Moving WOODY WEDNESDAY to first Wednesday of the Month!!!!
I am moving the WOODY WEDNESDAY to a monthly feature on http://www.thedailyhatch.org. My passion has been in recent years to emphasize the works of Francis Schaeffer in my apologetic efforts and most of those posts are either on Tuesdays or Thursdays. If you would like to visit some of my past blog posts on WOODY ALLEN then click on some of the links below.
I have spent alot of time talking about Woody Allen films on this blog and looking at his worldview. He has a hopeless, meaningless, nihilistic worldview that believes we are going to turn to dust and there is no afterlife. Even though he has this view he has taken the opportunity to look at the weaknesses of his own secular view. I salute him for doing that. That is why I have returned to his work over and over and presented my own Christian worldview as an alternative.
During the last 30 days here are the posts that have got the most hits on my blog on this subject on the historical characters mentioned in the movie “Midnight in Paris”:
Woody Allen believes that we live in a cold, violent and meaningless universe and it seems that his main character (Gil Pender, played by Owen Wilson) in the movie MIDNIGHT IN PARIS shares that view. Pender’s meeting with the Surrealists is by far the best scene in the movie because they are ones who can […]
In the last post I pointed out how King Solomon in Ecclesiastes painted a dismal situation for modern man in life UNDER THE SUN and that Bertrand Russell, and T.S. Eliot and other modern writers had agreed with Solomon’s view. However, T.S. Eliot had found a solution to this problem and put his faith in […]
In MIDNIGHT IN PARIS Gil Pender ponders the advice he gets from his literary heroes from the 1920’s. King Solomon in Ecclesiastes painted a dismal situation for modern man in life UNDER THE SUN and many modern artists, poets, and philosophers have agreed. In the 1920’s T.S.Eliot and his house guest Bertrand Russell were two of […]
Ernest Hemingway and Scott Fitzgerald left the prohibitionist America for wet Paris in the 1920’s and they both drank a lot. WINE, WOMEN AND SONG was their motto and I am afraid ultimately wine got the best of Fitzgerald and shortened his career. Woody Allen pictures this culture in the first few clips in the […]
In the film MIDNIGHT IN PARIS Woody Allen the best scene of the movie is when Gil Pender encounters the SURREALISTS!!! This series deals with the Book of Ecclesiastes and Woody Allen films. The first post dealt with MAGIC IN THE MOONLIGHT and it dealt with the fact that in the Book of Ecclesiastes Solomon does contend […]
In the film MIDNIGHT IN PARIS Woody Allen is really looking at one main question through the pursuits of his main character GIL PENDER. That question is WAS THERE EVER A GOLDEN AGE AND DID THE MOST TALENTED UNIVERSAL MEN OF THAT TIME FIND TRUE SATISFACTION DURING IT? This is the second post I have […]
I am starting a series of posts called ECCLESIASTES AND WOODY ALLEN’S FILMS: SOLOMON “WOULD GOT ALONG WELL WITH WOODY!” The quote from the title is actually taken from the film MAGIC IN THE MOONLIGHT where Stanley derides the belief that life has meaning, saying it’s instead “nasty, brutish, and short. Is that Hobbes? I would have […]
and you will hear what far smarter people than I have to say on this matter. I agree with them.
Harry Kroto
Nick Gathergood, David-Birkett, Harry-Kroto
I have attempted to respond to all of Dr. Kroto’s friends arguments and I have posted my responses one per week for over a year now. Here are some of my earlier posts:
Bertrand Russell published a large number of books on logic, the theory of knowledge, and many other topics. He is one of the most important logicians of the 20th Century.Russell’s Mathematical ContributionsOver a long and varied career, Bertrand Russell made ground-breaking contributions to the foundations of mathematics and to the development of contemporary formal logic, as well as to analytic philosophy. His contributions relating to mathematics include his discovery of Russell’s paradox, his defence of logicism (the view that mathematics is, in some significant sense, reducible to formal logic), his introduction of the theory of types, and his refining and popularizing of the first-order predicate calculus. Along with Kurt Gödel, he is usually credited with being one of the two most important logicians of the twentieth century.
Russell discovered the paradox which bears his name in May 1901, while working on his Principles of Mathematics (1903). The paradox arose in connection with the set of all sets which are not members of themselves. Such a set, if it exists, will be a member of itself if and only if it is not a member of itself. The significance of the paradox follows since, in classical logic, all sentences are entailed by a contradiction. In the eyes of many mathematicians (including David Hilbert and Luitzen Brouwer) it therefore appeared that no proof could be trusted once it was discovered that the logic apparently underlying all of mathematics was contradictory. A large amount of work throughout the early part of this century in logic, set theory, and the philosophy and foundations of mathematics was thus prompted.
Russell’s paradox arises as a result of naive set theory’s so-called unrestricted comprehension (or abstraction) axiom. Originally introduced by Georg Cantor, the axiom states that any predicate expression, P(x), which contains x as a free variable, will determine a set whose members are exactly those objects which satisfy P(x). The axiom gives form to the intuition that any coherent condition may be used to determine a set (or class). Most attempts at resolving Russell’s paradox have therefore concentrated on various ways of restricting or abandoning this axiom.
Russell’s own response to the paradox came with the introduction of his theory of types. His basic idea was that reference to troublesome sets (such as the set of all sets which are not members of themselves) could be avoided by arranging all sentences into a hierarchy (beginning with sentences about individuals at the lowest level, sentences about sets of individuals at the next lowest level, sentences about sets of sets of individuals at the next lowest level, etc.). Using the vicious circle principle also adopted by Henri Poincaré, together with his so-called “no class” theory of classes, Russell was then able to explain why the unrestricted comprehension axiom fails: propositional functions, such as the function “x is a set”, should not be applied to themselves since self-application would involve a vicious circle. On this view, it follows that it is possible to refer to a collection of objects for which a given condition (or predicate) holds only if they are all at the same level or of the same “type”.
Although first introduced by Russell in 1903 in the Principles, his theory of types finds its mature expression in his 1908 article Mathematical Logic as Based on the Theory of Types and in the monumental work he co-authored with Alfred North Whitehead, Principia Mathematica (1910, 1912, 1913). Thus, in its details, the theory admits of two versions, the “simple theory” and the “ramified theory”. Both versions of the theory later came under attack. For some, they were too weak since they failed to resolve all of the known paradoxes. For others, they were too strong since they disallowed many mathematical definitions which, although consistent, violated the vicious circle principle. Russell’s response to the second of these objections was to introduce, within the ramified theory, the axiom of reducibility. Although the axiom successfully lessened the vicious circle principle’s scope of application, many claimed that it was simply too ad hoc to be justified philosophically.
Of equal significance during this same period was Russell’s defence of logicism, the theory that mathematics was in some important sense reducible to logic. First defended in his Principles, and later in more detail in Principia Mathematica, Russell’s logicism consisted of two main theses. The first is that all mathematical truths can be translated into logical truths or, in other words, that the vocabulary of mathematics constitutes a proper subset of that of logic. The second is that all mathematical proofs can be recast as logical proofs or, in other words, that the theorems of mathematics constitute a proper subset of those of logic.
Like Gottlob Frege, Russell’s basic idea for defending logicism was that numbers may be identified with classes of classes and that number-theoretic statements may be explained in terms of quantifiers and identity. Thus the number 1 would be identified with the class of all unit classes, the number 2 with the class of all two-membered classes, and so on. Statements such as “there are two books” would be recast as “there is a book, x, and there is a book, y, and xis not identical to y“. It followed that number-theoretic operations could be explained in terms of set-theoretic operations such as intersection, union, and the like. In Principia Mathematica, Whitehead and Russell were able to provide detailed derivations of many major theorems in set theory, finite and transfinite arithmetic, and elementary measure theory. A fourth volume on geometry was planned but never completed.
In much the same way that Russell wanted to use logic to clarify issues in the foundations of mathematics, he also wanted to use logic to clarify issues in philosophy. As one of the founders of “analytic philosophy”, Russell is remembered for his work using first-order logic to show how a broad range of denoting phrases could be recast in terms of predicates and quantified variables. Thus, he is also remembered for his emphasis upon the importance of logical form for the resolution of many related philosophical problems. Here, as in mathematics, it was Russell’s hope that by applying logical machinery and insights one would be able to resolve otherwise intractable difficulties.
In the first video below in the 14th clip in this series are his words and I will be responding to them in the next few weeks since Sir Bertrand Russell is probably the most quoted skeptic of our time, unless it was someone like Carl Sagan or Antony Flew.
50 Renowned Academics Speaking About God (Part 1)
Another 50 Renowned Academics Speaking About God (Part 2)
A Further 50 Renowned Academics Speaking About God (Part 3)
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Quote from Bertrand Russell:
Q: Why are you not a Christian?
Russell: Because I see no evidence whatever for any of the Christian dogmas. I’ve examined all the stock arguments in favor of the existence of God, and none of them seem to me to be logically valid.
Q: Do you think there’s a practical reason for having a religious belief, for many people?
Russell: Well, there can’t be a practical reason for believing what isn’t true. That’s quite… at least, I rule it out as impossible. Either the thing is true, or it isn’t. If it is true, you should believe it, and if it isn’t, you shouldn’t. And if you can’t find out whether it’s true or whether it isn’t, you should suspend judgment. But you can’t… it seems to me a fundamental dishonesty and a fundamental treachery to intellectual integrity to hold a belief because you think it’s useful, and not because you think it’s true.
On the evening of November 1 I was pleased once again to share an evening with the motley crew at the Society of Edmonton Atheists. My topic for the evening was “What hath God to do with the flying spaghetti monster?” I spent the first section of the talk summarizing a range of entities that are popularly compared to God from Bertrand Russell’s famous flying teapot through Santa Claus, invisible pink unicorns, Zeus, and fairies, and finally settling on the most recent member of this most ignominious pantheon, the fabled flying spaghetti monster.
What is the point of comparing God to all these fantastical and enormously implausible entities? The basic idea seems clear enough: demonstrate the manifest absurdity of belief in God by comparing that belief to other beliefs that strike us as absurd (at least for adults; certainly a six year old can reasonably believe in Santa Claus and fairies, but if that belief remains when the individual is twenty-six then it would seem something has gone awry).
I closed off this section by noting that the more sophisticated forms of argument of this type are satirical in nature, but the less sophisticated forms (typified classically in Bil Maher’s horrible film “Religulous”), are nothing more than strawmen mockery.
This raises a very practical question for the Christian theologian like myself. How does one begin a meaningful conversation with people who think of Christian doctrine, and belief in God generally, against the backdrop of these analogies? To answer that question I presented an analogy of my own: how does a resident of a country like Canada who believes deeply in not-for-profit universal healthcare have a meaningful conversation with a friend south of the border who is convinced that not-for-profit universal healthcare is simply “socialism” or even “communism”?
The problem is that the skeptic in this conversation has bought into a woefully simplisitic picture in which the institutions of society are either public not-for-profit (socialism/communism) or private for-profit (capitalism). Thus to open the lines of communication the proponent of universal healthcare must challenge these assumptions. One way to do this is by pointing out that there are in fact many different positions on a continuum. This is evident in the simple fact that society is a network of multiple institutions, and thus we can ask in each case whether a particular institution ought to be public not-for-profit or private for-profit. Just think about it. Would you want the fire service, police service and military all to be private for-profit ventures? Not many people would. And this means that most people think at least some societal institutions should be public not-for-profit. This in turn means that we are not dealing with only two positions: socialism/communism vs. capitalism. Rather, we are dealing with multple positions all united with a single question: which institutions are best run as private ventures and which as public ventures? And with that you can open a discussion about healthcare in particular.
Those atheists/skeptics/agnostics who think of all religious doctrines within the absurdist framework of the flying teapot to flying spaghetti monster have their own set of simple categories which inhibit them from taking religious doctrines seriously. In order to begin to deconstruct this grossly simplistic, dichotomistic thinking, I introduced a concept which would open up a similar continuum of positions: the plausiblity structure.
Plausibility structure: The set of background assumptions by which one judges the initial plausibility of a truth claim.
I then pointed out that we all accept certain claims which would strike others as arbitrary, absurd or deeply counterinuitive, but which we accept nonetheless. And we do that because those claims somehow fit within our plausibility structure. I illustrated the point by drawing from Richard Lewontin’s famous book review of Carl Sagan’s The Demon-Haunted World. In the review Lewontin points out how absurd it is to believe that the blue cheese he ate for lunch is composed of tiny tasteless, odorless, colorless vibrating packets of energy with empty space between them. So why we we believe it? He writes:
“We take the side of science in spite of the patent absurdity of some of its constructs, in spite of its failure to fulfill many of its extravagant promises of health and life, in spite of the tolerance of the scientific community of unsubstantiated just-so stories, because we have a prior commitment, a commitment to naturalism.”
Now I have one quibble with the point. Many people accept this claim about the blue cheese without having a commitment to naturalism. Indeed, as we have noted often enough in this blog, it is not clear at all what “naturalism” even means. But one thing is clear: many of us accept claims without a second thought which appear on the face of it to be absurd.
In the blue cheese case, we accept a claim which appears to contradict our senses quite directly. And what is more, we accept that claim with little or no cognitive dissonance. Moreover, we accept it despite the fact that few of us can articulate all the scientific reasons why we are supposed to believe that the cheese is in fact made of tiny tasteless, colorless, odorless packets of energy. Finally, we are perfectly reasonable when we do this.
In the talk I noted how Bill Maher tendentiously defined faith as follows “Faith means making a virtue out of not thinking.” How foolish. I suspec that Bill Maher is unable to articulate all the scientific reasons why we are supposed to believe the cheese is composed of these vibrating packets of energy. But he accepts it nonetheless. Faith is not as Maher defines it. Rather, it is accepting the truth of a claim without having immediate access to the evidence for that claim. And thus Maher exercises faith when he accepts that the actual physical composition of the cheese is so radically different from his experience of it.
So what would Maher have us do? Withold any beliefs about the nature of cheese until we ourselves as individuals can confirm through our own research into the subatomic structure of that fine food? If that is what he would demand then I suspect we should likewise withold any belief in the existence of the subcontinent of India until we ourselves have the opportunity to visit there. And we should refuse to believe the earth is a sphere until we have the good fortune to take a ride on Virgin Galactic and confirm for ouselves the shape of the earth.
Our prior commitments may not be to naturalism per se, but we do have a prior commitment to the deliverances of science. It forms part of the plausibility framework of most modern people. This despite the fact that science presents us with many extraordinary claims. Nonetheless because we accept the authority of people within the scientific community we accept on faith their testimony of various truth claims, even if we cannot ourselves confirm the truth of those claims.
The first step for those who make various comparisons between religious beliefs and their favorite absurd belief is to recognize that all our beliefs are socially embedded within complex plausibility frameworks. And those outside those frameworks will find many of those beliefs bizarre along the lines of flying teapots and atomic blue cheese. This is true whether the plausibility framework in question includes a particular scientific theory (e.g. the atomic theory of matter), an economic theory (e.g. laissez-faire capitalism) or a metaphysical theory (e.g. Christian theism; naturalism).
And this leads me to my conclusion. The first step in intellectual maturation is when you stop pointing and laughing at the beliefs of others and make an effort to understand them.
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Francis Schaeffer noted in his book HOW SHOULD WE THEN LIVE? (p. 182 in Vol 5 of Complete Works) in the chapter The Breakdown in Philosophy and Science:
In his lecture at Acapulco, George Wald finished with only one final value. It was the same one with which English philosopher Bertrand Russell (1872-1970) was left. For Wald and Russell and for many other modern thinkers, the final value is the biological continuity of the human race. If this is the only final value, one is left wondering why this then has importance.
Now having traveled from the pride of man in the High Renaissance and the Enlightenment down to the present despair, we can understand where modern people are. They have no place for a personal God. But equally they have no place for man as man, or for love, or for freedom, or for significance. This brings a crucial problem. Beginning only from man himself, people affirm that man is only a machine. But those who hold this position cannot live like machines! If they could, there would have been no tensions in their intellectual position or in their lives. But even people who believe they are machines cannot live like machines, and thus they must “leap upstairs” against their reason and try to find something which gives meaning to life, even though to do so they have to deny their reason.
Francis Schaeffer in another place worded it like this:
The universe was created by an infinite personal God and He brought it into existence by spoken word and made man in His own image. When man tries to reduce [philosophically in a materialistic point of view] himself to less than this [less than being made in the image of God] he will always fail and he will always be willing to make these impossible leaps into the area of nonreason even though they don’t give an answer simply because that isn’t what he is. He himself testifies that this infinite personal God, the God of the Old and New Testament is there.
Instead of making a leap into the area of nonreason the better choice would be to investigate the claims that the Bible is a historically accurate book and that God created the universe and reached out to humankind with the Bible. Below is a piece of that evidence given by Francis Schaeffer concerning the accuracy of the Bible.
TRUTH AND HISTORY (chapter 5 of WHATEVER HAPPENED TO THE HUMAN RACE?)
We now take a jump back in time to the middle of the ninth century before Christ, that is, about 850 B.C. Most people have heard of Jezebel. She was the wife of Ahab, the king of the northern kingdom of Israel. Her wickedness has become so proverbial that we talk about someone as a “Jezebel.” She urged her husband to have Naboth killed, simply because Ahab had expressed his liking for a piece of land owned by Naboth, who would not sell it. The Bible tells us also that she introduced into Israel the worship of her homeland, the Baal worship of Tyre. This led to the opposition of Elijah the Prophet and to the famous conflict on Mount Carmel between Elijah and the priests of Baal.
Here again one finds archaeological confirmations of what the Bible says. Take for example: “As for the other events of Ahab’s reign, including all he did, the palace he built and inlaid with ivory, and the cities he fortified, are they not written in the book of the annals of the kings of Israel?” (I Kings 22:39).
This is a very brief reference in the Bible to events which must have taken a long time: building projects which probably spanned decades. Archaeological excavations at the site of Samaria, the capital, reveal something of the former splendor of the royal citadel. Remnants of the “ivory house” were found and attracted special attention (Palestinian Archaeological Museum, Jerusalem). This appears to have been a treasure pavilion in which the walls and furnishings had been adorned with colored ivory work set with inlays giving a brilliant too, with the denunciations revealed by the prophet Amos:
“I will tear down the winter house along with the summer house; the houses adorned with ivory will be destroyed and the mansions will be demolished,” declares the Lord. (Amos 3:15)
Other archaeological confirmation exists for the time of Ahab. Excavations at Hazor and Megiddo have given evidence of the the extent of fortifications carried out by Ahab. At Megiddo, in particular, Ahab’s works were very extensive including a large series of stables formerly assigned to Solomon’s time.
On the political front, Ahab had to contend with danger from the Aramacaus king of Syria who besieged Samaria, Ahab’s capital. Ben-hadad’s existence is attested by a stela (a column with writing on it) which has been discovered with his name written on it (Melquart Stela, Aleppo Museum, Syria). Again, a detail of history given in the Bible is shown to be correct.
