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Tesla Motors' response to this morning's revelation that Tesla Roadsters carry a devastating design problem that could lead to the cars becoming "bricked" — i.e. so drained of battery power they are unusable and require a $40,000 replacement — has been to insinuate that the problem was with the owners and not the car.
Now Tesla Motors, or a pro-Tesla individual close to the company, appears to be trying to smear Max Drucker, the owner who spoke out about the problem, by leaking confidential documents and insinuating that he's doing a "shakedown" despite the fact that Drucker doesn't appear to be asking for any money.
Drucker, as has now been leaked, was a one-time Tesla supporter and one of the owners of a bricked Tesla Roadster mentioned in the original article.
Like many people involved in the tech world in California he was taken by Elon Musk's vision of an attractive and sporty electric car from an American company.
"I'm the guy that had a $50,000 deposit with them for a long period of time during the point at which Elon had to personally verify that he would guarantee the deposits," says Drucker.
Despite being made to wait almost two years while many other owners were taking their deposits back, he was a Tesla supporter who stuck by the company during its hardest times.
For the entire time he'd owned the car and had it serviced, Drucker says he was never once told or even had it insinuated to him that his vehicle would be damaged to the point of complete undrivability if it was unplugged for a long period of time. He also says he was never instructed that doing so would cost him upwards of $40,000 to repair.
Thus, while his house was being renovated, he moved the Tesla Roadster to a garage where he was staying temporarily. It was not possible for him to charge the vehicle there so his plan was to keep it in complete storage and then move it home where it could get the recommended recharge.
Approximately two months later when he tried to move the car its was completely bricked. Immobile. There was no way for him to even get the car rolling so that it could be loaded onto a flatbed. The car was eventually transported to the Tesla service center in Santa Monica for evaluation.
"I'm not stupid, it wasn't a mistake, I didn't think I was putting my car at risk" says Drucker.
Instead of help from the company he'd trusted for so long, he was told that it was his fault and, since he'd been such a loyal supporter — he had deposits down on the Model S and Model X — he'd get the "friends and family" rate of only around $41,000 for the replacement. That was the most they were willing to offer.
Since the story went live someone — possibly Tesla Motors themselves — has been attempting to smear Mr. Drucker by insinuating that he's trying to "shakedown" the company for money. They did so by forwarding a confidential email to the environmental car site GreenCarReports from Drucker to Elon Musk about the issue.
The original version of the GCR article (since changed) asked if this was actually just "an angry owner's shakedown?" Tesla Motors, which has said all along that this is the fault of the owners this happened to and called the reports they themselves confirmed "scaremongering", then retweeted the headline insinuating the man was complicit in a shakedown for money.
Asked pointedly if he was trying to get money out of Tesla, Drucker insists he's not and never has tried to get anything but warranty coverage for the issue, although he's since even given up on that.
"I have no intention of replacing my battery, I expect nothing from them based on the emails I've received, and I feel like it's important for future Tesla owners to understand what they're getting themselves into," says Drucker.
Nowhere in the emails provided to Jalopnik, which you can read in the gallery, does Drucker appear to ask for money or special treatment beyond having the issue addressed. The basic tone appears to be one of concern for other owners, although this is open to interpretation.
As for where GreenCarReports may have gotten a copy of the confidential correspondence between himself and Tesla other than Tesla, Drucker says "Nowhere, absolutely nowhere."
If Tesla did provide the email to GreenCarReports or another Tesla owner who then provided it to GCR it would be a major breach of trust by the company, who would then be sending the message to other owners that their confidentiality only exists if they don't speak up about perceived problems.
Even if the email came from another Tesla owner and not through the company — Mr. Drucker claims to have only sent the emails to Tesla, Jalopnik, and a couple of friends — it would mean somewhere out there in the community is a person attempting to rob anyone who speaks up about the car's problems of their ability to do so confidentially.
We've reached out to Tesla to ask them if they had anything to do with the leaked document but haven't yet received a response.
The warranty card referenced in email from Tesla can be found here.
The charging instructions referenced in the email can be found here.
The response from Tesla is in the gallery above.
The charging reminder from Tesla is also above.


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Athens – Struggling to contain his fractured government under the glare of world markets, Greek Prime Minister George Papandreou said on Thursday that he remained committed to leading Greece out of the financial crisis and was confident he could pass needed reforms.
"You can rely on me and I will support the national effort to extract Greece from the crisis," Mr. Papandreou told Parliament.
A day after he failed to secure a unity government to push through austerity measures required to secure more international aid, Mr. Papandreou said he would seek a broader consensus and that he would announce a cabinet reshuffle, though he did not say when.
"Now is not the time to give up," he said. "Now is the time to continue, now is the time to say yes to important change."
Earlier in the day, Mr. Papandreou's increasingly divided Socialist Party was hit by the defections of two more lawmakers. Those were not expected to affect the Socialists' narrow majority, as the seats will remain with the party, but they underscored the severity of the situation Mr. Papandreou finds himself in.
Mr. Papandreou's announcement appeared to put to rest speculation he would call snap elections. It came hours after the defection of two Socialist members of Parliament.
The political uncertainty comes at a tense moment for Greece, which must put a new round of austerity measures into effect by the end of the month if it is to receive fresh loans from the International Monetary Fund and the European Union to help it through its financial crisis. Speculation is swirling about whether the reshuffle would replace the current finance minister, George Papaconstantinou.
