#eugene dix

[ultimateanna]

The most charismatic characters of Final Destination.

[multi-fandom-imagine]

Final Destination men I am dying to write for. RIP to two of the three of fine ass men we lost 🙏😩

Erik Campbell

Thomas Burke

Eugene Dix

[finald-pug12345]

They needs friend :(

[finalfilms]

final destination characters and what movie/tv shows i think they would like

alex - the walking dead. has seen every single episode even though it’s been running for over a decade. says he could probably survive a zombie apocalypse. is the biggest glenn defender ever.

tod - community. 100%. when the movie got announced he went apeshit on twitter. he loves troy, has seen every episode at least twice, and actually liked the fourth season for some reason.

george - he doesn’t watch tv unless it’s like a sport. look at him. if he had to pick, brooklyn 99.

clear - shameless. she sat through all eleven seasons, would have watch parties with her friends, and liked to take notes on the psyche of the characters. she HATED frank with a passion and loved fiona. actually cried at both finales.

billy - my babysitters a vampire. claims it was his “childhood” and is still upset they ended it on a cliffhanger. rory def rubbed off on him growing up. he prefers the first season to the second but has seen each episode like a million times. will sing the theme song totally unprompted

carter - breaking bad. actually tried making meth cause he thought walter had the “right idea” with the money. is the kind of guy to retweet sigma male edits of the characters

terry - locke and key. watched it cause she thought the main villain was hot, and when he was a girl too she went crazy on twitter. live tweeted the second season, and will defend kinsey locke to no extent.

kimberly - first kill. clear or shania told her to watch it saying it was like a better version of twilight. (she loves twilight). she was on the front lines trying to keep the show from getting canceled. she has probably made an edit of caliette. she’s crazy like that.

rory - he also likes breaking bad, but he’s more into better call saul. saul goodman is HIM. literally so relatable and babygirl. he saw better call saul first, so when he showed up in s2 of brba he went APESHIT

eugene - abbott elementary because there is “finally” a REAL show about what it’s like to be a teacher. he also never gets into sitcoms so it was a shock for him that he liked it so much

nora - bones. she LOVES crime dramas on daytime television, and bones is no exception. she finds herself trying to figure out the twist every single episode. she also gets way too into the characters. (tim was explaining to her that bones was autistic coded and she went :o)

tim - kid LOOKS like henry danger, but i’m gonna say malcom in the middle. secretly wished for a big family growing up. alex told him that the father makes meth and since tim didn’t know about brba he was actively seeking out that plot line.

evan - literally anything with wrestling.

kat - the office. not in like, a “basic” way or anything but because she is a businesswoman and needs to feel included. she likes pam a lot. wanted dwight to die once. she got through about eight seasons before calling it quits.

wendy - i feel like she’s a house md fan??? idk why or how but it just makes sense to me i suppose. probably an rsl fan or something

kevin - okay unpopular opinion but i feel like he’s a huge fan of the will forte era on snl. he’s a will forte fan in general so he’s probably seen clone high, last man on earth and macgruber

ian - def a santa clarita diet fan. trust me when i say this man was having meltdowns on twitter when it got canceled. you have never seen him more passionate in his life!

erin - okay this is very unpopular and very out of character but she has a guilty pleasure show and that is dawsons creek. joey is her fave and she is Completely Normal about pacey + joey. her regular show is yellowjackets, however. god bless cannibalistic high schoolers

[shystrangercowboy]

Thomas: You're under arrest for trying carry three people on a motorcycle.

Eugene: Damn! Wait did you say three?

Thomas: Yes three.

Tim: OMG

Kat: Kim fucking fell off.

[xxbatmanb3y0ndxx]

eugene and rory from fd2 cause theyre liywrally me and my bf :3 also my ugly ass saw themed clay thing??? idk the paint job is so shit tho 🤑🤑🤑🤑🤑 also is there eugene fanart?? theres no pics of him on pinterest & the last time i drew evan lewis (like over a year ago) it might of been worlds first evan lewis posted fanart cause i couldnt find ANYTHING but yeah my kitten whiskers ☝️

[blorbo-court]

Submitted by nugoober

[seikointelli]

To fd2

What is Rory like sober?