Today we look at the 3rd letter in the Kroto correspondence and his admiration of Bertrand Russell. (Below The Nobel chemistry laureates Harold Kroto, Robert Curl and Richard Smalley) It is with sadness that I write this post having learned of the death of Sir Harold Kroto on April 30, 2016 at the age of […]
On November 21, 2014 I received a letter from Nobel Laureate Harry Kroto and it said: …Please click on this URL http://vimeo.com/26991975 and you will hear what far smarter people than I have to say on this matter. I agree with them. Harry Kroto _________________ Below you have picture of Dr. Harry Kroto: Gareth Stedman […]
Top 10 Woody Allen Movies __________ John Piippo makes the case that Bertrand Russell would have loved Woody Allen because they both were atheists who don’t deny the ramifications of atheism!!! Monday, August 06, 2012 (More On) Woody Allen’s Atheism As I wrote in a previous post, I like Woody Allen. I have long admired his […]
______ Top 10 Woody Allen Movies PBS American Masters – Woody Allen A Documentary 01 PBS American Masters – Woody Allen A Documentary 02 __________ John Piippo makes the case that Bertrand Russell would have loved Woody Allen because they both were two atheists who don’t deny the ramifications of atheism!!! Monday, August 06, 2012 […]
THE MORAL ARGUMENT BERTRAND RUSSELL But aren’t you now saying in effect, I mean by God whatever is good or the sum total of what is good — the system of what is good, and, therefore, when a young man loves anything that is good he is loving God. Is that what you’re […]
Great debate Fr. Frederick C. Copleston vs Bertrand Russell – Part 1 Uploaded by riversonthemoon on Jul 15, 2009 BBC Radio Third Programme Recording January 28, 1948. BBC Recording number T7324W. This is an excerpt from the full broadcast from cassette tape A303/5 Open University Course, Problems of Philosophy Units 7-8. Older than 50 years, […]
Uploaded by riversonthemoon on Jul 15, 2009 BBC Radio Third Programme Recording January 28, 1948. BBC Recording number T7324W. This is an excerpt from the full broadcast from cassette tape A303/5 Open University Course, Problems of Philosophy Units 7-8. Older than 50 years, out of UK/BBC copyright. Pardon the hissy audio. It was recorded 51 […]
Fr. Frederick C. Copleston vs Bertrand Russell – Part 1 Uploaded by riversonthemoon on Jul 15, 2009 BBC Radio Third Programme Recording January 28, 1948. BBC Recording number T7324W. This is an excerpt from the full broadcast from cassette tape A303/5 Open University Course, Problems of Philosophy Units 7-8. Older than 50 years, out of […]
THE MORAL ARGUMENT BERTRAND RUSSELL But aren’t you now saying in effect, I mean by God whatever is good or the sum total of what is good — the system of what is good, and, therefore, when a young man loves anything that is good he is loving God. Is that what you’re […]
Fr. Frederick C. Copleston vs Bertrand Russell – Part 1 Uploaded by riversonthemoon on Jul 15, 2009 BBC Radio Third Programme Recording January 28, 1948. BBC Recording number T7324W. This is an excerpt from the full broadcast from cassette tape A303/5 Open University Course, Problems of Philosophy Units 7-8. Older than 50 years, out of […]
I am moving the MUSIC MONDAY to a monthly feature on http://www.thedailyhatch.org. My passion has been in the recent years to emphasize the works of Francis Schaeffer in my apologetic efforts and most of those posts are either on Tuesdays or Thursdays.
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Paul Greenberg shared a great story about a 5 yr old and the Beatles:
This article was published January 6, 2013 at 2:05 a.m.
LITTLE ROCK — “Do the Beatles have any other playlists besides ‘Sgt. Pepper’s’?”
So asked my 5-year-old as we sat on his bunk bed, staring into his iPod and listening to Ringo Starr sing “With a Little Help From My Friends.”
Even on this important year in Beatledom, (last year marked the 50th anniversary of Ringo’s joining the band and finalizing the makeup of the Fab Four) I decided not to pounce on my son with the obvious correction. For Beatle love must flower on its own terms. I would not tell him that “Sgt. Pepper’s” was an album, not a playlist. That it was an extremely important album. That a genius had produced it.
Instead I told him that the Beatles did indeed have many playlists, they had fantastic playlists, monumental playlists. Playlists like “Rubber Soul,” “Abbey Road” and that magnum opus, “The White . . .” um, Playlist.
Then another troubling question.
“When the Beatles recorded their playlists, did they record them on voice memo?”
When my son behaves well I temporarily upgrade him from his creaky old legacy iPod and let him tinker on my iPhone. There, thanks to a baby sitter whose name I curse, he has discovered the voice-memo function. He uses voice memo for impromptu jam sessions with himself and crams my phone full of gigabytes until it freezes. Tears often ensue.
“Absolutely not,” I told him. “The Beatles never, ever used voice memo.They didn’t even have voice memo. They didn’t even know what voice memo was.” I went on to tell him that the Beatles put their songs on something flat, circular and black called an album.
“Where is the button on the album that you press to make it record?”
“Yeah, well, you see,” I said, scrambling. “They didn’t record directly on the album. First they recorded on a tape recorder. A tape recorder has a button.”
“But when you use a tape recorder, what do you record on?”
“Tape!”
“Oh, like masking tape?”
“No, not masking tape.”
“Where is our recording tape?”
“We don’t have any. Recording tape doesn’t exist anymore.”
Seeing exasperation, he tried a different line.
“Do the Beatles live in a house?”
Oddly enough, this was something I can remember wondering myself, back in the early ’70s, a few years after the Beatles had torn themselves asunder. My own first experience of the Beatles was the film Yellow Submarine, in which, fans will recall, an early scene gives the very distinct impression that the Beatles do in fact all live together in a house. A giant house with mysterious doors that open and close at random, with surreal claptrap objects pouring out into corridors and the cartoon Beatles following behind in an old roadster.
“Well,” I said, “I think sometimes all the Beatles stayed in the same house. But I’m pretty sure each Beatle had his own house.”
“Whose house did they go to when they wanted to record playlists?” Interesting question. “I guess they probably went to Paul’s or John’s house.” “Why?” “Because Paul and John wrote most of the songs. But mostly they went to another house.” “Where was that other house?” “Abbey Road.”
A blank stare. A long pause.
“Can we go to John’s house?”
I knew somehow we were headed down this road that led past Abbey.
“No, we can’t.”
“Why not.”
“Because John is dead.”
“How did he die?”
“I don’t know,” I lied.
A long pause.
“Who else is dead?”
“George.”
“You mean there are only two Beatles left?”
Yes, I told him. There are only two left. Paul and Ringo. That is it. Paul, a man with a sweet, sweet voice, and Ringo, an endearing, cuddly sort of a guy with a long nose and interesting facial hair.
“How do you know that those Beatles are still alive?”
And then I remembered. All at once it came to me. I had seen Ringo. I had seen him in the flesh. I had been so close to him that I could have reached out and grabbed his crazy mustache. He had come to his stepdaughter’s graduation from Brown, and I had walked right past him when I went up to accept my diploma. And I told my son about this now. How Ringo had sat there smiling jauntily, his fingers literally covered in rings. Cool tinted ’80s half-shades rounded at the bottom concealed his hooded eyes, but even with all that he looked just like I imagined him. Ringo was exactly 100 percent Ringo.
I told my son all this. About how afterward I’d gone home and packed up my college house and all the while listened to all the Ringo songs on black vinyl discs called albums and how my friends and roommates all young and slim and beautiful and hopeful had danced in the empty space and how we’d all talked about Ringo, how laid back he was, how he was possibly in his own subtle humorous way perhaps the coolest Beatle of them all. And as I finished my story I realized tears were running down my cheeks and my voice was catching in my throat and I felt a winsome young fluttering feeling in my heart.
My son looked at me and nodded his head. He took a long inhale and looked past me through the window of our apartment.
“Someday,” he said wistfully. “Someday I want to be a Beatle.”
Paul Greenberg is the author of Four Fish: The Future of the Last Wild Food.
Perspective, Pages 71 on 01/06/2013
Print Headline: Explaining the Beatles to a new generation
I went to a Ringo Starr concert on July 4, 2012 at Orange Beach, AL and enjoyed it very much and here are some of the songs I heard that night:Ringo Starr – Octopus’s Garden Ringo did not play this at the July 4, 2012 concert although it is one of my favorites. « ___________________ […]
I went to a Ringo Starr concert on July 4, 2012 at Orange Beach, AL and enjoyed it very much and here are some of the songs I heard that night: Published on Jun 17, 2012 by EJandEF4ever Ringo Starr plays It Don’t Come Easy Live at Bethel Woods, on June 16, 2012. Front row […]
I went to a Ringo Starr concert on July 4, 2012 at Orange Beach, AL and enjoyed it very much and here are some of the songs I heard that night: « ______- With a Little Help From My Friends / Give Peace a Chance Live Ringo Starr Bethel Woods June 16 2012 ished on […]
I went to a Ringo Starr concert on July 4, 2012 at Orange Beach, AL and enjoyed it very much and here are some of the songs I heard that night: Concert review – Ringo Starr at Symphony Hall, Birmingham Tuesday 21st June 2011, 12:52PM BST. Ringo Starr and his All Starr Band, Birmingham Ringo […]
I went to a Ringo Starr concert on July 4, 2012 at Orange Beach, AL and enjoyed it very much and here are some of the songs I heard that night: Enlarge Stephen Flood | The Express-TimesRingo Starr and His All Starr Band perform Tuesday night at the State Theatre in Easton. Express-Times Photo | […]
« I went to a Ringo Starr concert on July 4, 2012 at Orange Beach, AL and enjoyed it very much and here are some of the songs I heard that night: Ringo Starr – Ringo 2012 *Interview (Jan.31/12) Uploaded by indigenous4logic on Feb 1, 2012 Late Late Show with Craig Ferguson http://www.ringostarr.com/ Ringo Starr’s […]
XIII. Chapter Thirteen: The Alternatives
A. The Pressures of having no absolutes on a people whose only values are personal peace
and prosperity are several:
1. Economic breakdown
Note Germany’s acceptance of Hitler was in large part due to their dissatisfaction with the Wiemar
Republic and the terrible inflation they experienced under that regime. People will give up liberty in
the fact of losing their prosperity.
2.The threat of war (especially between the west and communism)
3. The chaos of violence–especially random or political violence, and indiscriminate terrorism
People will give up their liberties when they are threatened by indiscriminate terrorism.
4. The radical redistribution of the world’s wealth
(1) A lowering of wealth among those people and nations that have come to take it for granted
(2) A redistribution of power in the world
“In a descending spiral of prosperity and world power, an manipulating authoritarian government
might be easily welcomed, in the hope that such a government would somehow soften the
unpleasant results caused by a lessening of prosperity and world power.” [page 247]
5. A growing shortage of food and other natural resources
B. No Peace w/o chaos apart from a Christian base
There was a false view that democracy could be planted anywhere from outside. Freedom w/o chaos
had “come forth from a Christian base” and “freedom w/o chaos could not be separated from its
roots.” [page 248]
1. People will not stand for chaos and will give up liberties to retain it
This opens the door for authoritarian governments. This is where we are headed now.
2. Munich Pact
British Prime Minister Neville Chamberlain signed the Munich Pact with Hitler in 1938. This cost
Czechoslovakia and WWII with the allusion of “peace in our time.” Churchill afterward spoke to the
House of Commons:
“[The people] should know that we have sustained a defeat without a war . . . they should know that
we have passed an awful milestone in our history . . . and that the terrible words have for the time
being been pronounced against the Western democracies: ‘Thou art weighed in the balance and
found wanting.’ And do not suppose this is the end. This is only the beginning of the reckoning.
This is only the first sip, the first foretaste of a bitter cup which will be proffered to us year by year
unless, by a supreme recovery of moral health and martial vigor, we arise again and take our stand
for freedom as in the olden times.” [page 249-50]
C. A Special Note (pages 253ff.)
“But let us be realistic in another way, too. If we as Christians do not speak out as authoritarian
governments grow from within or come from outside, eventually we or our children will be the
enemy of society and the state. No truly authoritarian government can tolerate those who have a
real absolute by which to judge its arbitrary absolutes and who speak out and act upon that
absolute.” [Francis Schaeffer, How Shall We Then Live?, page 254]
Canadian artist Dorothea Rockburne grounds her practice in mathematical theories that she first encountered while studying with Max Dehn at the legendary Black Mountain College. This exhibition includes a selection of key works since the 1970s, featuring one of Rockburne’s most recent drawings, The Mathematical Edges of Maine, a response to her travel to the state in the summer of 2014.
Programming
April 21, 2015 | 4:30 p.m. | BCMA
Gallery Conversation: “Art, Mathematics, and the Legacy of Black Mountain College”
Dorothea Rockburne, Ph.D, artist, and Dave Peifer, chair and professor of Mathematics, University of North Carolina-Asheville, discuss the mathematical theories behind Rockburne’s artistic work. They further explain how her art reflects the interdisciplinary education provided by the legendary Black Mountain College. Presented in conjunction with the exhibition A Gift of Knowing: The Art of Dorothea Rockburne.
Milton Friedman – Greed not in Communism? Communism catches the attention of the young at heart but it has always brought repression wherever it is tried (“Schaeffer Sundays” Part 1) Francis Schaeffer is a hero of mine and I want to honor him with a series of posts on Sundays called “Schaeffer Sundays” which will […]
Francis Schaeffer __ WOODSTOCK ’69 FRIDAY Part 1 Published on May 22, 2015 Beschreibung Woodstock ’69 FRIDAY Part 1 With A Little Help Of My Friends Joe Cocker Woodstock (film) From Wikipedia, the free encyclopedia This article needs additional or better citations for verification. Please help improve this article by adding citations to […]
_ CROSBY, STILLS, NASH Woodstock 1971 Francis Schaeffer Tuesday, August 25, 2009 Woodstock August 15-18, 2009 marked the 40th anniversary of the original Woodstock festival. The first Woodstock festival was held from August 15-18, at Bethel, New York. There have been namesake Woodstock festivals since that time. Woodstock was a music festival playing psychedelic rock […]
Jimi Hendrix The Star Spangled Banner American Anthem Live at Woodstock 1969 WOODSTOCK ’69 SATURDAY Part 2 The peak of the drug culture of the hippie movement was well symbolized by the movie Woodstock. Woodstock was a rock festival held in northeastern United States in the summer of 1969. The movie about that rock festival was released […]
______ The Beatles – Real Love _______ The Beatles are featured in this episode below and Schaeffer noted, ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world.” How Should We then Live Episode 7 The Beatles: Real Love (Beatles song) From Wikipedia, the free encyclopedia […]
The Rolling Stones – Gimme Shelter (Official Lyric Video) Published on May 16, 2016 Lyric video for “Gimme Shelter” by The Rolling Stones. Gimme Shelter Directed by: Hector Santizo Composers: Mick Jagger, Keith Richards Producers: Julian Klein, Robin Klein, Mick Gochanour, Hector Santizo (C) 2016 ABKCO Music & Records, Inc. Download or stream the […]
Jesse Jackson, Joan Baez, Ira Sandperl and Martin Luther King Jr. Francis Schaeffer pictured in his film WHATEVER HAPPENED TO THE HUMAN RACE? Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR The Devaluing of Life in America Former Surgeon General C. Everett Koop and Christian apologist Francis A. Schaeffer issue a stern warning […]
Francis Schaeffer pictured in his film WHATEVER HAPPENED TO THE HUMAN RACE? Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR The Devaluing of Life in America Former Surgeon General C. Everett Koop and Christian apologist Francis A. Schaeffer issue a stern warning concerning the devaluing of life in America. They quote Psychiatrist Leo Alexander, […]
__ Nat Hentoff like and Milton Friedman and John Hospers was a hero to Libertarians. Over the years I had the opportunity to correspond with some prominent Libertarians such as Friedman and Hospers. Friedman was very gracious, but Hospers was not. I sent a cassette tape of Adrian Rogers on Evolution to John Hospers in May […]
__ _________ Nat Hentoff, Journalist and Social Commentator, Dies at 91 By ROBERT D. McFADDENJAN. 7, 2017 Continue reading the main storyShare This Page Share Tweet Email More Save Photo Nat Hentoff in 2009. CreditMarilynn K. Yee/The New York Times Nat Hentoff, an author, journalist, jazz critic and civil libertarian who called himself a troublemaker […]
I hit a home run when I did a series on Woody Allen’s movie MIDNIGHT IN PARIS. Basically I researched all the historical characters mentioned that in that movie. This theme has been a tremendous success. Let me share with you a list of the most viewed with the links:
Moving WOODY WEDNESDAY to first Wednesday of the Month!!!!
I am moving the WOODY WEDNESDAY to a monthly feature on http://www.thedailyhatch.org. My passion has been in recent years to emphasize the works of Francis Schaeffer in my apologetic efforts and most of those posts are either on Tuesdays or Thursdays. If you would like to visit some of my past blog posts on WOODY ALLEN then click on some of the links below.
Woody Allen believes that we live in a cold, violent and meaningless universe and it seems that his main character (Gil Pender, played by Owen Wilson) in the movie MIDNIGHT IN PARIS shares that view. Pender’s meeting with the Surrealists is by far the best scene in the movie because they are ones who can […]
In the last post I pointed out how King Solomon in Ecclesiastes painted a dismal situation for modern man in life UNDER THE SUN and that Bertrand Russell, and T.S. Eliot and other modern writers had agreed with Solomon’s view. However, T.S. Eliot had found a solution to this problem and put his faith in […]
In MIDNIGHT IN PARIS Gil Pender ponders the advice he gets from his literary heroes from the 1920’s. King Solomon in Ecclesiastes painted a dismal situation for modern man in life UNDER THE SUN and many modern artists, poets, and philosophers have agreed. In the 1920’s T.S.Eliot and his house guest Bertrand Russell were two of […]
Ernest Hemingway and Scott Fitzgerald left the prohibitionist America for wet Paris in the 1920’s and they both drank a lot. WINE, WOMEN AND SONG was their motto and I am afraid ultimately wine got the best of Fitzgerald and shortened his career. Woody Allen pictures this culture in the first few clips in the […]
In the film MIDNIGHT IN PARIS Woody Allen the best scene of the movie is when Gil Pender encounters the SURREALISTS!!! This series deals with the Book of Ecclesiastes and Woody Allen films. The first post dealt with MAGIC IN THE MOONLIGHT and it dealt with the fact that in the Book of Ecclesiastes Solomon does contend […]
In the film MIDNIGHT IN PARIS Woody Allen is really looking at one main question through the pursuits of his main character GIL PENDER. That question is WAS THERE EVER A GOLDEN AGE AND DID THE MOST TALENTED UNIVERSAL MEN OF THAT TIME FIND TRUE SATISFACTION DURING IT? This is the second post I have […]
I am starting a series of posts called ECCLESIASTES AND WOODY ALLEN’S FILMS: SOLOMON “WOULD GOT ALONG WELL WITH WOODY!” The quote from the title is actually taken from the film MAGIC IN THE MOONLIGHT where Stanley derides the belief that life has meaning, saying it’s instead “nasty, brutish, and short. Is that Hobbes? I would have […]
and you will hear what far smarter people than I have to say on this matter. I agree with them.
Harry Kroto
I have attempted to respond to all of Dr. Kroto’s friends arguments and I have posted my responses one per week for over a year now. Here are some of my earlier posts:
Bertrand Arthur William Russell, 3rd Earl Russell, OM, FRS, was a Welsh philosopher, historian, logician, mathematician, advocate for social reform, pacifist, and prominent rationalist. Although he was usually regarded as English, as he spent the majority of his life in England, he was born in Wales, where he also died.
He was awarded the Nobel Prize in Literature in 1950 “in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought.”
In the first video below in the 14th clip in this series are his words and I will be responding to them in the next few weeks since Sir Bertrand Russell is probably the most quoted skeptic of our time, unless it was someone like Carl Sagan or Antony Flew.
50 Renowned Academics Speaking About God (Part 1)
Another 50 Renowned Academics Speaking About God (Part 2)
A Further 50 Renowned Academics Speaking About God (Part 3)
__
Quote from Bertrand Russell:
Q: Why are you not a Christian?
Russell: Because I see no evidence whatever for any of the Christian dogmas. I’ve examined all the stock arguments in favor of the existence of God, and none of them seem to me to be logically valid.
Q: Do you think there’s a practical reason for having a religious belief, for many people?
Russell: Well, there can’t be a practical reason for believing what isn’t true. That’s quite… at least, I rule it out as impossible. Either the thing is true, or it isn’t. If it is true, you should believe it, and if it isn’t, you shouldn’t. And if you can’t find out whether it’s true or whether it isn’t, you should suspend judgment. But you can’t… it seems to me a fundamental dishonesty and a fundamental treachery to intellectual integrity to hold a belief because you think it’s useful, and not because you think it’s true.
Warning: Spoiler(s) ahead. (Not really bad spoilers as would be the case if I told you that Dr. Malcolm Crowe (Bruce Willis) in “The Sixth Sense” is really a ghost who doesn’t know he’s a ghost. That’d be a wicked spoiler. The “spoilers” here are really nothing more than the untimely revelation of plot points.)
