachelor's degree in politics from the University of California at Santa Cruz (Phi Beta Kappa) and a master's degree in public administration, a master's in government and a Ph.D. in government from Cornell University.

Rose volunteers for education, civic engagement and women's organizations. She was a 2013 Portland Business Journal Women of Influence honoree, and she received the 2010 Governor's Women of Achievement Award. She served as president of the City Club of Portland in 2011–12, and she is an active member of the International Women's Forum.

On May 17, 2018, Marylhurst University announced it would close its doors after 125 years of service. In a May 17, 2018, press release, Chip Terhune, chair-elect of the Marylhurst Board of Trustees, which voted on May 16, 2018, to close the institution, thanked Rose for her leadership in difficult times. "On behalf of my fellow Trustees, I want to thank Dr. Rose for her expertise and leadership during these challenging times and express our continued trust in her as she shepherds our community through this transition," Terhune said. "We value her guidance and her insistence on prioritizing what’s best for students, faculty and the rest of the Marylhurst community."


title: WWE Hall of Fame (2005)

abstract: WWE Hall of Fame (2005) was the event which featured introduction of the 6th class to the WWE Hall of Fame. The event was produced by World Wrestling Entertainment (WWE) on April 2, 2005, from the Universal Amphitheatre in Los Angeles, California. The event took place the same weekend as WrestleMania 21. The event was hosted by Gene Okerlund. A condensed version of the ceremony aired that evening on Spike TV, making this ceremony the first to be broadcast on television. In March 2015 the ceremony was added to the WWE Network.

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# WWE Hall of Fame (2005)

**WWE Hall of Fame (2005)** was the event which featured introduction of the 6th class to the WWE Hall of Fame. The event was produced by World Wrestling Entertainment (WWE) on April 2, 2005, from the Universal Amphitheatre in Los Angeles, California. The event took place the same weekend as WrestleMania 21. The event was hosted by Gene Okerlund. A condensed version of the ceremony aired that evening on Spike TV, making this ceremony the first to be broadcast on television. In March 2015 the ceremony was added to the WWE Network.

## Inductees

### Individual

* *Class headliners appear in **boldface***

| Image | Ring name
(birth name) | Inducted by | WWE recognized accolades |
| --- | --- | --- | --- |
|  | **Hulk Hogan**
(Terry Bollea) | Sylvester Stallone | Six-time WWF/E World (Heavyweight) Champion
Six-time and longest reigning WCW World Heavyweight Champion
One-time WWE World Tag Team Champion
Two-time Royal Rumble winner (1990, 1991)
 |
|  | "Rowdy" Roddy Piper
(Roderick Toombs) | Ric Flair | One-time WWF Intercontinental Heavyweight Champion
Three-time NWA/WCW United States Heavyweight Champion
Host of Piper's Pit
In 2006, Piper also won the World Tag Team Championship. |
|  | "Cowboy" Bob Orton Jr. | Randy Orton | Held numerous NWA regional titles |
|  | Jimmy Hart | Jerry Lawler | Long-time manager in WWF and WCW |
|  | "Mr. Wonderful" Paul Orndorff | Bobby Heenan | Four-time NWA National Heavyweight Champion
One-time WCW World Television Champion
Three-time WCW World Tag Team Champion |
|  | Nikolai Volkoff
(Josip Peruzovic) | Jim Ross | Three-time WWWF International Tag Team Champion
One-time WWF Tag Team Champion |
|  | Iron Sheik
(Hossein Vaziri) | Sgt. Slaughter | One-time WWF World Heavyweight Champion
One-time WWF Tag Team Champion |
|

## Aftermath

On July 24, 2015, WWE terminated their contract with Hulk Hogan, stating that they are "committed to embracing and celebrating individuals from all backgrounds", although Hogan's lawyer said Hogan chose to resign. A day prior, WWE removed virtually all references to Hogan from their website, including his entry from its WWE Hall of Fame page. The termination coincided with the publication by the *National Enquirer* and Radar Online of an anti-black rant made by Hogan on his controversial leaked sex tape in which he is heard expressing disgust with the notion of his daughter with any black man, referenced by repeated use of the racial slur "nigger". Hogan also admitted to being "a racist, to a point". However, no official statement about his removal had been made and he was still listed in the Hall of Fame entry of the official WWE encyclopedia released in October 2016.