Evan: Hes basically just normal Rory but a little boring.

Tim: I don't think I've ever really seen Rory sober before. I'd imagine he'd be a little less...weird? I don't know.

Nora: Rory's very lovely when hes sober and I wish he was like that more often.

Kat: I hate him either way but I guess I can tolerate him more when hes sober.

Eugene: He literally acts the exact same. Maybe hes been addicted for so long that hes high no matter what. Or hes just a natural dumbass.

Clear: Hes fine and actually pretty helpful.

Kimberly: Even though Rory is entertaining when hes out of it, hes more bearable to be around when hes sober.

Burke: When hes sober, Rory is actually a pretty chill guy. Still not very responsible, but its still better than finding him passed out somewhere.

[petalsbleedingbeak2]

Just realized a big bug in Final Destination 2.

The order of events for 1 is Tod, Terry, Val, Carter (skipped), Billy, Clear (skipped), Alex (skipped to Carter).

The order of 2 is Evan, Tim, Nora, Kat, Rory, Eugene, Thomas, Kim.

Now, if the backwards order was correct, the corretalions should be

Tod - Evan,

Terry - Tim and Nora,

Val - Kat,

Carter - Rory,

Billy - Eugene,

Alex and eventually Clear - Thomas and Kim.

(Not counting the Brian × Rory interaction that was solved)

And yeah, we get confirmed that Rory was present when Carter was LeMiro81ed (though it was on Alex).

But

Kat says she didn't reach the leaking gas house because the bus smashed Terry;

Eugene was supposed to be substitute for Val;

Thomas was picking up the remains of Billy Hitchcock.

Where is the flaw in Death's design? 🤔🤔

[jackaldandy]

Why are you hellbent on wanting to "reclaim" a word invented by nazis? You are old enough to understand that when you call yourself any of those words you are signaling to the wrong crowd, no matter if you do it in a "queer way" parroting nazi terminology just makes you look like a stupid idiot at beat and just a nazi at worst

The word "degenerate" was not invented by Nazis, but by theorists who founded the foundations of eugenics some years ago, and who offered a scientific and moral substrate to the program of Nazism. Under no point of view is this detail a relativization, but it seems important to me to take into account this historical origin of the term when it comes to having more tools to understand from an anti-fascist and anti-racist counterpower how it has been gaining strength and what other brutal meanings it has been feeding along the way. In fact, the theories of degeneration were not applied in the first instance in Germany, but in the United States at the beginning of the 20th century when a racist boom began to be generated regarding genetic races, family genealogical trees and the eugenic programs that sought promote population control, the "social and biological reproduction" of pure families. The abominable history of eugenics has an earlier and much broader origin than Nazism, which in fact meant that it could have a strong influence in many territories throughout the world, articulating itself with some faces of scientific positivism (this was the case in Argentina for example).

On the other hand, going to the term itself... the first thing I think of when I think of degenerate is not the Nazis, but the fear and repulsion that certain manifestations and ways of life produced in the Nazis. That end of purity, civilization, the national and racial banner, which for them were forms of social corrosion, internationalism, migration. I think of Otto Dix, I think of the cabaret, I think of a lot of artistic manifestations that were abhorred through this label. Critical thinking, the Jewish Marxist intellectuality, was considered an axis of degeneration for the Nazis because it served as a factor of social and aesthetic corrosion that desacralized national values ​​and mocked the sublime status to which art should aspire. My position goes through my immense sympathy towards everything that the Nazis hate and the understanding that everything that they label as degenerate, queer sex, gender transgressions, prostitution, artistic modernism, Marxism and anti-normative experimentation, is something that I deeply embrace from this other place in history.