***
According to Wikipedia, “Promotion for The Grey, in part, targeted Christian groups by issuing a “film companion”, which highlighted the spiritual value of the film.” This really surprised me because the film is fundamentally anti-Christian. (I don’t mean that the way a Marilyn Manson album is anti-Christian but rather the way any work of art presenting a worldview fundamentally incompatible with the Christian worldview is anti-Christian.) Intrigued, I followed the link to the original article in “Variety”. Sure enough, the article states: “Open Road [the distributor] said it used several cross-promotional strategies to market the pic to Christian and various ethnic groups.” Go figure. To be sure, even if it is anti-Christian (or unChristian) in outlook, I do think that this film would be much more rewarding viewing for a church group than “Fireproof”. Let’s just hope that Granny has nodded off to sleep by the time that Ottway (Liam Neeson) unloads a truckload of four-letter invective at the Almighty near the end of the film.
So how is the worldview of the film “anti-Christian”?
The film, it seems to me, is a sort of allegory. It begins on an oil rig in the wilds of Northern Alaska. I take this rig to be representative of human civilization. This is not surprising since the harnessing of energy is core to the development of civilization. The harsh climate of Northern Alaska places into broad relief the precarious nature of our civilization. In that respect “The Grey” is orders more subtle and intriguing in depicting the human situation than a Hollywood mega-budget snooze-fest like “The Day After Tomorrow” with its wanna-be iconic Statue of Liberty arm jutting out of the ice.
It is easy to hold the delusion that our civilization is secure, and that is true of the oil workers as well. They are brought back to reality in a horrific moment when the plane they are riding to Anchorage takes a nose dive in the best airplane crash scene since “Castaway”. This really is a great sequence.
It is crucial to understand Ottway’s role in all this. To do so we must pay attention to a crucial moment on the airplane prior to the crash. At one point one of the characters makes a reference to Timothy Treadwell (though not by name) and the documentary about him, “Grizzly Man.” Some years ago Treadwell left southern California in search of meaning and went to Alaska to live with the Kodiak bears. He filmed them (and himself) for hours. He found meaning for his life in the bears. He thought they were his friends. He loved them. Then one of them ate him (off camera but with camera still rolling). The masterful documentarian Werner Herzog compiled some of this footage (mercifully not the horrific death, though he brilliantly incorporates it into the film just the same) into the documentary “Grizzly Man”.
Anyway, “The Grey” is presenting us with a clear contrast. Treadwell naively projected meaning onto the bears of Alaska and was destroyed by them. Ottway is not that foolish. He recognizes that the wolves he is linked with are cold predators. It is a struggle for survival, pure and simple. And yet, as the film ultimately reveals, there may not be much difference. Treadwell’s delusion leads him to be destroyed by the bears. But Ottway’s gritty realism still leads him to be killed by the wolves. Either way both end up dead.
“The Grey” depicts a ragtag group escaping the wreckage of the plane hopefully away from the lair of the wolves that are hunting them and toward civilization. In fact, the journey leads them directly into the lair of the wolves and to their inevitable destruction. One by one, the brutishness of nature and human mortality, as represented by the wolves in their tireless pursuit, takes down each of the men until only Ottway is left.
This brings us to the point where I hope Grandma is asleep. However, I suspect that the unrelenting blitzkrieg of f-bombs throughout the film would have emptied the room of the faint of heart long before that point. (How do you think oil rig workers would talk?) If Grandma is still there by that point she will see Ottway look up to the grey skies and cry out to God for help with an explosive, expletive-laced tirade. Predictably there is no answer, unless you call the revelation a shortwhile later that Ottway is about to die in a flurry of teeth and fur an answer.
In the final scene Ottway squares off against the Alpha wolf surrounded by a snarling pack of beasts. Methodically he smashes tiny liquor bottles and tapes the jagged edges to his fists. (Who needs brass knuckles when you’ve got glass knuckles?!) Ottway is the ultimate promethean figure, one who refuses to accept his inevitable fate without a fight. As the credits suddenly appear we realize that Ottway’s final demise, like that of Treadwell, was kept off camera. Perhaps looking the other way is the last dignity we can pay the man.
Regardless, as the credits began to role up the screen I couldn’t help but think of this famous passage from Bertrand Russell:
all the labours of the ages, all the devotion, all the inspiration, all the noonday brightness of human genius, are destined to extinction in the vast death of the solar system, and that the whole temple of Man’s achievement must inevitably be buried beneath the debris of a universe in ruins—all these things, if not quite beyond dispute, are yet so nearly certain, that no philosophy which rejects them can hope to stand. Only within the scaffolding of these truths, only on the firm foundation of unyielding despair can the soul’s habitation be safely built.
_
Francis Schaeffer noted, “B.F.Skinner (like Bertrand Russell and George Wald) retains only the value of biological continuity. “Survival is the only value according to which a culture is eventually to be judged, and any practice that furthers survival has survival value by definition.” (page 230 of Vol 5 of Complete Works, part of HOW SHOULD WE THEN LIVE?).
Above Bertrand Russell said he rejected Christianity “Because I see no evidence whatsoever” indicating that Christianity is true. I wish he had considered the following:
Francis Schaeffer noted in the book THE GOD WHO IS THERE:
Firstly, these are space-time proofs in written form, and consequently capable of careful consideration. Then, secondly, these proofs are of such a nature as to give good· and sufficient evidence that Christ is the Messiah as prophesied in the Old Testament, and also that he is the Son of God. So that, thirdly, we are not asked to believe until we have faced the question as to whether this is true on the basis of the space-time evidence.
_______
Schaeffer then points to the historical accuracy of the Bible in Chapter 5 of the book WHATEVER HAPPENED TO THE HUMAN RACE?
The Bible and Archaeology – Is the Bible from God? (Kyle Butt 42 min)
Today we look at the 3rd letter in the Kroto correspondence and his admiration of Bertrand Russell. (Below The Nobel chemistry laureates Harold Kroto, Robert Curl and Richard Smalley) It is with sadness that I write this post having learned of the death of Sir Harold Kroto on April 30, 2016 at the age of […]
On November 21, 2014 I received a letter from Nobel Laureate Harry Kroto and it said: …Please click on this URL http://vimeo.com/26991975 and you will hear what far smarter people than I have to say on this matter. I agree with them. Harry Kroto _________________ Below you have picture of Dr. Harry Kroto: Gareth Stedman […]
Top 10 Woody Allen Movies __________ John Piippo makes the case that Bertrand Russell would have loved Woody Allen because they both were atheists who don’t deny the ramifications of atheism!!! Monday, August 06, 2012 (More On) Woody Allen’s Atheism As I wrote in a previous post, I like Woody Allen. I have long admired his […]
______ Top 10 Woody Allen Movies PBS American Masters – Woody Allen A Documentary 01 PBS American Masters – Woody Allen A Documentary 02 __________ John Piippo makes the case that Bertrand Russell would have loved Woody Allen because they both were two atheists who don’t deny the ramifications of atheism!!! Monday, August 06, 2012 […]
THE MORAL ARGUMENT BERTRAND RUSSELL But aren’t you now saying in effect, I mean by God whatever is good or the sum total of what is good — the system of what is good, and, therefore, when a young man loves anything that is good he is loving God. Is that what you’re […]
Great debate Fr. Frederick C. Copleston vs Bertrand Russell – Part 1 Uploaded by riversonthemoon on Jul 15, 2009 BBC Radio Third Programme Recording January 28, 1948. BBC Recording number T7324W. This is an excerpt from the full broadcast from cassette tape A303/5 Open University Course, Problems of Philosophy Units 7-8. Older than 50 years, […]
Uploaded by riversonthemoon on Jul 15, 2009 BBC Radio Third Programme Recording January 28, 1948. BBC Recording number T7324W. This is an excerpt from the full broadcast from cassette tape A303/5 Open University Course, Problems of Philosophy Units 7-8. Older than 50 years, out of UK/BBC copyright. Pardon the hissy audio. It was recorded 51 […]
Fr. Frederick C. Copleston vs Bertrand Russell – Part 1 Uploaded by riversonthemoon on Jul 15, 2009 BBC Radio Third Programme Recording January 28, 1948. BBC Recording number T7324W. This is an excerpt from the full broadcast from cassette tape A303/5 Open University Course, Problems of Philosophy Units 7-8. Older than 50 years, out of […]
THE MORAL ARGUMENT BERTRAND RUSSELL But aren’t you now saying in effect, I mean by God whatever is good or the sum total of what is good — the system of what is good, and, therefore, when a young man loves anything that is good he is loving God. Is that what you’re […]
Fr. Frederick C. Copleston vs Bertrand Russell – Part 1 Uploaded by riversonthemoon on Jul 15, 2009 BBC Radio Third Programme Recording January 28, 1948. BBC Recording number T7324W. This is an excerpt from the full broadcast from cassette tape A303/5 Open University Course, Problems of Philosophy Units 7-8. Older than 50 years, out of […]
I am moving the MUSIC MONDAY to a monthly feature on http://www.thedailyhatch.org. My passion has been in the recent years to emphasize the works of Francis Schaeffer in my apologetic efforts and most of those posts are either on Tuesdays or Thursdays.
The first collaboration among the future Faces was in a formation called Quiet Melon, which also featured Wood’s older brother Art Wood and Kim Gardner; they recorded four songs and played a few shows in May 1969, during a break in Ronnie Wood’s and Rod Stewart’s commitments with The Jeff Beck Group.[1][2] Later that summer Wood and Stewart parted ways with Beck and joined Lane, McLagan and Jones full-time.[3] Prior to any releases by the new Faces lineup, Wood and McLagan appeared on Stewart’s first solo album in 1969, An Old Raincoat Won’t Ever Let You Down (known as The Rod Stewart Album in the US). The rest of the backing band on the album included drummer Micky Waller, keyboardistKeith Emerson and guitarists Martin Pugh (of Steamhammer, and later Armageddon and 7th Order) and Martin Quittenton (also from Steamhammer).[4]
With the addition of Wood and Stewart, the “small” part of the original band name was dropped, partly because the two newcomers (at 5’9″ and 5’10” respectively) were significantly taller than the three former Small Faces.[5] Hoping to capitalise on the Small Faces’ earlier success, record company executives wanted the band to keep their old name; however, the band objected, arguing the personnel changes resulted in a group very different from the Small Faces.[3] As a compromise, in the US their debut album was credited to the Small Faces, while subsequent albums appeared under their new name.[6]
The group regularly toured Britain, Europe and the United States from 1970 to 1975, and were among the top-grossing live acts in that period;[7] in 1974 their touring also encompassed Australia, New Zealand and Japan.[1]Among their most successful songs were “Had Me a Real Good Time”, their breakthrough UK hit “Stay with Me“, “Cindy Incidentally” and “Pool Hall Richard“. As Rod Stewart’s solo career became more successful than that of the group, the band became overshadowed by their lead singer.[3] A disillusioned Ronnie Lane left the band in 1973;[3] one reason given later for his departure was frustration over not having more opportunities to sing lead vocals.[8]
Lane’s role as bassist was taken over by Tetsu Yamauchi (who had replaced Andy Fraser in Free). Released just months before Lane left the band, the Faces’ final studio album was Ooh La La.[3]
The following year a live album was released, entitled Coast to Coast: Overture and Beginners; it was criticised by reviewers for being poorly recorded and thought out.[9] It featured selections from their late 1973 tour, the first featuring Yamauchi.[9][10] They recorded a few tracks for another studio album, but had lost enthusiasm and their final release as a group was the late 1974 UK Top 20 hit “You Can Make Me Dance, Sing or Anything“. In 1975 Wood began working with the Rolling Stones, which brought differences between Stewart and the others to a head, and after a troubled fall US tour (with Jesse Ed Davis on rhythm guitar), in December the band announced that they were splitting.
The members have had varied post-band careers. Wood joined the Rolling Stones as a full member, Lane formed Slim Chance and had a modest solo career that ended prematurely when he was diagnosed with multiple sclerosis and he also worked on an album with Who guitarist Pete Townshend, Rough Mix.[11] Jones joined the Who after the death of Keith Moon;[12] McLagan stated in a summer 2004 interview with reporter Scott Smith of the Times Record in Fort Smith, Arkansas, that Townshend also asked him to join the Who, but he had already promised Keith Richards that he would tour as a Rolling Stones sideman. McLagan moved to the United States, where he formed Ian McLagan & the Bump Band.[13] Tetsu Yamauchi returned to his native Japan, where he recorded and toured as a jazz musician and Stewart’s solo career was extremely successful. There was also a Small Faces reunion in the late 1970s (without Ronnie Lane) that resulted in two albums; and in 1981 Ronnie Lane and Steve Marriott collaborated on the album The Legendary Majik Mijits.[14]
The Faces reformed for the encore of Rod Stewart’s Wembley Stadium concert in 1986. Ronnie Lane, by then suffering from multiple sclerosis, was on stage to sing in his wheelchair, but was unable to play bass; Bill Wymanof the Rolling Stones filled in for him. The same line-up reunited once more (minus Lane) in 1993 when Rod Stewart was awarded the Lifetime Achievement award at the Brit Awards. Ronnie Lane made his final concert appearance in 1992 at a Ronnie Wood show with Ian McLagan on keyboards; Lane died in 1997.
In 2004 a 4-disc Faces box set entitled Five Guys Walk into a Bar… was released by Rhino Records, featuring many of the band’s most popular tracks as well as several previously unreleased songs. Drummer Kenney Jones formed a group called the Jones Gang, together with singer Robert Hart (formerly of Bad Company), Patrick Walford and guitarist Rick Wills (formerly of Foreigner); in 2005 their first single “Angel” reached number 1 on the US Billboard “hot singles sales” list.[15]
During 2004 and early 2005 the surviving Faces had several near-reunions, none of which featured more than three members at the same time: In May 2004 Kenney Jones and Ronnie Wood joined Ian McLagan on stage at his concert at The Mean Fiddler in London. In August 2004 Wood and McLagan joined Stewart at the Hollywood Bowl; Wood also appeared at several other of Stewart’s 2004 gigs, including New York’s Madison Square Garden, the Royal Albert Hall and a street performance in London for an audience of 80,000.[citation needed] In March 2005 McLagan joined Ronnie Wood’s band at a London show, which also featured Kenney Jones on drums for the final encore; and in December 2005 Wood joined Ian McLagan & the Bump Band for three numbers at a concert in Houston, Texas.[16]
On 11 June 2008 Rod Stewart announced that the surviving Faces were discussing a possible reunion, envisioning making a recording and/or performing at least one or two concerts.[17] On 18 November Rod Stewart, Ron Wood, Ian McLagan and Kenney Jones reunited along with Rod Stewart’s touring bassist Conrad Korsch for a rehearsal “just to check if they can remember the songs”;[18] the band’s official reunion website was launched earlier the same month.[19] However, on 23 January 2009, a spokesman for Rod Stewart denied there were any plans for a 2009 Faces reunion tour.[20]
On 24 September 2009, it was announced that the Faces, minus Rod Stewart, would reunite for a one-off charity show for the Performing Rights Society’s Music Members’ Benevolent Fund, at the Royal Albert Hall in London. “This will be so special for us, staging a reunion for such a wonderful and prestigious event,” said Ronnie Wood when the announcement of the concert was made. “Sadly Ronnie Lane can’t be with us, but I’m sure he will be there in spirit, God bless him.” Lane’s ex-wife, Katy,[21] is one of many to receive assistance from the charity.[22] The event was held on 25 October. Ronnie Wood, Kenney Jones and Ian McLagan all took part, with various vocalists including Mick Hucknall, replacing Stewart, and Bill Wyman filling in for the late Ronnie Lane on bass guitar.[23]
On 25 May 2010, it was announced that the Faces had officially reformed with Hucknall taking on vocal duties, and Glen Matlock of the Sex Pistols on bass.[24] The band played festival dates in both 2010 and 2011, with dates in the UK, Belgium, the Netherlands and Japan.[25]
The Small Faces/Faces were inducted into the Rock and Roll Hall of Fame in 2012.[26][27] On 23 March, the Faces announced that they would reunite with Rod Stewart to play at the induction ceremony for the first time in 19 years.[28] However, on the eve of the ceremony, Stewart bowed out owing to a bout of influenza and Hucknall was asked to sing in his place.[29] In June 2013, speaking in an interview on YouTube, Kenney Jones confirmed the band’s intention to reunite with Stewart for a tour in 2014.[30] However, Ian McLagan died on 3 December 2014, putting this reunion in doubt.
Rod Stewart, Ronnie Wood and Kenney Jones performed a short set at Hurtwood Polo Club on 5 September 2015 for charity, following their brief reunion at Rod Stewart’s private party for his 70th birthday in January of that year. The reunion show was critically acclaimed, with The Telegraph newspaper reviewing the performance as “5 star,” under the headline of “worth the 40-year wait.”[31]
Although they enjoyed only modest success compared to contemporaries such as the Who and the Rolling Stones, the Faces have had considerable influence on latter-day rock revivalists.[3] Their good-natured, back-to-basics (and frequently liquor-laden) concerts and studio albums connect them with such bands as the Damned and the Sex Pistols.[3]
_ Washed Out – Within and Without (Full Album) Published on Aug 16, 2013 Within and Without is the 2011 debut album by the artist Washed Out. Track List: 1. “Eyes Be Closed” 00:00 2. “Echoes” 4:48 3. “Amor Fati” 8:56 4. “Soft” 13:23 5. “Far Away” 18:54 6. “Before” 22:55 7. “You and I (Ft. Caroline Polachek)” 27:41 8. “Within and […]
Washed Out – It All Feels Right (Live on KEXP) Washed Out – Eyes Be Closed (Live on KEXP) Published on Feb 8, 2012 Washed Out performs “Eyes Be Closed” live in the KEXP studio. Recorded on 10/11/2011. Host: DJ El Toro Engineer: Kevin Suggs Cameras: Jim Beckmann, Shelly Corbett & Scott Holpainen Editing: Christopher […]
_ Feel It All Around by Washed Out – Portlandia Theme Published on Dec 24, 2011 This is the song Feel It All Around used in the opening for the TV Series on IFC called Portlandia. I claim no rights to the song or any rights to the show. All rights go to IFC, the […]
____________________ Sixteen Candles Final Scene Movie Ending Video if you were here i could deceive you and if you were here you would believe but would you suspect my emotion wandering, yeah do not want a part of this anymore The rain water drips through a crack in the ceiling and i’ll have to spend […]
________ Elvis Presley – Scene from “Viva Las Vegas” (MGM 1964) Elvis & Ann Margret Elvis Presley, Ann Margret – The Lady Loves Me – Viva Las Vegas Come On Everybody – Elvis and Ann-Margret HD. Hollywood Legend Ann-Margret on Faith, Love and Recovery Julie Blim – 700 Club Producer Scott Ross Ann-Margret interview on […]
__ Barry McGuire – Eve Of Destruction Barry McGuire Eve of Destruction [1965] Eve of Destruction (song) From Wikipedia, the free encyclopedia This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2010)(Learn how and when to remove this […]
Barry McGuire – Eve Of Destruction Machine Gun by Jimi Hendrix Marvin Gaye ” What’s Going On ” Live 1972 Bob Dylan – Knockin’ On Heaven’s Door “Blowin’ in the Wind” – Bob Dylan | Vietnam War Montage Edwin Starr – War (Original Video – 1969) Uploaded on Dec 6, 2007 Original […]
__ Faces “Stay With Me” The Faces – Had Me A Real Good Time Stay with Me (Faces song) From Wikipedia, the free encyclopedia “Stay with Me” Single by Faces from the album A Nod Is As Good As a Wink… to a Blind Horse B-side “You’re So Rude” (US) “Debris” (Intl.) Released December 1971 […]
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XI. Chapter Eleven: Our Society
A. As a result of the abandonment of the Christian worldview modern man has adopted two
impoverished values: personal peace and affluence
1. Personal Peace
Meaning: to be left alone, not to be troubled by other people and their woes, to live one’s live with
the minimal possibility of being disturbed.
2. Affluence
Meaning: an overwhelming and ever-increasing prosperity, a life made up of material possessions and
convenience.
B. Reason leads to pessimism in regard to a meaning of life and with reference to any fixed
values
Hope of having any meaning has been placed in the area of non-reason. Result was that drugs were
introduced to give meaning to people.