On July 15, 2018, despite no prior official statements by the WWE declaring his removal from the Hall of Fame, Hogan was reinstated into the Hall of Fame, after his numerous public apologies over the past year, as well as volunteering work.

## InfoBox

| WWE Hall of Fame (2005) | |
| --- | --- |
| Promotion | WWE |
| Date | April 2, 2005 |
| City | Los Angeles, California |
| Venue | Universal Amphitheatre |
| WWE Hall of Fame chronology | |
| **Previous**
2004 **Next**
2006 | |


title: Wanda Hutson

abstract: Wanda Hutson is a track and field sprint athlete who competes internationally for Trinidad and Tobago. Wanda attended Port of Spain's Bishop Anstey High School (2001) in Trinidad. She went on to Southern Union State Community College in Auburn, Alabama, and eventually graduated from Abilene Christian University, where she met her husband, Chris Woods, in 2010, with a first degree in Information Systems. Wanda was a two-time NCAA Division II All American for the ACU Wildcats in 2010. Her best time of 11.38 (1.3) in the 100m dash is a Trinidad & Tobago National Junior Record. Her best time in the 200m is 23.65. Both performances came at the 2004 National Championships in Port-of-Spain. That year, she also won the Central American and Caribbean Junior Championships women's 100m title with a time of 11.46, and was fourth in the finals of the women's 100m at the IAAF World Junior Championships in Grosseto, Italy, running 11.45. She had been eighth (11.87) at the 2002 World Junior Championships in Kingston, Jamaica. Wanda competed at the 2004 Summer Olympics in Athens, Greece, as a member of her country's sprint relay team, which failed to complete its race in the opening round. She again represented Trinidad and Tobago at the 2008 Summer Olympics in Beijing. She competed at the 4x100 metres relay together with Kelly-Ann Baptiste, Ayanna Hutchinson and Semoy Hackett. In their first round heat they did not finish and were eliminated due to a mistake with the baton exchange. Wanda is 5'4" (163 cm) and weighs 104 lbs (47 kg).

text:
# Wanda Hutson

**Wanda Hutson** (born January 8, 1985) is a track and field sprint athlete who competes internationally for Trinidad and Tobago.

Wanda attended Port of Spain's Bishop Anstey High School (2001) in Trinidad. She went on to Southern Union State Community College in Auburn, Alabama, and eventually graduated from Abilene Christian University, where she met her husband, Chris Woods, in 2010, with a first degree in Information Systems. Wanda was a two-time NCAA Division II All American for the ACU Wildcats in 2010.

Her best time of 11.38 (1.3) in the 100m dash is a Trinidad & Tobago National Junior Record. Her best time in the 200m is 23.65. Both performances came at the 2004 National Championships in Port-of-Spain. That year, she also won the Central American and Caribbean Junior Championships women's 100m title with a time of 11.46, and was fourth in the finals of the women's 100m at the IAAF World Junior Championships in Grosseto, Italy, running 11.45. She had been eighth (11.87) at the 2002 World Junior Championships in Kingston, Jamaica.

Wanda competed at the 2004 Summer Olympics in Athens, Greece, as a member of her country's sprint relay team, which failed to complete its race in the opening round. She again represented Trinidad and Tobago at the 2008 Summer Olympics in Beijing. She competed at the 4x100 metres relay together with Kelly-Ann Baptiste, Ayanna Hutchinson and Semoy Hackett. In their first round heat they did not finish and were eliminated due to a mistake with the baton exchange.

Wanda is 5'4" (163 cm) and weighs 104 lbs (47 kg).

## InfoBox

Wanda Hutson
| Medal record | | |
| --- | --- | --- |
| Athletics | | |
| Representing  Trinidad and Tobago | | |
| CAC Junior Championships (U20) | | |
|  | 2004 Coatzacoalcos | 100 m |
|  | 2004 Coatzacoalcos | 4x100 m relay |
| CAC Junior Championships (U17) | | |
|  | 2000 San Juan | 4x100 m relay |
|  | 2000 San Juan | 4x400 m relay |
| CARIFTA Games
Junior (U20) | | |
|  | 2004 Hamilton | 200 m |
|  | 2004 Hamilton | 4x100 m relay |
|  | 2003 Port of Spain | 4x100 m relay |
|  | 2003 Port of Spain | 100 m |
|  | 2002 Nassau | 100 m |
| CARIFTA Games
Youth (U17) | | |
|  | 2001 Bridgetown | 100m |
|  | 2001 Bridgetown | 200m |