[jpbjazz]

LÉGENDES DU JAZZ

SNOOKY YOUNG, LE TROMPETTISTE DES BIG BANDS

"I enjoy playing all kinds of music. I'm proud of my reputation and happy when I get to play some jazz."

- Snooky Young

Né le 3 février 1919 à Dayton, en Ohio, Eugene Edward "Snooky" Young était le troisième d’une famille de huit enfants. Issu d’une famille de musiciens, Young avait commencé à apprendre la trompette à l’âge de six ans avec un ancien membre des McKinney's Cotton Pickers. Comme Young l’avait expliqué plusieurs années plus tard, "A junk man gave me my first horn – a beat-up old cornet."

Même si la trompette n’était pas le premier choix de Young comme instument, cela ne l’avait pas empêché de remporter un concours amateur l’année suivante en jouant et en chantant des pièces de Louis Armstrong.

Young était encore jeune lorsqu’il avait rencontré Louis Armstrong pour la première fois. Il précisait: “My mom saw him and stopped him and said, ‘Louis Armstrong, this is my son, Snooky,  He wants to play trumpet like you and he admires you very much.’ I can still remember, Louis hugged me and said many really nice things to me.”

À l’âge de douze ans, Young avait commencé à voyager dans le Sud avec ses frères et soeurs dans un groupe familial appelé les Young Snappy Six. Le groupe se produisait dans les spectacles de vaudeville. Durant ses études au high school, Young avait commencé à se produire dans des clubs locaux avec le chanteur Scatman Crothers et le groupe Wilberforce Collegians, avant de se joindre au groupe territorial de Chick Carter. Parmi les membres du groupe, on remarquait le trompettiste Gerald Wilson. Après s’être joint à l’orchestre de Jimmie Lunceford, Wilson avait parlé au chef d’orchestre de Young.

D’aussi loin qu’il se souvienne, Young avait toujours été surnommé ‘’Snooky.’’

DÉBUTS DE CARRIÈRE

Sur la recommandation de Wilson, Young, à l’âge de seulement vingt ans, avait amorcé sa carrière professionnelle comme trompettiste soliste avec l’orchestre de Jimmie Lunceford en 1939. Le groupe de Lunceford était alors considéré comme un des plus populaires orchestres afro-américains de l’époque. Comme Young l’avait expliqué plus tard, "They made me the first trumpet player. And it worked. But I didn't have that in mind myself, whatsoever."

Après avoir quitté le groupe de Lunceford au bout de trois ans à la suite d’un différend salarial, Young était retourné à Dayton. Après avoir brièvement joué avec Count Basie et passé un an avec l’orchestre de Lionel Hampton, Young s’était rendu en Californie avec Les Hite et Benny Carter, accompagné à chaque fois de son mentor Geralf Wilson. Après s’être de nouveau joint à l’orchestre de Basie en 1943, Young avait quitté le groupe après six mois. Young avait alors retrouvé son mentor Gerald Wilson qui venait de former son propre big band. En 1941, Young avait également fait une apparition dans le film "Blues in the Night" d’Anatole Litvak dans lequel il avait interprété les parties de trompette pour le personnage de Jack Carson. Il avait aussi joué le rôle d’un musicien dans le film.

Après avoir de nouveau fait partie du groupe de Basie de 1945 à 1947, Young avait abandonné la vie de tournée et était retourné à Dayton où il avait formé son propre groupe de sept musiciens qui comprenait également sa soeur au piano et un de ses frères à la batterie. Young avait travaillé dans la région de Dayton pendant dix ans avant de se joindre de nouveau à l’orchestre de Basie avec qui il était demeuré jusqu’en 1962, ce qui lui avait permis de participer à la renaissance du groupe à la suite du succès de l’album  ‘’The Atomic Mr Basie’’ (1957). Au cours de cette période, Young avait également participé à des tournées mondiales avec le groupe et collaboré avec de grandes vedettes comme Sarah Vaughan, Tony Bennett et Billy Eckstine.