1. Hope in Drugs: Aldous Huxley and Timothy Leary
Leary called drugs the sacraments of a new religion. Some thought drugs would bring on a utopia
and even suggested that LSD be introduced into the drinking water of cities. In the late 1960s the
hope based on drugs passed away.
2. Hope in Marxism-Leninism
From the Russian Revolution until 1959 a total of 66 million prisoners died. This was deemed
acceptable to the leaders because internal security was to be gained at any cost. The ends justified
the means. The materialism of Marxism gives no basis for human dignity or rights.
a. Two streams of Marxism-Leninism
(1) Idealistic form
These hold to their philosophy against all reason and close their eyes to the oppression of the system.
(2) Old-line form
These hold to old-time communist orthodoxy such as that which was held in the old Soviet Union.
3. In the United States
a. Samuel Rutherford’s Lex Rex based on the Bible is no longer
We are now ruled by arbitrary judgements rather than Law. There is still the desire to have freedom
w/o chaos but this cannot be apart from the absolutes of biblical law. We are in the latter stages of
“borrowing” from the past, but this borrowing cannot last.
b. Civil law has become sociological law
Just as “modern-modern” science has become sociologicalscience, civil law has become sociological
law. Former Supreme Court justice OliverWendell Holmes, Jr. (1841-1935) wrote in “The Common
Law” that law is based on experience.
Frederick Moore Vinson (1890-1953), former Chief Justice of the Supreme Court, stated that
“nothing is more certain in modern society than the principle that there are no absolutes.”
(1) Natural Law
From the time of Rousseau when nature was being venerated there has been an attempt to make
nature the basis for law. This law in nature is discovered by man’s reason. This was part of the
Enlightenment optimism. But nature provides no basis for either ethics or law as nature is both cruel
and non-cruel.
c. The result
There is no basis for law so we are left with shifting sand.
“Law has only a variable content. Much modern law is not even based on precedent; that is, it does
not necessarily hold fast to a continuity with the legal decisions of the past. Thus, within a wide
range, the Constitution of the United States can be made to say what the courts of the present want
it to say–based on a court’s decision as to what the court feels is sociologically helpful at the
moment. At times this brings forth happy results, as least temporarily; but once the door is opened,
anything can become law and the arbitrary judgements of men are king. Law is now freewheeling,
and the courts not only interpret the laws which legislators have made, but make law. Lex Rex has
become Rex Lex. Arbitraryjudgment concerning currentsociologicalgood is king.” [pages 219-20]
As arbitrary absolutes so characterize communism and Marxism, so it characterizes our nation. This
means that huge changes of direction can be made, socially, and the majority of the people will accept
them without even questioning, regardless of how inconsistent they are with the past law or opinion.
(1) Schaeffer gives Roe V. Wade as an example (pages 220-24)
Roe v. Wade and the thirteenth and fourteenth amendments – note quote by Professor Witherspoon
on page 222 where he contends that the original intent of the framers of these amendments was to
guard against another Dred Scott decision where the courts would exclude any class of person from
Constitutional protection – exactly what the courts have done since Roe v. Wade.
In the pagan Roman Empire abortion was freely practiced. The influence of Christianity abolished
it. In 314 the Council of Ancyra barred from the taking of the Lord’s Supper for 10 years anyone
who had an abortion or made drugs to cause one. The Synod of Elvira (305-06) had specified
excommunication till the deathbed for these infractions.
4. Today’s options: Hedonism, Majority Rule or Rule by an Elite
a. Hedonism
“Trying to build a society on hedonism leads to chaos. One man can live on a desert island and do
as he wishes within the limits of the form of the universe, but as soon as two men live on the island,
if they are to live in peace, they cannot both do simply as they please.” [page 223]
b. The 51% vote
It used to be that a lone Christian with a Bible could look in the face of a majority and demonstrate
that the majority was wrong if they violated biblical absolutes in law or ethic. But this foundation is
gone and now there is no absolute by which to judge. On the basis of the absolute of the majority
Hitler was entitled to do as he pleased.
c. Rule by the powerful elite
The last option is rule by a man or men who dictate the way things will be. They serve as the absolute
standard of law and ethics. With this freedom is lost. “If there are no absolutes by which to judge
society, then society is absolute.”
(1) John Kenneth Galbraith (1908-?)
Galbraith suggested rule by an elite class composed of the intellectuals (in the academic and scientific
world).
(2) Daniel Bell (1919-?)
Bell suggested an elite comprised of select intellectuals. He believed that the university will become
the central institution of the next 100 years
“There is a death wish inherent in humanism–the impulsive drive to beat to death the base which made
our freedoms and our culture possible.” [Francis Schaeffer, 226]
5. Two effects of our loss of meaning and values that we see in our culture
(1) Degeneracy
(2) The Rise of the Elite
People cannot stand chaos and if it takes a person to fill the vacuum they will accept it regardless of
the ultimate consequences. People will guard their personal peace and affluence at all costs. Liberty
will be gone.
6. Gibbon’s “Rise and Fall of the Roman Empire” (1776-88)
a. Gibbon said that five certain attributes marked the fall of Rome
(1) An increasing love of show and luxury (affluence)
(2) A widening gap between the very rich and the very poor
(3) An obsession with sex
(4) Freakishness in the arts
(5) An increased desire for people to live off of the state
This outline below is one that I have found very helpful. It is by Tony Bartolucci
XII. Chapter Twelve: Manipulation and the New Elite
A. Determinism: Man has no freedom in his choices
1. S. Freud’s “Psychological Determinism”
Focused on a child’s relationship with its mother during early development.
2. B.F. Skinner’s “Sociological Determinism”
Published “Beyond Freedom and Dignity” in 1971. Claimed that all people are can be explained by
the way their environment has conditioned them.
3. Francis Crick’s “Genetic Determinism”
Crick (b. 1916) received the 1962 Nobel Prize for breaking the DNA code.
The Christian position isn’t that there is no such thing as conditioning, but that conditioning does not
explain who we are (or render us unaccountable).
B. Manipulation by the Media
1. Television
2. Mass Media
“All that is needed is that the world-view of the elite and the worldview of the central news media to
coincide. One may discuss if planned collusion exists at times, but to be looking only for the
possibility of a clandestine plot opens the, way for failing to see a much greater danger: that many of
those who are in the most prominent places of influence and many of those who decide what is news
do have the common, modern, humanist world-view we have described at length in this book.” [page
240]
Just as we now have sociological science, and law, we also now have sociological news. News can
be “colored” by what is said, or not said, or how something is said (emphasized) or not. It reminds
me of music; music is the emphasis of certain notes and pitches to the neglect of others. In the end
it makes a statement. News reporting has become like that.
C. The future of the USA and manipulation
1. In Government
A manipulated authoritarian government could come from the administrative side or the legislative
side and with the courts making law it could come from the judicial side also.
Schaeffer sees an “imperial judiciary” with the concept of “variable law.” The courts making law
rather than interpreting law.
2. The loss of freedom
When freedom is separated from the Christian base upon which it was founded, the freedoms become
a force of destruction leading to chaos. As Eric Hoffer (1902-?) once said, “When freedom destroys
order, the yearning for order will destroy freedom.”
“At that point the world left or right will make no difference. They are only two roads to the same
end.; There is no difference between an authoritarian government from the right or the left: the
results are the same. An elite, an authoritarianism as such, will gradually force form on society so
that it will not go on to chaos. And most people will accept it–from the desire for personal peace
and affluence, from apathy, and from the yearning for order to assure the functioning of some
political system, business, and the affairs of daily life. That is just what Rome did with Caesar
Augustus.” [page 244]
If you have never read it, you really should take the time to read Francis Schaeffer’s The God Who is There. He discusses the “line of despair” — the inability of modern human thought to both understand the particular and the general; to create a system of thought which incorporates all — including our “manishness” that stuff of us which makes us human and real. There is no way to construct a comprehensive and rational world view which does not rightly incorporate what God has done in Jesus Christ. If that sounds strange, then you should consider Schaeffer’s work.
In the book, he works through philosophy, art, theology and demonstrate how the despair crossed the 20th century. Here is a bit about Mondrian:
Mondrian painted his pictures and hung them on the wall. They were frameless so that they would not look like holes in the wall. As the pictures conflicted with the room, he had to make a new room. So Mondrian had furniture made for him, particularly by Rietveld, a member of the De Stijl group, and Van der Leck. There was an exhibition in the Stedelijk Museum in Amsterdam in July–September 1951, called “De Stijl,” where this could be seen. As you looked, you were led to admire the balance between room and furniture, in just the same way as there is such a good balance in his individual pictures. But if a man came into that room, there would be no place for him. It is a room for abstract balance, but not for man. This is the conclusion modern man has reached, below the line of despair. He has tried to build a system out from himself, but this system has come to the place where there is not room in the universe for man.
Piet Mondrian Art Documentary. Episode 14 Artists of the 20th Century
Broadway Boogie-Woogie (1942-43)
Francis Schaeffer noted:
Hans Arp (1887-1966), an Alsatian sculptor, wrote a poem which appeared in the final issue of the magazine De Stijl (The Style) which was published by the De Stijlgroup of artists led by Piet Mondrian and Theo van Doesburg. Mondrian (1872-1944) was the best-known artist of this school. He was not of the Dada school which accepted and portrayed absurdity. Rather, Mondrian was hoping to paint the absolute. Hand Arp, however, was a Dadaist artist connected with De Stijl. His power “Für Theo Van Doesburg,” translated from German reads:
the head downward
the legs upward
he tumbles into the bottomless
from whence he came
he has no more honour in his body
he bites no more bite of any short meal
he answers no greeting
and is not proud when being adored
the head downward
the legs upward
he tumbles into the bottomless
from whence he came
like a dish covered with hair
like a four-legged sucking chair
like a deaf echotrunk
half full half empty
the head downward
the legs upward
he tumbles into the bottomless
from whence he came
Dada carried to its logical conclusion the notion of all having come about by chance; the result was the final absurdity of everything, including humanity.
The man who perhaps most clearly and consciously showed this understanding of the resulting absurdity fo all things was Marcel Duchamp (1887-1969). He carried the concept of fragmentation further in Nude Descending a Staircase(1912), one version of which is now in the Philadelphia Museum of Art–a painting in which the human disappeared completely. The chance and fragmented concept of what is led to the devaluation and absurdity of all things. All one was left with was a fragmented view of a life which is absurd in all its parts. Duchamp realized that the absurdity of all things includes the absurdity of art itself. His “ready-mades” were any object near at hand, which he simply signed. It could be a bicycle wheel or a urinal. Thus art itself was declared absurd.
Francis Schaeffer in his book HOW SHOULD WE THEN LIVE? noted on pages 200-203:
Jackson Pollock (1912-1956) is perhaps the clearest example in the United States of painting deliberately in order to make the statements that all is chance. He placed canvases horizontally on the floor and dripped paint on them from suspended cans swinging over them. Thus, his paintings were a product of chance. But wait a minute! Is there not an order in the lines of paint on his canvases? Yes, because it was not really chance shaping his canvases! The universe is not a random universe; it has order. Therefore, as the dripping paint from the swinging cans moved over the canvases, the lines of paint were following the order of the universe itself. The universe is not what these painters said it is.
John Cage provides perhaps the clearest example of what is involved in the shift of music. Cage believed the universe is a universe of chance. He tried carrying this out with great consistency. For example, at times he flipped coins to decide what the music should be. At other times he erected a machine that led an orchestra by chance motions so that the orchestra would not know what was coming next. Thus there was no order. Or again, he placed two conductors leading the same orchestra, separated from each other by a partition, so that what resulted was utter confusion. There is a close tie-in again to painting; in 1947 Cage made a composition he called MUSIC FOR MARCEL DUCHAMP. But the sound produced by his music was composed only of silence (interrupted only by random environmental sounds), but as soon as he used his chance methods sheer noise was the outcome.
But Cage also showed that one cannot live on such a base, that the chance concept of the universe does not fit the universe as it is. Cage is an expert in mycology, the science of mushrooms. And he himself said, “I became aware that if I approached mushrooms in the spirit of my chance operation, I would die shortly.” Mushroom picking must be carefully discriminative. His theory of the universe does not fit the universe that exists.
All of this music by chance, which results in noise, makes a strange contrast to the airplanes sitting in our airports or slicing through our skies. An airplane is carefully formed; it is orderly (and many would also think it beautiful). This is in sharp contrast to the intellectualized art which states that the universe is chance. Why is the airplane carefully formed and orderly, and what Cage produced utter noise? Simply because an airplane must fit the orderly flow lines of the universe if it is to fly!
Pieter Cornelis “Piet” Mondrian had a dream of becoming a Realist painter, but instead was responsible for evolving the Neoplasticism movement. His paintings were often sparse and asymmetrical, using only three primary colors.
Piet Mondrian had a difficult childhood. His father was a Protestant who devoted his time to church activities, mostly at the expense of his family life, and his mother was very sickly. As a result, he grew up bitter and cynical. He became fascinated with art after his father taught him how to draw. In 1892, Mondrian enrolled in the Rijksakademie van beeldende kunsten (Royal Academy of Visual Arts) in Amsterdam. He returned home when he fell ill due to pneumonia. While recovering, he painted rural watercolor landscapes. Due to his childhood struggles, he had difficulty maintaining relationships in adult life. He married Greet Heybroek in 1914 and broke up just three years later, never marrying again after that. Mondrian fell ill from an acute pneumonia attack and died in 1944. He left everything to a young artist named Harry Holtzman, disinheriting his siblings. His memorial service was held at the Universal Chapel on Lexington Avenue in New York City and was attended by roughly two hundred people, including many famous artists. He was interred in the Cypress Hills Cemetery in Brooklyn, New York.
CAREER
In 1904, Piet Mondrian painted Brabant Farmyard, which reflected his aim to be a Realist painter. The naturalistic characteristics in this painting showed his association with The Hague School. He painted farmyards, depicting landscapes that were sparse and placed close to the viewer. His 1922 paintingComposition embraced Neoplasticism and followed the movement’s principles. In this artwork, he placed the elements in asymmetric order to achieve an unbalanced equilibrium and used only three primary colors. In 1942, his last completed painting, Broadway Boogie Woogie, paid homage to New York City. Critics say it did not reflect the qualities expected of Neoplasticism, which is thought to have been due to his failing health and the shortage of art supplies caused by the war.
FUN FACTS
Mondrian’s father was a school principal.
He lived in the United States the last four years of his life
Pieter Cornelis “Piet” Mondriaan, after 1906 Mondrian (/ˈmɔːndriˌɑːn, ˈmɒn-/;[1] Dutch: [ˈpit ˈmɔndrijaːn], later [ˈmɔndrijɑn]; 7 March 1872 – 1 February 1944), was a Dutch painter and theoretician who is regarded as one of the greatest artists of the 20th century.[2][3] He is known for being one of the pioneers of 20th century abstract art, as he changed his artistic direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements.[4]
Mondrian’s art was highly utopian and was concerned with a search for universal values and aesthetics. He proclaimed in 1914: Art is higher than reality and has no direct relation to reality. To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual. We find ourselves in the presence of an abstract art. Art should be above reality, otherwise it would have no value for man.[5] His art, however, always remained rooted in nature.
He was a contributor to the De Stijl art movement and group, which he co-founded with Theo van Doesburg. He evolved a non-representational form which he termed Neoplasticism. This was the new ‘pure plastic art’ which he believed was necessary in order to create ‘universal beauty’. To express this, Mondrian eventually decided to limit his formal vocabulary to the three primary colors (red, blue and yellow), the three primary values (black, white and gray) and the two primary directions (horizontal and vertical).[6] Mondrian’s arrival in Paris from the Netherlands in 1911 marked the beginning of a period of profound change. He encountered experiments in Cubism and with the intent of integrating himself within the Parisian avant-garde removed an ‘a’ from the Dutch spelling of his name (Mondriaan).[7][8]
Mondrian’s work had an enormous influence on 20th century art, influencing not only the course of abstract painting and numerous major styles and art movements (e.g. Color Field painting, Abstract Expressionism and Minimalism), but also fields outside the domain of painting, such as design, architecture and fashion.[9]Design historian Stephen Bayley said: ‘Mondrian has come to mean Modernism. His name and his work sum up the High Modernist ideal. I don’t like the word ‘iconic’, so let’s say that he’s become totemic – a totem for everything Modernism set out to be.[10]
In this house, now the Villa Mondriaan, in Winterswijk, Piet Mondrian lived from 1880 to 1892
Mondrian was born in Amersfoort in the Netherlands, the second of his parents’ children.[11] He was descended from Christian Dirkzoon Monderyan who lived in The Hague as early as 1670.[7] The family moved to Winterswijk when his father, Pieter Cornelius Mondriaan, was appointed head teacher at a local primary school.[12]Mondrian was introduced to art from an early age. His father was a qualified drawing teacher, and, with his uncle, Fritz Mondriaan (a pupil of Willem Maris of the Hague School of artists), the younger Piet often painted and drew along the river Gein.[13]
After a strict Protestant upbringing, in 1892, Mondrian entered the Academy for Fine Art in Amsterdam.[14] He was already qualified as a teacher.[12] He began his career as a teacher in primary education, but he also practiced painting. Most of his work from this period is naturalistic or Impressionistic, consisting largely of landscapes. These pastoral images of his native country depict windmills, fields, and rivers, initially in the Dutch Impressionist manner of the Hague School and then in a variety of styles and techniques that attest to his search for a personal style. These paintings are representational, and they illustrate the influence that various artistic movements had on Mondrian, including pointillism and the vivid colors of Fauvism.
Willow Grove: Impression of Light and Shadow, c. 1905, oil on canvas, 35 × 45 cm, Dallas Museum of Art
Spring Sun (Lentezon): Castle Ruin: Brederode, c. late 1909 – early 1910, oil on masonite, 62 × 72 cm, Dallas Museum of Art
On display in the Gemeentemuseum Den Haag] are a number of paintings from this period, including such Post-Impressionist works as The Red Mill and Trees in Moonrise. Another painting, Evening (Avond) (1908), depicting a tree in a field at dusk, even augurs future developments by using a palette consisting almost entirely of red, yellow, and blue. Although Avond is only limitedly abstract, it is the earliest Mondrian painting to emphasize primary colors.
Piet Mondrian, View from the Dunes with Beach and Piers, Domburg, 1909, oil and pencil on cardboard, Museum of Modern Art, New York
Mondrian’s earliest paintings showing a degree of abstraction are a series of canvases from 1905 to 1908 that depict dim scenes of indistinct trees and houses reflected in still water. Although the result leads the viewer to begin focusing on the forms over the content, these paintings are still firmly rooted in nature, and it is only the knowledge of Mondrian’s later achievements that leads one to search in these works for the roots of his future abstraction.
Mondrian’s art was intimately related to his spiritual and philosophical studies. In 1908, he became interested in the theosophical movement launched by Helena Petrovna Blavatsky in the late 19th century, and in 1909 he joined the Dutch branch of the Theosophical Society. The work of Blavatsky and a parallel spiritual movement, Rudolf Steiner‘s Anthroposophy, significantly affected the further development of his aesthetic.[15] Blavatsky believed that it was possible to attain a more profound knowledge of nature than that provided by empirical means, and much of Mondrian’s work for the rest of his life was inspired by his search for that spiritual knowledge. In 1918, he wrote “I got everything from the Secret Doctrine”, referring to a book written by Blavatsky. In 1921, in a letter to Steiner, Mondrian argued that his neoplasticism was “the art of the foreseeable future for all true Anthroposophists and Theosophists”. He remained a committed Theosophist in subsequent years, although he also believed that his own artistic current, neoplasticism, would eventually become part of a larger, ecumenical spirituality.[16]
Mondrian and his later work were deeply influenced by the 1911 Moderne Kunstkring exhibition of Cubism in Amsterdam. His search for simplification is shown in two versions of Still Life with Ginger Pot (Stilleven met Gemberpot). The 1911 version [17] is Cubist; in the 1912 version[18] the objects are reduced to a round shape with triangles and rectangles.
Gray Tree, 1911, an early experimentation with Cubism[19]
In 1911, Mondrian moved to Paris and changed his name, dropping an ‘a’ from Mondriaan, to emphasize his departure from the Netherlands, and his integration within the Parisian avant-garde.[8][20] While in Paris, the influence of the Cubist style of Picasso and Georges Braque appeared almost immediately in Mondrian’s work. Paintings such as The Sea (1912) and his various studies of trees from that year still contain a measure of representation, but, increasingly, they are dominated by geometric shapes and interlocking planes. While Mondrian was eager to absorb the Cubist influence into his work, it seems clear that he saw Cubism as a “port of call” on his artistic journey, rather than as a destination.
Unlike the Cubists, Mondrian still attempted to reconcile his painting with his spiritual pursuits, and in 1913 he began to fuse his art and his theosophical studies into a theory that signaled his final break from representational painting. While Mondrian was visiting the Netherlands in 1914, World War I began, forcing him to remain in there for the duration of the conflict. During this period, he stayed at the Laren artists’ colony, where he met Bart van der Leck and Theo van Doesburg, who were both undergoing their own personal journeys toward abstraction. Van der Leck’s use of only primary colors in his art greatly influenced Mondrian. After a meeting with Van der Leck in 1916, Mondrian wrote, “My technique which was more or less Cubist, and therefore more or less pictorial, came under the influence of his precise method.”[21]With Van Doesburg, Mondrian founded De Stijl (The Style), a journal of the De Stijl Group, in which he first published essays defining his theory, which he called neoplasticism.
Mondrian published “De Nieuwe Beelding in de schilderkunst” (“The New Plastic in Painting”)[22] in twelve installments during 1917 and 1918. This was his first major attempt to express his artistic theory in writing. Mondrian’s best and most-often quoted expression of this theory, however, comes from a letter he wrote to H. P. Bremmerin 1914:
I construct lines and color combinations on a flat surface, in order to express general beauty with the utmost awareness. Nature (or, that which I see) inspires me, puts me, as with any painter, in an emotional state so that an urge comes about to make something, but I want to come as close as possible to the truth and abstract everything from that, until I reach the foundation (still just an external foundation!) of things…
I believe it is possible that, through horizontal and vertical lines constructed with awareness, but not with calculation, led by high intuition, and brought to harmony and rhythm, these basic forms of beauty, supplemented if necessary by other direct lines or curves, can become a work of art, as strong as it is true.[23]
Piet Mondrian and Pétro (Nelly) van Doesburg in Mondrian’s Paris studio, 1923
Tableau I, 1921
When World War I ended in 1918, Mondrian returned to France where he would remain until 1938. Immersed in the crucible of artistic innovation that was post-war Paris, he flourished in an atmosphere of intellectual freedom that enabled him to embrace an art of pure abstraction for the rest of his life. Mondrian began producing grid-based paintings in late 1919, and in 1920, the style for which he came to be renowned began to appear.
In the early paintings of this style the lines delineating the rectangular forms are relatively thin, and they are gray, not black. The lines also tend to fade as they approach the edge of the painting, rather than stopping abruptly. The forms themselves, smaller and more numerous than in later paintings, are filled with primary colors, black, or gray, and nearly all of them are colored; only a few are left white.
Composition II in Red, Blue, and Yellow, 1930
During late 1920 and 1921, Mondrian’s paintings arrive at what is to casual observers their definitive and mature form. Thick black lines now separate the forms, which are larger and fewer in number, and more of the forms are left white. This was not the culmination of his artistic evolution, however. Although the refinements became subtler, Mondrian’s work continued to evolve during his years in Paris.
In the 1921 paintings, many, though not all, of the black lines stop short at a seemingly arbitrary distance from the edge of the canvas although the divisions between the rectangular forms remain intact. Here, too, the rectangular forms remain mostly colored. As the years passed and Mondrian’s work evolved further, he began extending all of the lines to the edges of the canvas, and he began to use fewer and fewer colored forms, favoring white instead.
These tendencies are particularly obvious in the “lozenge” works that Mondrian began producing with regularity in the mid-1920s. The “lozenge” paintings are square canvases tilted 45 degrees, so that they have a diamond shape. Typical of these is Schilderij No. 1: Lozenge With Two Lines and Blue (1926). One of the most minimal of Mondrian’s canvases, this painting consists only of two black, perpendicular lines and a small blue triangular form. The lines extend all the way to the edges of the canvas, almost giving the impression that the painting is a fragment of a larger work.
Although one’s view of the painting is hampered by the glass protecting it, and by the toll that age and handling have obviously taken on the canvas, a close examination of this painting begins to reveal something of the artist’s method. The painting is not composed of perfectly flat planes of color, as one might expect. Subtle brush strokes are evident throughout. The artist appears to have used different techniques for the various elements.[citation needed] The black lines are the flattest elements, with the least amount of depth. The colored forms have the most obvious brush strokes, all running in one direction. Most interesting, however, are the white forms, which clearly have been painted in layers, using brush strokes running in different directions. This generates a greater sense of depth in the white forms so that they appear to overwhelm the lines and the colors, which indeed they were doing, as Mondrian’s paintings of this period came to be increasingly dominated by white space.
Schilderij No. 1 may be the most extreme extent of Mondrian’s minimalism. As the years progressed, lines began to take precedence over forms in his painting. In the 1930s, he began to use thinner lines and double lines more frequently, punctuated with a few small colored forms, if any at all. Double lines particularly excited Mondrian, for he believed they offered his paintings a new dynamism which he was eager to explore.
In 1934–35 three of Mondrian’s paintings were exhibited as part of the “Abstract and Concrete” exhibitions in the UK at Oxford, London, and Liverpool.[24]
In September 1938, Mondrian left Paris in the face of advancing fascism and moved to London.[26] After the Netherlands was invaded and Paris fell in 1940, he left London for Manhattan, where he would remain until his death. Some of Mondrian’s later works are difficult to place in terms of his artistic development because there were quite a few canvases that he began in Paris or London and only completed months or years later in Manhattan. The finished works from this later period are visually busy, with more lines than any of his work since the 1920s, placed in an overlapping arrangement that is almost cartographical in appearance. He spent many long hours painting on his own until his hands blistered, and he sometimes cried or made himself sick.
Mondrian produced Lozenge Composition With Four Yellow Lines (1933), a simple painting that innovated thick, colored lines instead of black ones. After that one painting, this practice remained dormant in Mondrian’s work until he arrived in Manhattan, at which time he began to embrace it with abandon. In some examples of this new direction, such as Composition (1938) / Place de la Concorde (1943), he appears to have taken unfinished black-line paintings from Paris and completed them in New York by adding short perpendicular lines of different colors, running between the longer black lines, or from a black line to the edge of the canvas. The newly colored areas are thick, almost bridging the gap between lines and forms, and it is startling to see color in a Mondrian painting that is unbounded by black. Other works mix long lines of red amidst the familiar black lines, creating a new sense of depth by the addition of a colored layer on top of the black one. His painting Composition No. 10, 1939–1942, characterized by primary colors, white ground and black grid lines clearly defined Mondrian’s radical but classical approach to the rectangle.
On 23 September 1940 Mondrian left Europe for New York aboard the Cunard White Star Lines ship RMS Samaria, departing from Liverpool.[27] The new canvases that Mondrian began in Manhattan are even more startling, and indicate the beginning of a new idiom that was cut short by the artist’s death. New York City (1942) is a complex lattice of red, blue, and yellow lines, occasionally interlacing to create a greater sense of depth than his previous works. An unfinished 1941 version of this work uses strips of painted paper tape, which the artist could rearrange at will to experiment with different designs.
Victory Boogie Woogie (1942–44)
His painting Broadway Boogie-Woogie (1942–43) at The Museum of Modern Art in Manhattan was highly influential in the school of abstract geometric painting. The piece is made up of a number of shimmering squares of bright color that leap from the canvas, then appear to shimmer, drawing the viewer into those neon lights. In this painting and the unfinished Victory Boogie Woogie (1942–44), Mondrian replaced former solid lines with lines created from small adjoining rectangles of color, created in part by using small pieces of paper tape in various colors. Larger unbounded rectangles of color punctuate the design, some with smaller concentric rectangles inside them. While Mondrian’s works of the 1920s and 1930s tend to have an almost scientific austerity about them, these are bright, lively paintings, reflecting the upbeat music that inspired them and the city in which they were made.
In these final works, the forms have indeed usurped the role of the lines, opening another new door for Mondrian’s development as an abstractionist. The Boogie-Woogiepaintings were clearly more of a revolutionary change than an evolutionary one, representing the most profound development in Mondrian’s work since his abandonment of representational art in 1913.
In 2008 the Dutch television program Andere Tijden found the only known movie footage with Mondrian.[28] The discovery of the film footage was announced at the end of a two-year research program on the Victory Boogie Woogie. The research found that the painting was in very good condition and that Mondrian painted the composition in one session. It also was found that the composition was changed radically by Mondrian shortly before his death by using small pieces of colored tape.
When the 47-year-old Piet Mondrian left the Netherlands for unfettered Paris for the second and last time in 1919, he set about at once to make his studio a nurturing environment for paintings he had in mind that would increasingly express the principles of neoplasticism about which he had been writing for two years. To hide the studio’s structural flaws quickly and inexpensively, he tacked up large rectangular placards, each in a single color or neutral hue. Smaller colored paper squares and rectangles, composed together, accented the walls. Then came an intense period of painting. Again he addressed the walls, repositioning the colored cutouts, adding to their number, altering the dynamics of color and space, producing new tensions and equilibrium. Before long, he had established a creative schedule in which a period of painting took turns with a period of experimentally regrouping the smaller papers on the walls, a process that directly fed the next period of painting. It was a pattern he followed for the rest of his life, through wartime moves from Paris to London’s Hampstead in 1938 and 1940, across the Atlantic to Manhattan.
At the age of 71 in the fall of 1943, Mondrian moved into his second and final Manhattan studio at 15 East 59th Street, and set about to recreate the environment he had learned over the years was most congenial to his modest way of life and most stimulating to his art. He painted the high walls the same off-white he used on his easel and on the seats, tables and storage cases he designed and fashioned meticulously from discarded orange and apple-crates. He glossed the top of a white metal stool in the same brilliant primary red he applied to the cardboard sheath he made for the radio-phonograph that spilled forth his beloved jazz from well-traveled records. Visitors to this last studio seldom saw more than one or two new canvases, but found, often to their astonishment, that eight large compositions of colored bits of paper he had tacked and re-tacked to the walls in ever-changing relationships constituted together an environment that, paradoxically and simultaneously, was both kinetic and serene, stimulating and restful. It was the best space, Mondrian said, that he had inhabited. He was there for only a few months, as he died in February 1944.
After his death, Mondrian’s friend and sponsor in Manhattan, artist Harry Holtzman, and another painter friend, Fritz Glarner, carefully documented the studio on film and in still photographs before opening it to the public for a six-week exhibition. Before dismantling the studio, Holtzman (who was also Mondrian’s heir) traced the wall compositions precisely, prepared exact portable facsimiles of the space each had occupied, and affixed to each the original surviving cut-out components. These portable Mondrian compositions have become known as “The Wall Works”. Since Mondrian’s death, they have been exhibited twice at Manhattan’s Museum of Modern Art (1983 and 1995–96),[29] once in SoHo at the Carpenter + Hochman Gallery (1984), once each at the Galerie Tokoro in Tokyo, Japan (1993), the XXII Biennial of Sao Paulo (1994), the University of Michigan (1995), and – the first time shown in Europe – at the Akademie der Künste (Academy of The Arts), in Berlin (22 February – 22 April 2007).
The Mondrian / Holtzman Trust functions as Mondrian’s official estate, and “aims to promote awareness of Mondrian’s artwork and to ensure the integrity of his work”.[32]
Mondrian dresses by Yves Saint Laurent shown with a Mondrian painting in 1966.
The National Museum of Serbia was the first museum to include one of Mondrian’s paintings in its permanent exhibition.[33]
Along with Klee and Kandinsky, Mondrian was one of the main inspirations to the early pointillist musical aesthetic of serialist composer Pierre Boulez,[34] although his interest in Mondrian was restricted to the works of 1914–15.[35] By May 1949 Boulez said he was “suspicious of Mondrian,” and by December 1951 expressed a dislike for his paintings (regarding them as “the most denuded of mystery that have ever been in the world”), and a strong preference for Klee.[36]
In the 1930s, the French fashion designer Lola Prusac, who worked at that time for Hermès in Paris, designed a range of luggage and bags inspired by the latest works of Mondrian: inlays of red, blue, and yellow leather squares.[37]
In 2001–2003 British artist Keith Milow made a series of paintings based on the so-called Transatlantic Paintings (1935–1940) by Mondrian.[38]
Fashion designer Yves Saint Laurent‘s Fall 1965 Mondrian collection featured shift dresses in blocks of primary color with black bordering, inspired by Mondrian.[39]The collection proved so popular that it inspired a range of imitations that encompassed garments from coats to boots.
The La Vie Claire cycling team’s bicycles and clothing designs were inspired by Mondrian’s work throughout the 1980s. The French ski and bicycle equipment manufacturer Look, which also sponsored the team, used a Mondrian-inspired logo for a while. The style was revived in 2008 for a limited edition frame.[40]
1980s R&B group Force MDs created a music video for their hit “Love is a House”, superimposing themselves performing inside of digitally drawn squares inspired by Composition II.[41]
An episode of the BBC TV drama Hustle entitled “Picture Perfect” is about the team attempting to create and sell a Mondrian forgery. To do so, they must steal a real Mondrian (Composition with Red, Yellow, Blue, and Black, 1921) from an art gallery.
The Mondrian is a 20-story high-rise in the Cityplace neighborhood of Oak Lawn, Dallas, Texas (US). Construction started on the structure in 2003 and the building was completed in 2005.
In 2008, Nike released a pair of Dunk Low SB shoes inspired by Mondrian’s iconic neo-plastic paintings.[44]
The front cover to Australian rock band Silverchair‘s fifth and final album Young Modern (2007) is a tribute to Piet Mondrian’s Composition II in Red, Blue, and Yellow.
The mathematics book An introduction to sparse stochastic processes[45] by M.Unser and P.Tafti uses a representation of a stochastic process called the Mondrian process for its cover, which is named because of its resemblance with Piet Mondrian artworks.
The Hague City Council honored Mondrian by adorning walls of City Hall with reproductions of his works and describing it as “the largest Mondrian painting in the world.”[46] The event celebrated the 100th year of De Stijl movement which Mondrian helped to found.[47]
From 6 June to 5 October 2014, the Tate Liverpool displayed the largest UK collection of Mondrian’s works, in commemoration of the 70th anniversary of his death. Mondrian and his Studios included a life-size reconstruction of his Paris studio. Charles Darwent, in The Guardian, wrote: “With its black floor and white walls hung with moveable panels of red, yellow and blue, the studio at Rue du Départ was not just a place for making Mondrians. It was a Mondrian – and a generator of Mondrians.”[8] He has been described as “the world’s greatest abstract geometrist”.[48]
Jump up^Robert Hughes, The Shock of the New – Episode 4 – Trouble in Utopia – 21 September 1980 – BBC.
Jump up^Blotkamp, Carel (1994) Mondrian: The Art of Destruction. London. Reaction Books Ltd. pp: 9
Jump up^Gardner, H., Kleiner, F. S., & Mamiya, C. J. (2006). Gardner’s art through the ages: the Western perspective. Belmont, CA, Thomson Wadsworth: 780
Jump up^Seuphor, Michel (1956) Piet Mondrian: Life and Work. New York: Abrams: 117
Jump up^“Piet Mondrian”, Tate gallery, published in Ronald Alley, Catalogue of the Tate Gallery’s Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, pp.532–3. Retrieved 18 December 2007.
Jump up^Sellon, Emily B.; Weber, Renee (1992). “Theosophy and the Theosophical Society”. In Faivre, Antoine; Needleman, Jacob. Modern Esoteric Spirituality. World Spirituality. 21. Crossroad. p. 327. ISBN0824514440.
Jump up^Introvigne, Massimo (2014). “From Mondrian to Charmion von Wiegand: Neoplasticism, Theosophy and Buddhism”. In Noble, Judith; Shepherd, Dominic; Ansell, Robert. Black Mirror 0: Territory. Fulgur Esoterica. pp. 49–61.
Boulez, Pierre, and Cage, John (1995). The Boulez-Cage Correspondence, new edition, edited by Jean-Jacques Nattiez; translated from the French by Robert Samuels. Cambridge and New York: Cambridge University Press. ISBN0-521-48558-4.
Cooper, Harry A. (1997). “Dialectics of Painting: Mondrian’s Diamond Series, 1918–1944”. PhD diss. Cambridge: Harvard University.
Mondrian, Piet (1986). The New Art – The New Life: The Collected Writings of Piet Mondrian, edited by Harry Holtzman and Martin S. James. Documents of 20th-Century Art. Boston: G. K. Hall and Co. ISBN0-8057-9957-5. Reprinted 1987, London: Thames and Hudson. ISBN0-500-60011-2. Reprinted 1993, New York: Da Capo Press. ISBN0-306-80508-1.
Strauss, Walter A. (1989). “Stacey Peter F. Boulez and the Modern Concept. Lincoln: University of Nebraska Press, 1987″. SubStance 18, no. 2, issue 59:131–34.
Welsh, Robert P., Joop J. Joosten, and Henk Scheepmaker (1998). Piet Mondrian: Catalogue Raisonné, translated by Jacques Bosser. Blaricum: V+K Publishing/Inmerc.
Larousse and Co., Inc. (1976). Mondrian, Piet. In Dictionary of Painters (p. 285). New York: Larousse and Co., Inc.
Busignani, Alberto (1968). Mondrian: The Life and Work of the Artist, Illustrated by 80 Colour Plates, translated from the Italian by Caroline Beamish. A Dolphin Art Book. London: Thames and Hudson.
Gooding, Mel (2001). Abstract Art. Movements in Modern Art. London: Tate Publishing; Cambridge and New York: Cambridge University Press. ISBN1-85437-302-1 (Tate); ISBN0-521-80928-2 (Cambridge, cloth); ISBN0-521-00631-7 (Cambridge, pbk).
A list of the Best Painters of all-time in Western Painting, the 101 most important painters of the history of western painting, from 13th century to 21st century
by G. Fernández – theartwolf.com
Although this list stems from a deep study of the painters, their contribution to Western painting, and their influence on later artists; we are aware that objectivity does not exist in Art, so we understand that most readers will not agree 100% with this list. In any case, theartwolf.com assures that this list is only intended as a tribute to painting and the painters who have made it an unforgettable Art
1. PABLO PICASSO (1881-1973) – Picasso is to Art History a giant earthquake with eternal aftermaths. With the possible exception of Michelangelo (who focused his greatest efforts in sculpture and architecture), no other artist had such ambitions at the time of placing his oeuvre in the history of art. Picasso created the avant-garde. Picasso destroyed the avant-garde. He looked back at the masters and surpassed them all. He faced the whole history of art and single-handedly redefined the tortuous relationship between work and spectator
2. GIOTTO DI BONDONE (c.1267-1337) – It has been said that Giotto was the first real painter, like Adam was the first man. We agree with the first part. Giotto continued the Byzantine style of Cimabue and other predecessors, but he earned the right to be included in gold letters in the history of painting when he added a quality unknown to date: emotion
3. LEONARDO DA VINCI (1452-1519) – For better or for worse, Leonardo will be forever known as the author of the most famous painting of all time, the “Gioconda” or “Mona Lisa”. But he is more, much more. His humanist, almost scientific gaze, entered the art of the quattrocento and revoluted it with his sfumetto that nobody was ever able to imitate
4. PAUL CÉZANNE (1839-1906) – “Cezanne is the father of us all.” This famous quote has been attributed to both Picasso and Matisse, and certainly it does not matter who actually said it, because in either case would be appropriate. While he exhibited with the Impressionist painters, Cézanne left behind the whole group and developed a style of painting never seen so far, which opened the door for the arrival of Cubism and the rest of the vanguards of the twentieth century
5. REMBRANDT VAN RIJN (1606-1669) – The fascinating use of the light and shadows in Rembrandt’s works seem to reflect his own life, moving from fame to oblivion. Rembrandt is the great master of Dutch painting, and, along with Velázquez, the main figure of 17th century European Painting. He is, in addition, the great master of the self-portrait of all time, an artist who had never show mercy at the time of depicting himself
6. DIEGO VELÁZQUEZ (1599-1660) – Along with Rembrandt, one of the summits of Baroque painting. But unlike the Dutch artist, the Sevillan painter spent most of his life in the comfortable but rigid courtesan society. Nevertheless, Velázquez was an innovator, a “painter of atmospheres” two centuries before Turner and the Impressionists, which it is shown in his colossal ‘royal paintings’ (“Meninas”, “The Forge of Vulcan”), but also in his small and memorable sketches of the Villa Medici.