En 1962, le trompettiste Clark Terry avait recommandé Young pour un emploi de musicien de studio avec le réseau NBC à New York. Young avait rempli ses nouvelles fonctions avec brio tout en collaborant à des bandes sonores et à des enregistrements avec d’autres musiciens. Mais la collaboration la plus durable de Young avait été avec sa participation au groupe du Tonight Show dirigé par son bon ami par Doc Severinsen. Young avait fait partie du groupe durant vingt-cinq ans de 1967 à 1992. Lorsque l’émission avait été transférée en Californie en 1972, Young avait continué de faire partie du groupe. Commentant sa participation à l’émission, Young avait précisé: “It was a great band in New York. But when it got to California, I think it might have even got to be better.” Young avait finalement quitté l’émission en 1992 après que Johnny Carson ait annoncé sa retraite et que le réseau engage un groupe plus modeste pour assurer le divertissement musical.

Après être retourné à son travail de musicien de studio, Young avait participé à la fondation en 1965 du Thad Jones/Mel Lewis Orchestra. Young s’était immédiatement joint au groupe avec d’autres musiciens de studio anxieux de retourner vers le jazz. Le groupe se produisait tous les lundis soirs au célèbre Village Vanguard de New York. Young avait aussi fait une tournée avec l’orchestre en 1969.

Commentant sa collaboration avec le groupe, Young avait déclaré: "This type of music keeps you fresh. When the Johnny Carson Tonight Show relocated to Los Angeles, Young went with it and stayed, performing with the show's orchestra under Severinsen, also taking weekend show jobs and concerts with Severinsen in Las Vegas.’’

Young avait aussi fait partie d’un groupe de tournée appelé Now Generation Brass qui lui avait permis de voyager et de se produire dans des grandes villes comme Las Vegas avec des musiciens comme Doc Severinsen, le saxophoniste Lew Tabackin, le saxophoniste et arrangeur Tommy Newsom, le batteur Ed Shaughnessy et le chanteur Robert Ozn. 

Young avait enregistré seulement trois albums comme leader. Son premier album intitulé ‘’Boys From Dayton’’ (1971) avait été enregistré avec une formation composée de Norris Turney au saxophone alto, de Booty Wood au trombone, de Richard Tee au piano et à l’orgue, et de Cornell Dupree à la guitare. Young avait enchaîné en 1978 avec un disque intitulé ‘’Snooky and Marshal's Album’’, qui mettait en vedette Marshal Royal au saxophone alto, de Ross Tompkins au piano, de Freddie Green à la guitare, de Ray Brown à la contrebasse et de Louie Bellson à la batterie. Young avait bouclé la boucle l’année suivante avec l’album Horn of Plenty, qui avait été enregistré avec un groupe formé de Tompkins au piano, de John Collins à la guitare, de Ray Brown à la contrebasse et de Jake Hanna à la batterie.

DERNIÈRES ANNÉES

Au milieu des années 1970, Young avait continué de se produire à Los Angeles et avait notamment fait une apparition en 1976 sur l’album ‘’Bobby Bland and B.B. King Together Again...Live.’’ En 2008, Young avait de nouveau collaboré avec King dans le cadre de l’album ‘’One Kind Favor.’’ En 1972, Young avait également accompagné le groupe rock The Band sur l’album live Rock of Ages.

Aprèes avoir quitté le Tonight Show en 1992, Young avait de nouveau travaillé avec le big band de Wilson, tout en collaborant avec le batteur Frankie Capp, le Clayton-Hamilton Orchestra ou avec de petits groupes comme le Cheathams' Sweet Baby Blues Band. Il avait également participé à plusieurs tournées et festivals internationaux.

Initialement influencé par Louis Armstrong, Young avait incorporé progressivement d’autres influences comme celle de Roy Eldridge. Comme Young l’avait expliqué au début de sa carrière, ‘’I got older and realized you can’t be another musician, you have to find your own way.”

Également reconnu pour son jeu à la sourdine de caoutchouc et son registre très diversifié, Young, même s’il n’avait enregistré que trois albums sous son nom, avait collaboré avec plusieurs autres musiciens dans le cadre de leurs propres albums.

Même si Young avait été victime de nombreux problèmes de santé à la fin de sa vie, il avait continué d’enregistrer et de se produire sur scène. Comme l’avait souligné le critique Kirk Silsbee, "If he could see the chart, follow the leader and feel the vibes in a trumpet section, he could – and did – play." Pour sa part, Young avait résumé sa carrière de la façon suivante: "I enjoy playing all kinds of music. I'm proud of my reputation and happy when I get to play some jazz." Young avait continué de jouer et d’enregistrer avec le Clayton-Hamilton Jazz Orchestra jusqu’en 2010.

Snooky Young est mort d’une maladie pulmonaire à Newport Beach, en Californie, le 11 mai 2011. Il était âgé de quatre-vingt-douze ans. Ont survécu à Young son épouse Dorothy, ses filles July et Donna, son fils Danny, sept petits-enfants et six arrière-petits-enfants. Young avait également un autre fils, mais il était déjà mort au moment de son décès. Un des derniers survivants de l’��re du swing, Young semblait sans âge et avait joué durant neuf décennies. Il était aussi reconnu pour son imagination, son bon goût et son sens de l’humour.

En plus d’avoir joué sur plusieurs bandes sonores de films comme “Blazing Saddles” (1974), “New York, New York” (1977) et “The Color Purple” (1985), Young avait collaboré avec des musiciens aussi diversifiés que B.B. King, Quincy Jones, Benny Carter, Lionel Hampton, Sarah Vaughan, Tony Bennett, Billy Eckstine, Doc Severinsen, Louie Bellson, Thad Jones, Lew Tabackin, Marshal Royal, Ross Tompkins, Freddie Green, Ray Brown, Count Basie, Gerald Lewis, Gerald Wilson, Jimmie Lunceford et le groupe rock The Band. Préférant jouer avec de grandes formations, Young se produisait souvent comme principal trompettiste de ses groupes, même si paradoxalement, il ne jouait pas en solo aussi souvent que les autres trompettistes. Contrairement à plusieurs trompettistes qui avaient dû cesser de jouer de la trompette avec l’âge, Young était demeuré actif jusqu’à la fin. Selon les membres de sa famille, Young avait continué de pratiquer de trois à quatre heures par jour jusqu’à sa mort.

Young a été élu ‘’Jazz Master’’ par la National Endowment for the Arts en 2009. Le prix avait été remis à Young dans le cadre d’une cérémonie tenue le 17 octobre 2008 au Lincoln Center de New York. Harry "Sweets" Edison considérait Young et Ed Lewis comme les plus grands trompettistes avec qui il avait joué au cours de sa carrière. Pour sa part, Thad Jones, qui avait joué avec Young dans l’orchestre de Basie et dans le cadre de son propre big band avec Mel Lewis, l’avait qualifié de ‘’fantastic first trumpet player.’’ Jones avait ajouté: ‘’For me, he's the number one man." Le contrebassiste John Clayton, qui avait joué avec Young dans le Clayton-Hamilton Jazz Orchestra, l’avait surnommé “the trumpet player’s trumpet player.” Pour sa part, le le saxophoniste Bob Cooper avait déclaré au sujet de Young: “Snooky is one of the world’s all-time great trumpet players. I can always feel it in the sax section when he’s playing — his time, his interpretation of the material, his sound.”