7. WASSILY KANDINSKY (1866-1944) – Although the title of “father of abstraction” has been assigned to several artists, from Picasso to Turner, few painters could claim it with as much justice as Kandinsky. Many artists have succeeded in painting emotion, but very few have changed the way we understand art. Wassily Kandinsky is one of them.
8. CLAUDE MONET (1840-1926) – The importance of Monet in the history of art is sometimes “underrated”, as Art lovers tend to see only the overwhelming beauty that emanates from his canvases, ignoring the complex technique and composition of the work (a “defect” somehow caused by Monet himself, when he declared that “I do not understand why everyone discusses my art and pretends to understand, as if it were necessary to understand, when it is simply necessary to love”). However, Monet’s experiments, including studies on the changes in an object caused by daylight at different times of the day; and the almost abstract quality of his “water lilies”, are clearly a prologue to the art of the twentieth century.
9. CARAVAGGIO (1571-1610) – The tough and violent Caravaggio is considered the father of Baroque painting, with his spectacular use of lights and shadows. Caravaggio’s chiaroscuro became so famous that many painters started to copy his paintings, creating the ‘Caravaggisti’ style.
10. JOSEPH MALLORD WILLIAM TURNER (1775-1851) – Turner is the best landscape painter of Western painting. Whereas he had been at his beginnings an academic painter, Turner was slowly but unstoppably evolving towards a free, atmospheric style, sometimes even outlining the abstraction, which was misunderstood and rejected by the same critics who had admired him for decades
11. JAN VAN EYCK (1390-1441) – Van Eyck is the colossal pillar on which rests the whole Flemish paintings from later centuries, the genius of accuracy, thoroughness and perspective, well above any other artist of his time, either Flemish or Italian.
12. ALBRECHT DÜRER (1471-1528) – The real Leonardo da Vinci of Northern European Rennaisance was Albrecht Dürer, a restless and innovative genious, master of drawing and color. He is one of the first artists to represent nature without artifice, either in his painted landscapes or in his drawings of plants and animals
13. JACKSON POLLOCK (1912-1956) – The major figure of American Abstract Expressionism, Pollock created his best works, his famous drips, between 1947 and 1950. After those fascinating years, comparable to Picasso’s blue period or van Gogh’s final months in Auvers, he abandoned the drip, and his latest works are often bold, unexciting works.
14. MICHELANGELO BUONARROTI (1475-1564) – Some readers will be quite surprised to see the man who is, along with Picasso, the greatest artistic genius of all time, out of the “top ten” of this list, but the fact is that even Michelangelo defined himself as “sculptor”, and even his painted masterpiece (the frescoes in the Sistine Chapel) are often defined as ‘painted sculptures’. Nevertheless, that unforgettable masterpiece is enough to guarantee him a place of honor in the history of painting
15. PAUL GAUGUIN (1848-1903) – One of the most fascinating figures in the history of painting, his works moved from Impressionism (soon abandoned) to a colorful and vigorous symbolism, as can be seen in his ‘Polynesian paintings’. Matisse and Fauvism could not be understood without the works of Paul Gauguin
16. FRANCISCO DE GOYA (1746-1828) – Goya is an enigma. In the whole History of Art few figures are as complex as the artist born in Fuendetodos, Spain. Enterprising and indefinable, a painter with no rival in all his life, Goya was the painter of the Court and the painter of the people. He was a religious painter and a mystical painter. He was the author of the beauty and eroticism of the ‘Maja desnuda’ and the creator of the explicit horror of ‘The Third of May, 1808’. He was an oil painter, a fresco painter, a sketcher and an engraver. And he never stopped his metamorphosis
17. VINCENT VAN GOGH (1853-1890) – Few names in the history of painting are now as famous as Van Gogh, despite the complete neglect he suffered in life. His works, strong and personal, are one of the greatest influences in the twentieth century painting, especially in German Expressionism
18. ÉDOUARD MANET (1832-1883) – Manet was the origin of Impressionism, a revolutionary in a time of great artistic revolutions. His (at the time) quite polemical “Olympia” or “Déjeuner sur l’Herbe” opened the way for the great figures of Impressionism
19. MARK ROTHKO (1903-1970) – The influence of Rothko in the history of painting is yet to be quantified, because the truth is that almost 40 years after his death the influence of Rothko’s large, dazzling and emotional masses of color continues to increase in many painters of the 21st century
20. HENRI MATISSE (1869-1954) – Art critics tend to regard Matisse as the greatest exponent of twentieth century painting, only surpassed by Picasso. This is an exaggeration, although the almost pure use of color in some of his works strongly influenced many of the following avant-gardes
21. RAPHAEL (1483-1520) – Equally loved and hated in different eras, no one can doubt that Raphael is one of the greatest geniuses of the Renaissance, with an excellent technique in terms of drawing and color
22. JEAN-MICHEL BASQUIAT (1960-1988) – Basquiat is undoubtedly the most important and famous member of the “graffiti movement” that appeared in the New York scene in the early’80s, an artistic movement whose enormous influence on later painting is still to be measured
23. EDVARD MUNCH (1863-1944) – Modernist in his context, Munch could be also considered the first expressionist painter in history. Works like “The Scream” are vital to understanding the twentieth century painting.
24. TITIAN (c.1476-1576) – After the premature death of Giorgione, Titian became the leading figure of Venetian painting of his time. His use of color and his taste for mythological themes defined the main features of 16th century Venetian Art. His influence on later artists -Rubens, Velázquez…- is extremely important
25. PIET MONDRIAN (1872 -1944) – Along with Kandinsky and Malevich, Mondrian is the leading figure of early abstract painting. After emigrating to New York, Mondrian filled his abstract paintings with a fascinating emotional quality, as we can se in his series of “boogie-woogies” created in the mid-40s
26. PIERO DELLA FRANCESCA (1416-1492) – Despite being one of the most important figures of the quattrocento, the Art of Piero della Francesca has been described as “cold”, “hieratic” or even “impersonal”. But with the apparition of Berenson and the great historians of his era, like Michel Hérubel -who defended the “metaphysical dimension” of the paintings by Piero-, his precise and detailed Art finally occupied the place that it deserves in the Art history
27. PETER PAUL RUBENS (1577-1640) – Rubens was one of the most prolific painters of all time, thanks in part to the collaboration of his study. Very famous in life, he traveled around Europe to meet orders from very wealthy and important clients. His female nudes are still amazing in our days
28. ANDY WARHOL (1928-1987) – Brilliant and controversial, Warhol is the leading figure of pop-art and one of the icons of contemporary art. His silkscreen series depicting icons of the mass-media (as a reinterpretation of Monet’s series of Water lilies or the Rouen Cathedral) are one of the milestones of contemporary Art, with a huge influence in the Art of our days
29. JOAN MIRÓ (1893-1983) – Like most geniuses, Miro is an unclassificable artist. His interest in the world of the unconscious, those hidden in the depths of the mind, link him with Surrealism, but with a personal style, sometimes closer to Fauvism and Expressionism. His most important works are those from the series of “Constellations”, created in the early 40s
30. TOMMASO MASACCIO (1401-1428) – Masaccio was one of the first old masters to use the laws of scientific perspective in his works . One of the greatest innovative painters of the Early Renaissance
31. MARC CHAGALL (1887-1985) – Artist of dreams and fantasies, Chagall was for all his life an immigrant fascinated by the lights and colors of the places he visited. Few names from the School of Paris of the early twentieth century have contributed so much -and with such variety of ideas- to change modern Art as this man “impressed by the light,” as he defined himself
31. GUSTAVE COURBET (1819-1877) – Leading figure of realism, and a clear precedent for the impressionists, Courbet was one of the greatest revolutionaries, both as an artist and as a social-activist, of the history of painting. Like Rembrandt and other predecessors, Courbet did not seek to create beauty, but believed that beauty is achieved when and artist represents the purest reality without artifice
33. NICOLAS POUSSIN (1594-1665) – The greatest among the great French Baroque painters, Poussin had a vital influence on French painting for many centuries. His use of color is unique among all the painters of his era
34. WILLEM DE KOONING (1904-1997) – After Pollock, the leading figure of abstract expressionism, though one of his greatest contributions was not to feel limited by the abstraction, often resorting to a heartbreaking figurative painting (his series of “Women” are the best example) with a major influence on later artists such as Francis Bacon or Lucian Freud
35. PAUL KLEE (1879-1940) – In a period of artistic revolutions and innovations, few artists were as crucial as Paul Klee. His studies of color, widely taught at the Bauhaus, are unique among all the artists of his time
36. FRANCIS BACON (1909-1992) – Maximum exponent, along with Lucian Freud, of the so-called “School of London”, Bacon’s style was totally against all canons of painting, not only in those terms related to beauty, but also against the dominance of the Abstract Expressionism of his time
37. GUSTAV KLIMT (1862-1918) – Half way between modernism and symbolism appears the figure of Gustav Klimt, who was also devoted to the industrial arts. His nearly abstract landscapes also make him a forerunner of geometric abstraction
38. EUGÈNE DELACROIX (1798-1863) – Eugène Delacroix is the French romanticism painter “par excellence” and one of the most important names in the European painting of the first half of the 19th century. His famous “Liberty leading the People”also demonstrates the capacity of Painting to become the symbol of an era.
39. PAOLO UCCELLO (1397-1475) – “Solitary, eccentric, melancholic and poor”. Giorgio Vasari described with these four words one of the most audacious geniuses of the early Florentine Renaissance, Paolo Uccello.
40. WILLIAM BLAKE (1757-1827) – Revolutionary and mystic, painter and poet, Blake is one of the most fascinating artists of any era. His watercolors, prints and temperas are filled with a wild imagination (almost crazyness), unique among the artists of his era
41. KAZIMIR MALEVICH (1878-1935) – Creator of Suprematism, Malevich will forever be one of the most controversial figures of the history of art among the general public, divided between those who consider him an essential renewal and those who consider that his works based on polygons of pure colors do not deserve to be considered Art
42. ANDREA MANTEGNA (1431-1506) – One of the greatest exponents of the Quattrocento, interested in the human figure, which he often represented under extreme perspectives (“The Dead Christ”)
43. JAN VERMEER (1632-1675) – Vermeer was the leading figure of the Delft School, and for sure one of the greatest landscape painters of all time. Works such as “View of the Delft” are considered almost “impressionist” due to the liveliness of his brushwork. He was also a skilled portraitist
44. EL GRECO (1541-1614) – One of the most original and fascinating artists of his era, with a very personal technique that was admired, three centuries later, by the impressionist painters
45. CASPAR DAVID FRIEDRICH (1774-1840) – Leading figure of German Romantic painting, Friedrich is still identified as the painter of landscapes of loneliness and distress, with human figures facing the terrible magnificence of nature.
46. WINSLOW HOMER (1836-1910) – The main figure of American painting of his era, Homer was a breath of fresh air for the American artistic scene, which was “stuck” in academic painting and the more romantic Hudson River School. Homer’s loose and lively brushstroke is almost impressionistic .
47. MARCEL DUCHAMP (1887-1968) – One of the major figures of Dadaism and a prototype of “total artist”, Duchamp is one of the most important and controversial figures of his era. His contribution to painting is just a small part of his huge contribution to the art world.
48. GIORGIONE (1478-1510) – Like so many other painters who died at young age, Giorgione (1477-1510) makes us wonder what place would his exquisite painting occupy in the history of Art if he had enjoyed a long existence, just like his direct artistic heir – Titian.
49. FRIDA KAHLO (1907-1954) – In recent years, Frida’s increasing fame seems to have obscured her importance in Latin American art. On September 17th, 1925, Kahlo was almost killed in a terrible bus accident. She did not died, but the violent crash had terrible sequels, breaking her spinal column, pelvis, and right leg.. After this accident, Kahlo’s self-portraits can be considered as quiet but terrible moans
50. HANS HOLBEIN THE YOUNGER (1497-1543) – After Dürer, Holbein is the greatest of the German painters of his time. The fascinating portrait of “The Ambassadors” is still considered one of the most enigmatic paintings of art history
51. EDGAR DEGAS (1834-1917) – Though Degas was not a “pure” impressionist painter, his works shared the ideals of that artistic movement. Degas paintings of young dancers or ballerinas are icons of late 19th century painting
52. FRA ANGELICO (1387-1455) – One of the great colorists from the early Renaissance. Initially trained as an illuminator, he is the author of masterpieces such as “The Annunciation” in the Prado Museum.
53. GEORGES SEURAT (1859-1891) – Georges Seurat is one of the most important post-impressionist painters, and he is considered the creator of the “pointillism”, a style of painting in which small distinct points of primary colors create the impression of a wide selection of secondary and intermediate colors.
54. JEAN-ANTOINE WATTEAU (1684-1721) – Watteau is today considered one of the pioneers of rococo. Unfortunately, he died at the height of his powers, as it is evidenced in the great portrait of “Gilles” painted in the year of his death
55. SALVADOR DALÍ (1904-1989) – “I am Surrealism!” shouted Dalí when he was expelled from the surrealist movement by André Breton. Although the quote sounds presumptuous (which was not unusual in Dalí), the fact is that Dalí’s paintings are now the most famous images of all the surrealist movement.
56. MAX ERNST (1891-1976) – Halfway between Surrealism and Dadaism appears Max Ernst, important in both movements. Ernst was a brave artistic explorer thanks in part to the support of his wife and patron, Peggy Guggenheim
57. TINTORETTO (1518-1594) – Tintoretto is the most flamboyant of all Venetian masters (not the best, such honour can only be reclaimed by Titian or Giorgione) and his remarkable oeuvre not only closed the Venetian splendour till the apparition of Canaletto and his contemporaries, but also makes him the last of the Cinquecento masters.
58. JASPER JOHNS (born 1930) – The last living legend of the early Pop Art, although he has never considered himself a “pop artist”. His most famous works are the series of “Flags” and “Targets“.
59. SANDRO BOTTICELLI (1445-1510) – “If Botticelli were alive now he would be working for Vogue”, said actor Peter Ustinov. As well as Raphael, Botticelli had been equally loved or hated in different eras, but his use of color is one of the most fascinating among all old masters.
60. DAVID HOCKNEY (born 1937) – David Hockney is one of the living myths of the Pop Art. Born in Great Britain, he moved to California, where he immediately felt identified with the light, the culture and the urban landscape of the ‘Golden State’
61. UMBERTO BOCCIONI (1882-1916) – The maximum figure of Italian Futurism, fascinated by the world of the machine, and the movement as a symbol of contemporary times.
62. JOACHIM PATINIR (1480-1524) – Much less technically gifted than other Flemish painters like Memling or van der Weyden, his contribution to the history of art is vital for the incorporation of landscape as a major element in the painting.
63. DUCCIO DA BUONINSEGNA (c.1255/60 – 1318/19) – While in Florence Giotto di Bondone was changing the history of painting, Duccio of Buoninsegna provided a breath of fresh air to the important Sienese School.
64. ROGER VAN DER WEYDEN (1399-1464) – After Van Eyck, the leading exponent of Flemish painting in the fifteenth century; a master of perspective and composition.
65. JOHN CONSTABLE (1776-1837) – John Constable (1776-1837) is, along with Turner, the great figure of English romanticism. But unlike his contemporary, he never left England, and he devoted all his time to represent the life and landscapes of his beloved England.
66. JACQUES-LOUIS DAVID (1748-1825) – David is the summit of neoclassicism, a grandiloquent artist whose compositions seem to reflect his own hectic and revolutionary life.
67. ARSHILLE GORKY (1905-1948) – Armenian-born American painter, Gorky was a surrealist painter and also one of the leaders of abstract expressionism. He was called “the Ingres of the unconscious”.
68. HIERONYMUS BOSCH (1450-1516) – An extremely religious man, all works by Bosch are basically moralizing, didactic. The artist sees in the society of his time the triumph of sin, the depravation, and all the things that have caused the fall of the human being from its angelical character; and he wants to warn his contemporaries about the terrible consequences of his impure acts.
69. PIETER BRUEGEL THE ELDER (1528-1569) – Many scholars and art critics claim to have found important similarities between the works by Hyeronimus Bosch and those by Brueghel, but the truth is that the differences between both of them are abysmal. Whereas Bosch’s fantasies are born of a deep deception and preoccupation for the human being, with a clearly moralizing message; works by Bruegel are full of irony, and even filled with a love for the rural life, which seems to anticipate the Dutch landscape paintings from the next century.
70. SIMONE MARTINI (1284-1344) – One of the great painters of the Trecento, he was a step further and helped to expand its progress, which culminated in the “International Style”.
71. Frederic Edwin Church (1826-1900) – Church represents the culmination of the Hudson River School: he had Cole’s love for the landscape, Asher Brown Durand’s romantic lyricism, and Albert Bierstadt’s grandiloquence, but he was braver and technically more gifted than anyone of them. Church is without any doubt one of the greatest landscape painters of all time, perhaps only surpassed by Turner and some impressionists and postimpressionists like Monet or Cézanne.
72. EDWARD HOPPER (1882-1967) – Hopper is widely known as the painter of urban loneliness. His most famous work, the fabulous “Nighthawks” (1942) has become the symbol of the solitude of the contemporary metropolis, and it is one of the icons of the 20th century Art.
73. LUCIO FONTANA (1899-1968) – Father of the “White Manifesto”, in which he stated that “Matter, colour and sound in motion are the phenomena whose simultaneous development makes up the new art”. His “Concepts Spatiales” are already icons of the art of the second half of the twentieth century.
74. FRANZ MARC (1880-1916) – After Kandinsky, the great figure of the Expressionist group “The Blue Rider” and one of the most important expressionist painters ever. He died at the height of his artistic powers, when his use of color was even anticipating the later abstraction.
75. PIERRE-AUGUSTE RENOIR (1841-1919) – One of the key figures of Impressionism, he soon left the movement to pursue a more personal, academic painting.
76. JAMES MCNEILL WHISTLER (1834-1903) – Along with Winslow Homer, the great figure of American painting of his time. Whistler was an excellent portraitist, which is shown in the fabulous portrait of his mother, considered one of the great masterpieces of American painting of all time.
77. THEODORE GÉRICAULT (1791-1824) – Key figure in romanticism, revolutionary in his life and works despite his bourgeois origins. In his masterpiece, “The raft of the Medusa”, Gericault creates a painting that we can define as “politically incorrect”, as it depicts the miseries of a large group of castaways abandoned after the shipwreck of a French naval frigate.
78. WILLIAM HOGARTH (1697-1764) – A list of the great portrait painters of all time should never miss the name of William Hogarth, whose studies and sketches could even qualify as “pre-impressionist”.
79. CAMILLE COROT (1796-1875) – One of the great figures of French realism in the 19th century and certainly one of the major influences for the impressionist painters like Monet or Renoir, thanks to his love for “plen-air” painting, emphasizing the use of light.
80. GEORGES BRAQUE (1882-1963) – Along with Picasso and Juan Gris, the main figure of Cubism, the most important of the avant-gardes of the 20th century Art.
81. HANS MEMLING (1435-1494) – Perhaps the most complete and “well-balanced” of all fifteenth century Flemish painters, although he was not as innovative as Van Eyck or van der Weyden.
82. GERHARD RICHTER (born 1932) – One of the most important artists of recent decades, Richter is known either for his fierce and colorful abstractions or his serene landscapes and scenes with candles.
83. AMEDEO MODIGLIANI (1884-1920) – One of the most original portraitists of the history of painting, considered as a “cursed” painter because of his wild life and early death.
84. GEORGES DE LA TOUR (1593-1652) – The influence of Caravaggio is evident in De la Tour, whose use of light and shadows is unique among the painters of the Baroque era.