©-2024, tous droits réservés, Les Productions de l’Imaginaire historique

[brookstonalmanac]

Birthdays 4.4

Beer Birthdays

Henry Thrale (1724/30)

Fritz Funke (1821)

Herman Zibold (1836)

Five Favorite Birthdays

David Cross; comedian, actor (1964)

Heath Ledger; actor (1979)

Alicia Silverstone; actor (1976)

Muddy Waters; blues guitarist, singer (1915)

Hugo Weaving; actor (1960)

Famous Birthdays

Maya Angelou; poet (1928)

Elmer Bernstein; composer (1922)

David Blaine; magician (1973)

Eugene Bozza; composer (1905)

Maurice de Vlaminck; artist (1876)

Dorothea Dix; social activist (1802)

Robert Downey Jr.; criminal, actor (1965)

Marguerite Duras; French writer (1914)

Charles Funk; encyclopediest (1881)

Edward Hicks; artist (1780)

Gil Hodges; Brooklyn Dodgers 1B (1924)

William H. Jackson; artist (1843)

Kitty Kelley; writer (1942)

Christine Lahti; actor (1950)

Cloris Leachman; actor (1926)

Hugh Masekela; trumpeter (1939)

Nancy McKeon; actor (1966)

Craig T. Nelson; actor (1944)

Monty Norman; composer (1928)

Graham Norton; comedian, television talk show host (1963)

Margaret Oliphant; Scottish writer (1828)

Barry Pepper; actor (1970)

Anthony Perkins; actor (1932)

Benjamin Pierce; astronomer, mathematician (1809)

Hans Richter; Hungarian conductor (1843)

Eric Rohmer; film director (1920)

Eva Marie Saint; actor (1924)

Robert E. Sherwood; writer, playwright (1896)

Tris Speaker; Boston Americans/Philadelphia Athletics CF (1888)

John Cameron Swayze; journalist, Timex spokesman (1906)

Linus Yale; inventor (1868)

[finald-pug12345]

My top 5 favorite Gay Final Destination Ships!

NUMBER 5: Nick O'Bannon X Hunt Wynorski

NUMBER 4: Rory Peters X Eugene Dix

NUMBER 3: Sam Lawton X Peter Friedkin

NUMBER 2: Wendy Christensen X Erin Ulmer

NUMBER 1: Alex Browning X Tod Waggner

I LOVE THOSE GAY SHIPS ❤️❤️❤️❤️

I think that people need to make fan arts or fan fiction of them!

[arte-e-homoerotismo]

Ellsworth Kelly

Nascimento: 31 de maio de 1923, Newburgh, Nova York, EUA

Falecimento: 27 de dezembro de 2015, Spencertown, Nova York, EUA

Cônjuge: Jack Shear (de 1984 a 2015)

Prêmio: Praemium Imperiale

Pais: Florence Bithens Kelly, Allan Howe Kelly

Irmãos: David Kelly

Ellsworth Kelly (31 de maio de 1923 – 27 de dezembro de 2015) foi um pintor, escultor e gravador americano associado à pintura hard-edge , Color field painting e minimalismo . Suas obras demonstram técnicas despretensiosas enfatizando linha, cor e forma, semelhantes ao trabalho de John McLaughlin e Kenneth Noland . Kelly frequentemente empregava cores brilhantes. Ele viveu e trabalhou em Spencertown, Nova York .

Infância

[ editar ]

Kelly nasceu o segundo filho de três filhos de Allan Howe Kelly e Florence Rose Elizabeth (Githens) Kelly em Newburgh, Nova York , aproximadamente 60 milhas ao norte da cidade de Nova York. Seu pai era um executivo de uma seguradora de ascendência escocesa-irlandesa e alemã. Sua mãe era uma ex-professora de origem galesa e alemã da Pensilvânia. Sua família mudou-se de Newburgh para Oradell, Nova Jersey , uma cidade com quase 7.500 habitantes. Sua família morava perto do reservatório de Oradell , onde sua avó paterna o apresentou à ornitologia quando ele tinha oito ou nove anos.