85. GENTILESCHI, ARTEMISIA (1597-1654) – One of the most gifted artists of the early baroque era, she was the first female painter to become a member of the Accademia di Arte del Disegno in Florence.
86. JEAN FRANÇOIS MILLET (1814-1875) – One of the main figures of the Barbizon School, author of one of the most emotive paintings of the 19th century: The “Angelus“.
87. FRANCISCO DE ZURBARÁN (1598-1664) – The closest to Caravaggio of all Spanish Baroque painters, his latest works show a mastery of chiaroscuro without parallel among any other painter of his time.
88. CIMABUE (c.1240-1302) – Although in some of his works Cimabue already represented a visible evolution of the rigid Byzantine art, his greatest contribution to painting was to discover a young talented artist named Giotto (see number 2), who changed forever the Western painting.
89. JAMES ENSOR (1860-1949) – Violent painter whose strong, almost “unfinished” works make him a precursor of Expressionism
90. RENÉ MAGRITTE (1898-1967) – One of the leading figures of surrealism, his apparently simple works are the result of a complex reflection about reality and the world of dreams
91. EL LISSITZKY (1890-1941) – One of the main exponents of Russian avant-garde painting. Influenced by Malevich, he also excelled in graphic design.
92. EGON SCHIELE (1890-1918) – Another “died too young” artist, his strong and ruthless portraits influenced the works of later artists, like Lucian freud or Francis Bacon.
93. DANTE GABRIEL ROSSETTI (1828-1882) – Perhaps the key figure in the pre-Raphaelite movement, Rossetti left the poetry to focus on classic painting with a style that influenced the symbolism.
94. FRANS HALS (c.1580-1666) – One of the most important portraitists ever, his lively brushwork influenced early impressionism.
95. CLAUDE LORRAIN (1600-1682) – His works were a vital influence on many landscape painters for many centuries, both in Europe (Corot, Courbet) and in America (Hudson River School).
96. ROY LICHTENSTEIN (1923-1977) – Along with Andy Warhol, the most famous figure of the American Pop-Art. His works are often related to the style of the comics, though Lichtenstein rejected that idea.
97. GEORGIA O’KEEFE (1887-1986) – A leading figure in the 20th century American Art, O’Keefe single-handedly redefined the Western American painting.
98. GUSTAVE MOREAU (1826-1898) – One of the key figures of symbolism, introverted and mysterious in life, but very free and colorful in his works.
99. GIORGIO DE CHIRICO (1888-1978) – Considered the father of metaphysical painting and a major influence on the Surrealist movement.
100. FERNAND LÉGER (1881-1955) – At first a cubist, Leger was increasingly attracted to the world of machinery and movement, creating works such as “The Discs” (1918).
101. JEAN-AUGUSTE-DOMINIQUE INGRES (1780-1867) – Ingres was the most prominent disciple of the most famous neoclassicist painter, Jacques Louis David, so he should not be considered an innovator. He was, however, a master of classic portrait.
Milton Friedman – Greed not in Communism? Communism catches the attention of the young at heart but it has always brought repression wherever it is tried (“Schaeffer Sundays” Part 1) Francis Schaeffer is a hero of mine and I want to honor him with a series of posts on Sundays called “Schaeffer Sundays” which will […]
Francis Schaeffer __ WOODSTOCK ’69 FRIDAY Part 1 Published on May 22, 2015 Beschreibung Woodstock ’69 FRIDAY Part 1 With A Little Help Of My Friends Joe Cocker Woodstock (film) From Wikipedia, the free encyclopedia This article needs additional or better citations for verification. Please help improve this article by adding citations to […]
_ CROSBY, STILLS, NASH Woodstock 1971 Francis Schaeffer Tuesday, August 25, 2009 Woodstock August 15-18, 2009 marked the 40th anniversary of the original Woodstock festival. The first Woodstock festival was held from August 15-18, at Bethel, New York. There have been namesake Woodstock festivals since that time. Woodstock was a music festival playing psychedelic rock […]
Jimi Hendrix The Star Spangled Banner American Anthem Live at Woodstock 1969 WOODSTOCK ’69 SATURDAY Part 2 The peak of the drug culture of the hippie movement was well symbolized by the movie Woodstock. Woodstock was a rock festival held in northeastern United States in the summer of 1969. The movie about that rock festival was released […]
______ The Beatles – Real Love _______ The Beatles are featured in this episode below and Schaeffer noted, ” Sergeant Pepper’s Lonely Hearts Club Band…for a time it became the rallying cry for young people throughout the world.” How Should We then Live Episode 7 The Beatles: Real Love (Beatles song) From Wikipedia, the free encyclopedia […]
The Rolling Stones – Gimme Shelter (Official Lyric Video) Published on May 16, 2016 Lyric video for “Gimme Shelter” by The Rolling Stones. Gimme Shelter Directed by: Hector Santizo Composers: Mick Jagger, Keith Richards Producers: Julian Klein, Robin Klein, Mick Gochanour, Hector Santizo (C) 2016 ABKCO Music & Records, Inc. Download or stream the […]
Jesse Jackson, Joan Baez, Ira Sandperl and Martin Luther King Jr. Francis Schaeffer pictured in his film WHATEVER HAPPENED TO THE HUMAN RACE? Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR The Devaluing of Life in America Former Surgeon General C. Everett Koop and Christian apologist Francis A. Schaeffer issue a stern warning […]
Francis Schaeffer pictured in his film WHATEVER HAPPENED TO THE HUMAN RACE? Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR The Devaluing of Life in America Former Surgeon General C. Everett Koop and Christian apologist Francis A. Schaeffer issue a stern warning concerning the devaluing of life in America. They quote Psychiatrist Leo Alexander, […]
__ Nat Hentoff like and Milton Friedman and John Hospers was a hero to Libertarians. Over the years I had the opportunity to correspond with some prominent Libertarians such as Friedman and Hospers. Friedman was very gracious, but Hospers was not. I sent a cassette tape of Adrian Rogers on Evolution to John Hospers in May […]
__ _________ Nat Hentoff, Journalist and Social Commentator, Dies at 91 By ROBERT D. McFADDENJAN. 7, 2017 Continue reading the main storyShare This Page Share Tweet Email More Save Photo Nat Hentoff in 2009. CreditMarilynn K. Yee/The New York Times Nat Hentoff, an author, journalist, jazz critic and civil libertarian who called himself a troublemaker […]
Moving WOODY WEDNESDAY to first Wednesday of the Month!!!!
I am moving the WOODY WEDNESDAY to a monthly feature on http://www.thedailyhatch.org. My passion has been in recent years to emphasize the works of Francis Schaeffer in my apologetic efforts and most of those posts are either on Tuesdays or Thursdays. If you would like to visit some of my past blog posts on WOODY ALLEN then click on some of the links below.
I have spent alot of time talking about Woody Allen films on this blog and looking at his worldview. He has a hopeless, meaningless, nihilistic worldview that believes we are going to turn to dust and there is no afterlife. Even though he has this view he has taken the opportunity to look at the weaknesses of his own secular view. I salute him for doing that. That is why I have returned to his work over and over and presented my own Christian worldview as an alternative.
During the last 30 days here are the posts that have got the most hits on my blog on this subject on the historical characters mentioned in the movie “Midnight in Paris”:
Woody Allen believes that we live in a cold, violent and meaningless universe and it seems that his main character (Gil Pender, played by Owen Wilson) in the movie MIDNIGHT IN PARIS shares that view. Pender’s meeting with the Surrealists is by far the best scene in the movie because they are ones who can […]
In the last post I pointed out how King Solomon in Ecclesiastes painted a dismal situation for modern man in life UNDER THE SUN and that Bertrand Russell, and T.S. Eliot and other modern writers had agreed with Solomon’s view. However, T.S. Eliot had found a solution to this problem and put his faith in […]
In MIDNIGHT IN PARIS Gil Pender ponders the advice he gets from his literary heroes from the 1920’s. King Solomon in Ecclesiastes painted a dismal situation for modern man in life UNDER THE SUN and many modern artists, poets, and philosophers have agreed. In the 1920’s T.S.Eliot and his house guest Bertrand Russell were two of […]
Ernest Hemingway and Scott Fitzgerald left the prohibitionist America for wet Paris in the 1920’s and they both drank a lot. WINE, WOMEN AND SONG was their motto and I am afraid ultimately wine got the best of Fitzgerald and shortened his career. Woody Allen pictures this culture in the first few clips in the […]
In the film MIDNIGHT IN PARIS Woody Allen the best scene of the movie is when Gil Pender encounters the SURREALISTS!!! This series deals with the Book of Ecclesiastes and Woody Allen films. The first post dealt with MAGIC IN THE MOONLIGHT and it dealt with the fact that in the Book of Ecclesiastes Solomon does contend […]
In the film MIDNIGHT IN PARIS Woody Allen is really looking at one main question through the pursuits of his main character GIL PENDER. That question is WAS THERE EVER A GOLDEN AGE AND DID THE MOST TALENTED UNIVERSAL MEN OF THAT TIME FIND TRUE SATISFACTION DURING IT? This is the second post I have […]
I am starting a series of posts called ECCLESIASTES AND WOODY ALLEN’S FILMS: SOLOMON “WOULD GOT ALONG WELL WITH WOODY!” The quote from the title is actually taken from the film MAGIC IN THE MOONLIGHT where Stanley derides the belief that life has meaning, saying it’s instead “nasty, brutish, and short. Is that Hobbes? I would have […]
and you will hear what far smarter people than I have to say on this matter. I agree with them.
Harry Kroto
Nick Gathergood, David-Birkett, Harry-Kroto
I have attempted to respond to all of Dr. Kroto’s friends arguments and I have posted my responses one per week for over a year now. Here are some of my earlier posts:
As a philosopher, mathematician, educator, social critic and political activist, Bertrand Russell authored over 70 books and thousands of essays and letters addressing a myriad of topics. Awarded the Nobel Prize in Literature in 1950, Russell was a fine literary stylist, one of the foremost logicians ever, and a gadfly for improving the lives of men and women.Born in 1872 into the British aristocracy and educated at Cambridge University, Russell gave away much of his inherited wealth. But in 1931 he inherited and kept an earldom. His multifaceted career centered on work as a philosophy professor, writer, and public lecturer.(Here is a detailed chronology of Russell’s life, an overview of his analytic philosophy, and a complete bibliography of all his publications.)
Russell was an author of diverse scope. His first books were German Social Democracy, An Essay on the Foundations of Geometry, and A Critical Exposition of the Philosophy of Leibniz. His last books were War Crimes in Vietnam and The Autobiography of Bertrand Russell. Other noteworthy books include Principles of Mathematics, Principia Mathematica (with A.N. Whitehead), Anti-Suffragist Anxieties, The Problems of Philosophy, Introduction to Mathematical Philosophy, Sceptical Essays, Why I Am Not a Christian, and A History of Western Philosophy.
He was arguably the greatest philosopher of the 20th century and the greatest logician since Aristotle. Analytic philosophy, the dominant philosophy of the twentieth century, owes its existence more to Russell than to any other philosopher. And the system of logic developed by Russell and A.N. Whitehead, based on earlier work by Dedekind, Cantor, Frege, and Peano, broke logic out of its Aristotelian straitjacket. He was also one of the century’s leading public intellectuals and won the Nobel Prize for Literature in 1950 “in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought.”
Russell was involved, often passionately, in numerous social and political controversies of his time. For example, he supported suffragists, free thought in religion and morals, and world government; he opposed World War I and the Vietnam War, nationalism, and political persecution. He was jailed in 1918 for anti-war views and in 1961 for his anti-nuclear weapons stance.
He was married 4 times and had 3 children. With Dora Russell, he founded the experimental Beacon Hill School. He knew or worked with many of the most prominent figures in late 19th and 20th century philosophy, mathematics, science, literature, and politics.
Active as a political and social critic until his end, Russell died in 1970 at the age of 97.
In the first video below in the 14th clip in this series are his words and I will be responding to them in the next few weeks since Sir Bertrand Russell is probably the most quoted skeptic of our time, unless it was someone like Carl Sagan or Antony Flew.
50 Renowned Academics Speaking About God (Part 1)
Another 50 Renowned Academics Speaking About God (Part 2)
A Further 50 Renowned Academics Speaking About God (Part 3)
__
Quote from Bertrand Russell:
Q: Why are you not a Christian?
Russell: Because I see no evidence whatever for any of the Christian dogmas. I’ve examined all the stock arguments in favor of the existence of God, and none of them seem to me to be logically valid.
Q: Do you think there’s a practical reason for having a religious belief, for many people?
Russell: Well, there can’t be a practical reason for believing what isn’t true. That’s quite… at least, I rule it out as impossible. Either the thing is true, or it isn’t. If it is true, you should believe it, and if it isn’t, you shouldn’t. And if you can’t find out whether it’s true or whether it isn’t, you should suspend judgment. But you can’t… it seems to me a fundamental dishonesty and a fundamental treachery to intellectual integrity to hold a belief because you think it’s useful, and not because you think it’s true.
An excellent opportunity to practice our defense of the Christian faith is provided by one of the most noteworthy British philosophers of the twentieth century: Bertrand Russell. Russell has offered us a clear and pointed example of an intellectual challenge to the truthfulness of the Christian faith by writing an article which specifically aimed to show that Christianity should not be believed. The title of his famous essay was “Why I Am Not a Christian.”1 Bertrand Russell (1872-1970) studied mathematics and philosophy at Cambridge University and began his teaching career there. He wrote respected works as a philosopher (about Leibniz, about the philosophy of mathematics and set theory, about the metaphy-sics of mind and matter, about epistemological problems) and was influential on twentieth-century developments in the philosophy of language. He also wrote extensively in a more popular vein on literature, education and politics. Controversy surrounded him. He was dismissed by Trinity College for pacifist activities in 1916; he was jailed in 1961 in connection with a campaign for nuclear disarmament. His views on sexual morality contributed to the annulment of his appointment to teach at the City University of New York in 1940. Yet Russell was highly regarded as a scholar. In 1944 he returned to teach at Cambridge, and in 1950 he became a recipient of the Nobel Prize for Literature.
For all his stature as a philosopher, Russell cannot be said to have been sure of himself and consistent in his views regarding reality or knowledge. In his early years he adopted the Hegelian idealism taught by F. H. Bradley. Influ-enced by G. E. Moore, he changed to a Platonic theory of ideas. Challenged by Ludwig Wittgen-stein that mathematics consists merely of tauto-logies, he turned to metaphysical and linguistic atomism. He adopted the extreme realism of Alexius Meinong, only later to turn toward logical constructionism instead. Then following the lead of William James, Russell abandoned mind-matter dualism for the theory of neutral monism. Eventually Russell propounded materialism with fervor, even though his dissatisfaction with his earlier logical atomism left him without an alternative metaphysical account of the object of our empirical experiences. Struggling with philoso-phical problems not unlike those which stymied David Hume, Russell conceded in his later years that the quest for certainty is a failure.
This brief history of Russell’s philosophical evolution is rehearsed so that the reader may correctly appraise the strength and authority of the intellectual platform from which Russell would presume to criticize the Christian faith. Russell’s brilliance is not in doubt; he was a talented and intelligent man. But to what avail? In criticizing Christians for their views of ultimate reality, of how we know what we know, and of how we should live our lives, did Bertrand Russell have a defensible alternative from which to launch his attacks? Not at all. He could not give an account of reality and knowing which—on the grounds of, and according to the criteria of, his own autonomous reasoning—was cogent, reasonable and sure. He could not say with certainty what was true about reality and knowledge, but nevertheless he was firmly convinced that Christianity was false! Russell was firing an unloaded gun.
Bertrand Russell made no secret of the fact that he intellectually and personally disdained religion in general, and Christianity in particular. In the preface to the book of his critical essays on the subject of religion he wrote: “I am as firmly convinced that religions do harm as I am that they are untrue.”3 He repeatedly charges in one way or another that a free man who exercises his reasoning ability cannot submit to religious dogma. He argued that religion was a hindrance to the advance of civilization, that it cannot cure our troubles, and that we do not survive death.
We are treated to a defiant expression of metaphysical materialism—perhaps Russell’s most notorious essay for a popular reading audience—in the article (first published in 1903) entitled “A Free Man’s Worship.” He there concluded: “Brief and powerless is man’s life; on him and all his race the slow, sure doom falls pitiless and dark. Blind to good and evil, reckless of destruction, omnipotent matter rolls on its relentless way.” In the face of this nihilism and ethical subjectivism, Russell nevertheless called men to the invigoration of the free man’s worship: “to worship at the shrine that his own hands have built; undismayed by the empire of chance . . . .”3
Hopefully the brazen contradiction in Russell’s philosophy of life is already apparent to the reader. He asserts that our ideals and values are not objective and supported by the nature of reality, indeed that they are fleeting and doomed to destruction. On the other hand, quite contrary to this, Russell encourages us to assert our autonomous values in the face of a valueless universe—to act as though they really amounted to something worthwhile, were rational, and not merely the result of chance. But after all, what sense could Russell hope to make of animmaterial value (an ideal) in the face of an “omnipotent matter” which is blind to values? Russell only succeeded in shooting himself in the foot.
The essay “Why I Am Not a Christian” is the text of a lecture which Russell delivered to the National Secular Society in London on March 6, 1927. It is only fair to recognize, as Russell commented, that constraints of time prevented him from going into great detail or saying as much as he might like about the matters which he raises in the lecture. Nevertheless, he says quite enough with which to find fault.
In broad terms, Russell argued that he could not be a Christian because:
(1) the Roman Catholic church is mistaken to say that the existence of God can be proved by unaided reason;
(2) serious defects in the character and teaching of Jesus show that he was not the best and wisest of men, but actually morally inferior to Buddha and Socrates;
(3) people accept religion on emo-tional grounds, particularly on the foundation of fear, which is “not worthy of self-respecting human beings”; and
(4) the Christian religion “has been and still is the principal enemy of moral progress in the world.”
What is outstanding about this litany of com-plaints against Christianity is Russell’s arbitrari-ness and inconsistency. The second reason offered above presupposes some absolute standard of moral wisdom by which somebody could grade Jesus as either inferior or superior to others. Likewise, the third reason presupposes a fixed criterion for what is, and what is not, “worthy” of self-respecting human beings. Then again, the complaint expressed in the fourth reason would not make any sense unless it is objectively wrong to be an enemy of “moral progress”; indeed, the very notion of moral “progress” itself assumes an established benchmark for morality by which to assess progress.
Now, if Russell had been reasoning and speak-ing in terms of the Christian worldview, his attempt to assess moral wisdom, human worthiness, and moral progress—as well as to adversely judge shortcomings in these matters—would be under-standable and expected. Christians have a universal, objective and absolute standard of morality in the revealed word of God. But obviously Russell did not mean to be speaking as though he adopted Christian premises and perspectives! On what basis, then, could Russell issue his moral evaluations and judgments? In terms of what view of reality and knowledge did he assume that there was anything like an objective criterion of morality by which to find Christ, Christians, and the church lacking?
Russell was embarrassingly arbitrary in this regard. He just took it for granted, as an unargued philosophical bias, that there was a moral standard to apply, and that he could presume to be the spokesman and judge who applies it. One could easily counter Russell by simply saying that he had arbitrarily chosen the wrong standard of morality. To be fair, Russell’s opponents must be granted just as much arbitrariness in choosing a moral standard, and they may then select one different from his own. And there goes his argument down in defeat.
By assuming the prerogative to pass moral judgment, Russell evidenced that his own presuppositions fail to comport with each other. In offering a condemning value-judgment against Christianity, Russell engaged in behavior which betrayed his professed beliefs elsewhere. In his lecture Russell professed that this was a chance world which shows no evidence of design, and where “laws” are nothing more than statistical averages describing what has happened. He professed that the physical world may have always existed, and that human life and intelligence came about in the way explained by Darwin (evolu-tionary natural selection). Our values and hopes are what “our intelligence can create.” The fact remains that, according to “the ordinary laws of science, you have to suppose that human life . . . on this planet will die out in due course.”
This is simply to say that human values are subjective, fleeting, and self-created. In short, they are relative. Holding to this kind of view of moral values, Russell was utterly inconsistent in acting as though he could assume an altogether different kind of view of values, declaring an absolute moral evaluation of Christ or Christians. One aspect of Russell’s network of beliefs rendered another aspect of his set of beliefs unintelligible.