Lá ele desenvolveu sua paixão por forma e cor. John James Audubon teve uma influência particularmente forte no trabalho de Kelly ao longo de sua carreira. O autor Eugene Goossen especulou que as pinturas de duas e três cores (como Three Panels: Red Yellow Blue, I 1963) pelas quais Kelly é tão conhecido podem ser rastreadas até sua observação de pássaros e seu estudo dos pássaros de duas e três cores que ele via com tanta frequência em uma idade precoce. Kelly disse que ele estava frequentemente sozinho quando era um menino e se tornou um tanto "solitário". Ele tinha uma leve gagueira que persistiu em sua adolescência. 

Educação

Kelly frequentou a escola pública, onde as aulas de arte enfatizavam os materiais e buscavam desenvolver a "imaginação artística". Este currículo era típico da tendência mais ampla na escolaridade que emergiu das teorias de educação progressiva promulgadas pelo Teacher's College da Universidade de Columbia , onde o pintor modernista americano Arthur Wesley Dow lecionou. Embora seus pais estivessem relutantes em apoiar o treinamento artístico de Kelly, sua professora, Dorothy Lange Opsut, o encorajou a ir mais longe. Como seus pais pagariam apenas pelo treinamento técnico, Kelly estudou primeiro no Pratt Institute no Brooklyn , que frequentou de 1941 até ser convocado para o Exército no dia de Ano Novo de 1943. 

Militares

Ao entrar no serviço militar dos EUA em 1943, Kelly solicitou ser designado para o 603º Batalhão de Camuflagem de Engenheiros, que levou muitos artistas. Ele foi introduzido em Fort Dix, Nova Jersey e enviado para Camp Hale, Colorado , onde treinou com tropas de esqui de montanha . Ele nunca havia esquiado antes. Seis a oito semanas depois, ele foi transferido para Fort Meade, Maryland . Durante a Segunda Guerra Mundial , ele serviu com outros artistas e designers no Exército Fantasma , uma unidade de engano do Exército dos Estados Unidos que usava tanques infláveis, caminhões e outros elementos de subterf��gio para enganar as forças do Eixo sobre a direção e disposição das forças Aliadas. Sua exposição à camuflagem militar durante o tempo em que serviu tornou-se parte de seu treinamento básico em arte. Kelly serviu na unidade de 1943 até o fim da fase europeia da guerra. O Exército Fantasma recebeu a Medalha de Ouro do Congresso em 21 de março de 2024, em uma cerimônia no Emancipation Hall , no Capitólio dos Estados Unidos . 

Educação pós-guerra

Kelly usou o GI Bill para estudar de 1946 a 1947 na Escola do Museu de Belas Artes de Boston , onde aproveitou as coleções do museu, e depois na École nationale supérieure des Beaux-Arts em Paris. Enquanto estava em Boston, ele expôs em sua primeira exposição coletiva na Boris Mirski Gallery e deu aulas de arte no Norfolk House Center em Roxbury . Enquanto estava em Paris, Kelly estabeleceu sua estética. Ele frequentava aulas com pouca frequência, mas mergulhou nos ricos recursos artísticos da capital francesa. Ele ouviu uma palestra de Max Beckmann sobre o artista francês Paul Cézanne em 1948 e se mudou para Paris naquele ano. Lá, ele conheceu os compatriotas americanos John Cage e Merce Cunningham , experimentando música e dança, respectivamente; o artista surrealista francês Jean Arp ; e o escultor abstrato Constantin Brâncuși , cuja simplificação das formas naturais teve um efeito duradouro sobre ele. A experiência de visitar artistas como Alberto Magnelli , Francis Picabia , Alberto Giacometti e Georges Vantongerloo em seus estúdios foi transformadora. 