The same kind of inner tension within Russell’s beliefs is evident above in what he had to say about the “laws” of science. On the one hand such laws are merely descriptions of what has happened in the past, says Russell. On the other hand, Russell spoke of the laws of science as providing a basis for projecting what will happen in the future, namely the decay of the solar system. This kind of dialectical dance between conflicting views of scientific law (to speak epistemologically) or between conflicting views of the nature of the physical cosmos (to speak metaphysically) is characteristic of unbelieving thought. Such thinking is not in harmony with itself and is thus irrational.
In the first reason given by Russell for why he was not a Christian, he alluded to the dogma of the Roman Catholic church that “the existence of God can be proved by the unaided reason.”4 He then turns to some of the more popular arguments advanced for the existence of God which are (supposedly) based upon this “unaided reason” and easily finds them wanting. It goes without saying, of course, that Russell thought that he was defeating these arguments of unaided reason by means of his own (superior) unaided reason. Russell did not disagree with Rome that man can prove things with his “natural reason” (apart from the supernatural work of grace). Indeed at the end of his lecture he called his hearers to “a fearless outlook and a free intelligence.” Russell simply disagreed that unaided reason takes one to God. In different ways, and with different final conclusions, both the Roman church and Russell encouraged men to exercise their reasoning ability autono-mously—apart from the foundation and restraints of divine revelation.
The Christian apologist should not fail to expose this commitment to “unaided reason” for the unargued philosophical bias that it is. Throughout his lecture Russell simply takes it for granted that autonomous reason enables man to know things. He speaks freely of his “knowledge of what atoms actually do,” of what “science can teach us,” and of “certain quite definite fallacies” committed in Christian arguments, etc. But this simply will not do. As the philosopher, Russell here gave himself a free ride; he hypocritically failed to be as self-critical in his reasoning as he beseeched others to be with themselves.
The nagging problem which Russell simply did not face is that, on the basis of autonomous reasoning, man cannot give an adequate and rational account of the knowledge we gain through science and logic. Scientific procedure assumes that the natural world operates in a uniform fashion, in which case our observational knowledge of past cases provides a basis for predicting what will happen in future cases. However, autonomous reason has no basis whatsoever for believing that the natural world will operate in a uniform fashion. Russell himself (at times) asserted that this is a chance universe. He could never reconcile this view of nature being random with his view that nature is uniform (so that “science” can teach us).
So it is with a knowledge and use of the laws of logic (in terms of which Russell definitely insisted that fallacies be avoided). The laws of logic are not physical objects in the natural world; they are not observed by man’s senses. Moreover, the laws of logic are universal and unchanging—or else they reduce to relativistic preferences for thinking, rather than prescriptive requirements. However, Russell’s autonomous reasoning could not explain or justify these characteristics of logical laws. An individual’s unaided reason is limited in the scope of its use and experiences, in which case it cannot pronounce on what is universally true (descriptive-ly). On the other hand, an individual’s unaided reason is in no position to dictate (prescriptively) universal laws of thought or to assure us that these stipulations for the mind will somehow prove applicable to the world of thought or matter outside the individual’s mind.5
Russell’s worldview, even apart from its internal tensions, could not provide a foundation for the intelligibility of science or logic. His “unaided” reason could not account for the knowledge which men readily gain in God’s universe, a universe sovereignly controlled (so that it is uniform) and interpreted in light of the Creator’s revealed mind (so that there are immaterial laws of thought which are universal).
We must note, finally, that Russell’s case against being a Christian is subject to criticism for its reliance upon prejudicial conjecture and logical fallacies. That being the case, he cannot be thought to have established his conclusions or given good reason for his rejection of Christianity.
One stands in amazement, for instance, that the same Russell who could lavish ridicule upon past Christians for their ignorance and lack of scholarship, could come out and say something as uneducated and inaccurate as this: “Historically it is quite doubtful whether Christ ever existed at all, and if He did we do not know anything about Him.” Even forgetting secular references to Christ in the ancient world, Russell’s remark simply ignores the documents of the New Testament as early and authentic witnesses to the historical person of Jesus. Given the relatively early dates of these documents and the relatively large number of them, if Russell “doubted” the existence of Jesus Christ, he must have either applied a conspicuous double standard in his historical reasoning, or been an agnostic about virtually the whole of ancient history. Either way, we are given an insight into the prejudicial nature of Russell’s thinking when it came to consideration of the Christian religion.
Perhaps the most obvious logical fallacy evident in Russell’s lecture comes out in the way he readily shifts from an evaluation of Christian beliefs to a criticism of Christian believers. And he should have known better. At the very beginning of his lecture, Russell said, “I do not mean by a Christian any person who tries to live decently and according to his lights. I think that you must have a certain amount of definite belief before you have a right to call yourself a Christian.” That is, the object of Russell’s criticism should be, by his own testimony, not the lifestyle of individuals but the doctrinal claims which are essential to Christianity as a system of thought. The opening of his lecture focuses upon his dissatisfaction with those beliefs (God’s existence, immortality, Christ as the best of men).
Nevertheless, toward the end of his lecture, Russell’s discussion turns in the direction of fallaciously arguing against the personal defects of Christians (enforcing narrow rules contrary to human happiness) and the supposed psychological genesis of their beliefs (in emotion and fear). That is, he indulges in the fallacy of arguing ad homin-em. Even if what Russell had to say in these matters was fair-minded and accurate (it is not), the fact would remain that Russell has descended to the level of arguing against a truth-claim on the basis of his personal dislike and psychologizing of those who personally profess that claim. In other settings, Russell the philosopher would have been the first to criticize a student for pulling such a thing. It is nothing less than a shameful logical fallacy.
Notice briefly other defects in Russell’s line of thinking here. He presumed to know the motivation of a person in becoming a Christian—even though Russell’s epistemology gave him no warrant for thinking he could discern such things (especially easily and at a distance). Moreover, he presumed to know the motivation of a whole class of people (including those who lived long ago), based on a very, very small sampling from his own present experience. These are little more than hasty and unfounded generalizations, telling us (if anything) only about the state of Russell’s mind and feelings in his obvious, emotional antipathy to Christians.
But then this leaves us face to face with a final, devastating fallacy in Russell’s case against Christianity—the use of double standards (and implicit special pleading) in his reasoning. Russell wished to fault Christians for the emotional factor in their faith-commitment, and yet Russell himself evidenced a similarly emotional factor in his own personal anti-Christian commitment. Indeed, Russell openly appealed to emotional feelings of courage, pride, freedom and self-worth as a basis for his audience to refrain from being Christians!
Similarly, Russell tried to take Christians to task for their “wickedness” (as though there could be any such thing within Russell’s worldview)—for their cruelty, wars, inquisitions, etc. Russell did not pause for even a moment, however, to reflect on the far-surpassing cruelty and violence of non-Christians throughout history. Genghis Khan, Vlad the Impaler, Marquis de Sade and a whole cast of other butchers were not known in history for their Christian professions, after all! This is all conveniently swept under the carpet in Russell’s hypocritical disdain for the moral errors of the Christian church.
Russell’s essay “Why I Am Not a Christian” reveals to us that even the intellectually elite of this world are refuted by their own errors in opposing the truth of the Christian faith. There is no credibility to a challenge to Christianity which evidences prejudicial conjecture, logical fallacies, unargued philosophical bias, behavior which be-trays professed beliefs, and presuppositions which do not comport with each other. Why wasn’t Russell a Christian? Given his weak effort at criticism, one would have to conclude that it was not for intellectual reasons.
Notes
1 The article is found in Bertrand Russell, Why I Am Not a Christian, And Other Essays on Religion and Related Subjects, ed. Paul Edwards (New York: Simon and Schuster, Clarion, 1957), pp. 3-23.
2Ibid., p. vi.
3Ibid., pp. 115-16.
4 In his lecture Russell displays a curious and capricious shifting around for the standard which defines the content of “Christian” beliefs. Here he arbitrarily assumes that what the Roman magisterium says is the standard of Christian faith. Yet in the paragraph immediately preceding, Russell claimed that the doctrine of hell was not essential to Christian belief because the Privy Council of the English Parliament had so decreed (over the dissent of the Archbishops of Canterbury and York). Elsewhere Russell departs from this criterion of Christianity and excoriates the teaching of Jesus, based upon the Bible, that the unrepentant face everlasting damnation. Russell had no interest in being consistent or fair in dealing with Christianity as his opponent. When con-venient he defined the faith according to the Bible, but when it was more convenient for his polemical purposes he shifted to defining the faith according to the English Parliament or the Roman Catholic church.
5 Those familiar with Russell’s detailed (and noteworthy, seminal) work in philosophy would point out that, despite his brilliance, Russell’s “unaided reason” could never resolve certain semantic and logical paradoxes which arise in his account of logic, mathematics and language. His most reverent followers concede that Russell’s theories are subject to criticism.
Francis Schaeffer noted in his book HOW SHOULD WE THEN LIVE? (p. 182 in Vol 5 of Complete Works) in the chapter The Breakdown in Philosophy and Science:
In his lecture at Acapulco, George Wald finished with only one final value. It was the same one with which English philosopher Bertrand Russell (1872-1970) was left. For Wald and Russell and for many other modern thinkers, the final value is the biological continuity of the human race. If this is the only final value, one is left wondering why this then has importance.
Now having traveled from the pride of man in the High Renaissance and the Enlightenment down to the present despair, we can understand where modern people are. They have no place for a personal God. But equally they have no place for man as man, or for love, or for freedom, or for significance. This brings a crucial problem. Beginning only from man himself, people affirm that man is only a machine. But those who hold this position cannot live like machines! If they could, there would have been no tensions in their intellectual position or in their lives. But even people who believe they are machines cannot live like machines, and thus they must “leap upstairs” against their reason and try to find something which gives meaning to life, even though to do so they have to deny their reason.
Francis Schaeffer in another place worded it like this:
The universe was created by an infinite personal God and He brought it into existence by spoken word and made man in His own image. When man tries to reduce [philosophically in a materialistic point of view] himself to less than this [less than being made in the image of God] he will always fail and he will always be willing to make these impossible leaps into the area of nonreason even though they don’t give an answer simply because that isn’t what he is. He himself testifies that this infinite personal God, the God of the Old and New Testament is there.
Instead of making a leap into the area of nonreason the better choice would be to investigate the claims that the Bible is a historically accurate book and that God created the universe and reached out to humankind with the Bible. Below is a piece of that evidence given by Francis Schaeffer concerning the accuracy of the Bible.
TRUTH AND HISTORY (chapter 5 of WHATEVER HAPPENED TO THE HUMAN RACE?)
There is also a confirmation of what the Bible says concerning the Egyptian King Tirhakah who came up to oppose the Assyrians. Confirmation of his reality is typified by a sphinx-ram in the British Museum (British Museum Ref. B.B.1779). The small figure between the legs of the ram is a representation of King Tirhakah. The Bible says that when Sennacherib heard that Tirhakah, king of Eqypt, was coming to fight against him, he sent messengers to tell Hezekiah that help from Egypt would be of no use to him.
2 Kings 19:9, 109 Now the king heard concerning Tirhakah king of Cush, “Behold, he has set out to fight against you.” So he sent messengers again to Hezekiah, saying,10 “Thus shall you speak to Hezekiah king of Judah: ‘Do not let your God in whom you trust deceive you by promising that Jerusalem will not be given into the hand of the king of Assyria. (Isaiah 37:9-10 also says about the same thing.)
The date of Sennacherib’s campaign in Palestine is 701 B.C., and something which has often puzzled historians is the role of Tirhakah, who was not king of Egypt and Ethiopia until 690 B.C. But the solution to this problem is simple. In 701 B.C. Tirhakah was only a prince at the side of his military brother, the new Pharaoh Shebitku, who sent Tirhakah with an army to help Hezekiah fend off the Assyrian advance. But the story in Kings and Isaiah does not end in 701 B.C. It carries right through to the death of Sennacherib in 681 B.C., which is nine years after Tirhakah had become king of Egypt and Ethiopia. In other words, the biblical narrative, from the standpoint of 681 B.C., mentions Tirhakah by the title he bore at that time (that is, 681 B.C.), not as he was in 701 B.C. This is still done today, using a man’s title as he is known at the time of writing even it one is speaking of a previous time in his personal history.
Unaware of the the importance of these facts, and falling into wrong interpretations of some of Tirhakah’s inscriptions, some Old Testament scholars have stumbled over each in their eagerness to diagnose historical errors in the Books of the Kings and Isaiah. But as the archaeological confirmation shows, they were quite mistaken. What is striking about these archaeological finds is the way they often converge; there is often not just one line of evidence but several in which the biblical account is confirmed. We do not have confirmation of every single detail in the biblical account, by any means. Nor do we need such total confirmation in view of the amount of evidence there is. To insist on confirmation at every point would be to treat the Bible in a prejudiced way, simply because it is the Bible. The fact that is a religious book does not mean that it cannot also be true when it deals with history.
Not all archaeological finds have a convergence of many different interrelated lines like these around the life of Hezekiah, but they are no less striking. For example, take the “ration tablets” discovered in the ruins of Bablyon. The Bible tells us that after the Assyrians had destroyed the nothern kingdom of Samaria (around 721 B.C.), the southern kingdom, Judah, survived for almost another 150 years until approximately 586 B.C. By this time Assyria, one of the greatest military powers of the ancient world, had been defeated by Bablyon, a neighboring state to the east. That was in 609 B.C. Four years later the Babylonian general, Nebuchadnezzar–then the crown prince–came west and completely defeated Necho II, king of Egypt, at the battle of Carchemish. As a result of this victory he laid claim to Judah, which had previously been in the sphere of influence of Egypt. King Jehoiakim of Judah thus now paid tribute to the Babylonians. The Bible tells us that Jehoiakim rebelled three years later: “During Jehoiakim’s reign Nebuchadnezzar king of Bablyon invaded the land, and Jehoiakim became his vassal for three years. But then he changed his mind and rebelled against Nebuchnezzar” (II Kings 24:1).
The political background for this step can be understood from the Babylonian Chronicles (British Museum, Ref. 21946, records events from 597 B.C. down to 594). These were a compressed chronological summary of the principal events from the Babylonian court. There had been a crucial battle in 601 B.C. between the Egyptians and the Babylonians. This had left both sides weakened, and Jehoiakim took this opportunity to declare his independence of the Babylonian king. His independence, or rather Judah’s independence, did not last long, for Jehoiakim himself died in 598 B.C., leaving his throne and the crisis to his son, Jehoiachin. Second Kings (II Kings 24:10-12, 17) tells us what happened:
10 At that time the servants of Nebuchadnezzar king of Babylon came up to Jerusalem, and the city was besieged.11 And Nebuchadnezzar king of Babylon came to the city while his servants were besieging it,12 and Jehoiachin the king of Judah gave himself up to the king of Babylon, himself and his mother and his servants and his officials and his palace officials. The king of Babylon took him prisoner in the eighth year of his reign. 17 And the king of Babylon made Mattaniah, Jehoiachin’s uncle, king in his place, and changed his name to Zedekiah.
The story of Jehoiachin does not end there, however. The royal family were kept at the court of Nebuchadnezzar, and the Bible says that they , like other royal captives, were provided for by the king with rations of grain and oil (II Kings 25:27-30):
27 And in the thirty-seventh year of the exile of Jehoiachin king of Judah, in the twelfth month, on the twenty-seventh day of the month, Evil-merodach king of Babylon, in the year that he began to reign, graciously freed[a] Jehoiachin king of Judah from prison.28 And he spoke kindly to him and gave him a seat above the seats of the kings who were with him in Babylon.29 So Jehoiachin put off his prison garments. And every day of his life he dined regularly at the king’s table,30 and for his allowance, a regular allowance was given him by the king, according to his daily needs, as long as he lived.
The records of these allowances referred to in the Bible were unearthed in excavations in Babylon in basement storerooms of the royal palace (in Staat-Liches Museum, East Berlin, Vorderas Abteilung; Babylon 28122 and 28126). These are known as the “ration tablets” and they record who received such “rations.” In these, Jehoiachin is mentioned by name.
We also have confirmation of the Babylonian advance towards Judah in Nebuchadezzar’s first campaign. Among the ruins of Lachish were discovered a number of ostraca. Ostraca are broken pieces of earthenware called postherds, which were used for writing on in ink. (The Lachish ostraca are in the Palestinian Archaeological Museum, Jerusalem.) These brief letters reveal the increasing tensions within the growing state of Judah and tie in well with the picture given in the Bible by the Book of Jeremiah the Prophet. In Ostracon VI, the princes are accused of “weakening our hands” (that is, discouraging the writers), which is the very phraseology used in the Bible by the Judean princes against Jeremiah. Also, the use of fire beacons for signaling is found in both Ostracon IV and Jeremiah 6:1, each using the same terminology.
These events took place around the year 600 B.C. Events we considered earlier in relation to the capture of Lachish by Sennacherib during the reign of Hezekiah were around the year 700 B.C.
Today we look at the 3rd letter in the Kroto correspondence and his admiration of Bertrand Russell. (Below The Nobel chemistry laureates Harold Kroto, Robert Curl and Richard Smalley) It is with sadness that I write this post having learned of the death of Sir Harold Kroto on April 30, 2016 at the age of […]
On November 21, 2014 I received a letter from Nobel Laureate Harry Kroto and it said: …Please click on this URL http://vimeo.com/26991975 and you will hear what far smarter people than I have to say on this matter. I agree with them. Harry Kroto _________________ Below you have picture of Dr. Harry Kroto: Gareth Stedman […]
Top 10 Woody Allen Movies __________ John Piippo makes the case that Bertrand Russell would have loved Woody Allen because they both were atheists who don’t deny the ramifications of atheism!!! Monday, August 06, 2012 (More On) Woody Allen’s Atheism As I wrote in a previous post, I like Woody Allen. I have long admired his […]
______ Top 10 Woody Allen Movies PBS American Masters – Woody Allen A Documentary 01 PBS American Masters – Woody Allen A Documentary 02 __________ John Piippo makes the case that Bertrand Russell would have loved Woody Allen because they both were two atheists who don’t deny the ramifications of atheism!!! Monday, August 06, 2012 […]
THE MORAL ARGUMENT BERTRAND RUSSELL But aren’t you now saying in effect, I mean by God whatever is good or the sum total of what is good — the system of what is good, and, therefore, when a young man loves anything that is good he is loving God. Is that what you’re […]
Great debate Fr. Frederick C. Copleston vs Bertrand Russell – Part 1 Uploaded by riversonthemoon on Jul 15, 2009 BBC Radio Third Programme Recording January 28, 1948. BBC Recording number T7324W. This is an excerpt from the full broadcast from cassette tape A303/5 Open University Course, Problems of Philosophy Units 7-8. Older than 50 years, […]
Uploaded by riversonthemoon on Jul 15, 2009 BBC Radio Third Programme Recording January 28, 1948. BBC Recording number T7324W. This is an excerpt from the full broadcast from cassette tape A303/5 Open University Course, Problems of Philosophy Units 7-8. Older than 50 years, out of UK/BBC copyright. Pardon the hissy audio. It was recorded 51 […]
Fr. Frederick C. Copleston vs Bertrand Russell – Part 1 Uploaded by riversonthemoon on Jul 15, 2009 BBC Radio Third Programme Recording January 28, 1948. BBC Recording number T7324W. This is an excerpt from the full broadcast from cassette tape A303/5 Open University Course, Problems of Philosophy Units 7-8. Older than 50 years, out of […]
THE MORAL ARGUMENT BERTRAND RUSSELL But aren’t you now saying in effect, I mean by God whatever is good or the sum total of what is good — the system of what is good, and, therefore, when a young man loves anything that is good he is loving God. Is that what you’re […]
Fr. Frederick C. Copleston vs Bertrand Russell – Part 1 Uploaded by riversonthemoon on Jul 15, 2009 BBC Radio Third Programme Recording January 28, 1948. BBC Recording number T7324W. This is an excerpt from the full broadcast from cassette tape A303/5 Open University Course, Problems of Philosophy Units 7-8. Older than 50 years, out of […]