Carreira

Depois de estar no exterior por seis anos, o francês de Kelly ainda era ruim e ele havia vendido apenas uma pintura. Em 1953, ele foi despejado de seu estúdio e retornou à América no ano seguinte. Ele se interessou depois de ler uma crítica de uma exposição de Ad Reinhardt , um artista cujo trabalho ele sentia que seu trabalho se relacionava. Ao retornar a Nova York, ele achou o mundo da arte "muito difícil". Embora Kelly seja agora considerado um inovador essencial e contribuidor para o movimento artístico americano, era difícil para muitos encontrar a conexão entre a arte de Kelly e as tendências estilísticas dominantes. Em maio de 1956, Kelly teve sua primeira exposição na cidade de Nova York na galeria de Betty Parsons . Sua arte era considerada mais europeia do que popular em Nova York na época. Ele expôs novamente em sua galeria no outono de 1957. Três de suas peças: Atlantic , Bar e Painting in Three Panels, foram selecionadas e exibidas na exposição do Whitney Museum of American Art , "Young America 1957". Suas peças foram consideradas radicalmente diferentes das obras dos outros vinte e nove artistas. Painting in Three Panels, por exemplo, foi particularmente notada; na época, os críticos questionaram sua criação de uma obra a partir de três telas. Por exemplo, Michael Plante disse que, na maioria das vezes, as peças de vários painéis de Kelly eram apertadas devido às restrições de instalação, o que reduzia a interação entre as peças e a arquitetura da sala. 

Kelly acabou se mudando de Coenties Slip , onde às vezes dividia um estúdio com a colega artista e amiga Agnes Martin , para o nono andar do estúdio/cooperativa Hotel des Artistes, na 27 West 67th Street. 

Kelly deixou Nova York para Spencertown em 1970 e foi acompanhado por seu parceiro, o fotógrafo Jack Shear, em 1984. De 2001 até sua morte, Kelly trabalhou em um estúdio de 20.000 pés quadrados em Spencertown reconfigurado e ampliado pelo arquiteto Richard Gluckman ; o estúdio original foi projetado pelos arquitetos de Schenectady , Werner Feibes e James Schmitt, em troca de uma pintura específica do local que Kelly criou para eles. Kelly e Shear se mudaram em 2005 para a residência que compartilharam até a morte do pintor, uma casa colonial revestida de madeira construída por volta de 1815. Shear atua como diretor da Fundação Ellsworth Kelly. Em 2015, Kelly doou seu conceito de projeto de construção para um local de contemplação ao Museu de Arte Blanton da Universidade do Texas em Austin. Intitulado Austin , o edifício de pedra de 2.715 pés quadrados - que apresenta janelas de vidro colorido, uma escultura de madeira totêmica e painéis de mármore preto e branco - é o único edifício projetado por Kelly e é sua obra mais monumental. Austin , que Kelly projetou trinta anos antes, foi inaugurado em fevereiro de 2018. 

Kelly morreu em Spencertown, Nova York, em 27 de dezembro de 2015, aos 92 anos. 

Ellsworth Kelly, NYC (1957)

[julilla-eva]

— On ne peut pas mettre au travail un enfant de douze ans (non allié). — Ce serait de l’exploitation (non allié). — Et à treize, c’en est pas ? Jusqu’à dix-huit ils ne reçoivent pas assez pour vivre, même quand ils travaillent (allié probable). — Tout le monde est exploité, alors pourquoi pas les enfants (alliée paradoxale). — Et en tout cas, on ne leur demande pas leur avis à eux, que ce soit pour les mettre au travail comme vous dites, ou pour les empêcher d’y aller (alliée sûre). — Moi je veux gagner ma vie mais pas être exploité, dit Sébastien […] “You can't send a twelve-year-old child to work (non-ally).” “That would be exploitation (non-ally).” “And at thirteen, it's not exploitation? Until eighteen they don't get enough to live on, even when they work (probable ally).” “Everyone is exploited, so why not children (paradoxical ally).” “And in any case, we don't ask their opinion, whether to send them to work as you say, or to prevent them from going (certain ally).” “I want to earn my living but not be exploited,” says Sébastien […] Christiane Rochefort: Encore heureux qu’on va vers l’été, quote translated partly based on the German translation by Eugen Helmlé, Zum Glück gehts dem Sommer entgegen