The crisis, which started after Greek and European officials began to reveal the full extent of the country's indebtedness in 2009, has raised fears about the future of the euro zone and weighed on markets around the world. Olli Rehn, the European economic and monetary affairs commissioner, on Thursday called on the Greek Parliament to back the austerity measures.
Mr. Papandreou offered Wednesday to step aside so that his Socialist Party could form a coalition government with the center-right, but only if the opposition would support a new bailout plan for Greece, a move it continues to oppose. Mr. Papandreou's support has been plummeting, even within his party, and the Socialists appear to be lagging behind the center-right opposition for the first time since the current government was elected in 2009. With a five-seat majority in Parliament, Mr. Papandreou has been struggling to get his government fully behind the measures and to contain growing rifts within his party.
As right-wing attacks on our basic rights and services are growing louder than ever, it's essential to keep independent journalism strong. Support Truthout by clicking here.
Antonis Samaras, the leader of the center-right New Democracy party, has opposed spending cuts. He has called instead for tax breaks and a renegotiation of the terms of Greece's agreement with its foreign creditors.
After hours of speculation, Mr. Papandreou went on national television Wednesday night and announced the cabinet reshuffle. He also criticized the opposition for playing politics with the country's future.
Mr. Samaras defended his actions in a televised speech after Mr. Papandreou's appearance, saying it was impossible to participate with the Socialists because "they have lost the trust of both the Greek citizens and the markets."
Referring to Mr. Papandreou, he said, "If he can govern, he shouldn't have asked us for support. If he can't, he should call elections."
On Wednesday, thousands of people joined a nationwide strike as Parliament prepared to debate what would be a second round of sharp reductions in government spending. The measures are highly unpopular with Greeks, who have already suffered deep salary and pension cuts.
"We had the first set of measures; that's over, now they want a second," said Angeliki Kolandretsou, 63, a retired private nurse who joined the nationwide strike Wednesday. "But what will we see from this? Nothing at all. It will just go to the banks."
On Wednesday, the police fired tear gas and scuffled with protesters in the central Syntagma Square here. The demonstrators were largely peaceful and from across Greek society, but some in the crowd smashed the windows of a luxury hotel and tried to prevent legislators from entering Parliament. Police officials said they detained more than 20 people.
Violent and often theatrical protests have long been a mainstay in Greece, even before the financial crisis hit. But in a more telling sign of the depth of the anger, peaceful demonstrators have gathered daily in Syntagma Square for three weeks, some sleeping in tents, to protest the austerity measures.
In Greece, there is a deep divide between policy experts, who tend to believe that the country is taking the right steps to get back on track, and a large percentage of Greeks, who feel they are unfairly suffering from the government's mistakes.
"We didn't create the debt; they created the debt," said Lina Pantazi, 40, a public school French teacher, as she stood in Syntagma Square wearing a surgical mask and sunglasses to protect against tear gas that the police fired on the crowds.
The new austerity measures aim to raise about $9.1 billion this year through additional tax increases and cuts to public sector spending.
They include a "solidarity tax," ranging from 1 to 4 percent according to income, and an additional 3 percent tax on the incomes of civil servants — whose salaries have already been cut by up to 20 percent over the last year.
Owners of large properties, yachts and swimming pools would be subject to an emergency tax. The new austerity drive would also slash the Greek civil service, which employs about 800,000 people, by a quarter over the next few years, and sell off $71.45 billion in state-owned assets, including stakes in Greece's main electricity utility.
Critics accuse the government of cutting wages and pensions while failing to adequately address rampant tax evasion or take on the powerful labor unions that remain a pillar of the Socialists' power base.
But analysts said that in spite of the political turmoil, the Greek Parliament was still likely to pass the new austerity measures. "It's going to be difficult, but the dilemma is clear," said George Pagoulatos, a professor of European political economy at Athens University of Economics. "If the measure doesn't pass and we don't get the money, we go bankrupt."
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subset: commoncrawl


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Story highlights
NEW: Some confessed to getting money to protest at U.S. Embassy, Hesham Kandil says
NEW: Relations between the West and Arab Spring nations haven't fully evolved, he adds
Riot police push back protesters from the U.S. Embassy and Tahrir Square
Eight members of a peacekeeping force suffer minor injuries in Sinai, force says
Egypt's prime minister said some of the thousands involved in days of protests near the U.S. Embassy got paid to participate, state news reported Saturday, the same day riot police managed to force demonstrators from the area.
Prime Minister Hesham Kandil said "a number" of those involved in the tense, sometimes violent protests, which began Tuesday, later confessed to getting paid to participate, according to the state-run Middle East News Agency. He noted, too, that some of the demonstrators were acting on their own and weren't paid to vent their anger against the United States over an inflammatory anti-Islam film that was privately produced in that country.
Kandil did not say whether the government knew or suspected who paid the demonstrators, according to the MENA report.
Zakaria: What the Mideast protests reveal
Also Saturday, some semblance of normalcy finally returned to Cairo after riot police successfully pushed away demonstrators from the U.S. diplomatic as well as nearby Tahrir Square.
This action gave crews the opportunity, finally, to clear debris-strewn streets, local businesses to assess damages and traffic to begin crawling back to normal.
Saturday's protests in the Egyptian capital were mostly peaceful, though scores of people were nonetheless arrested and injured in clashes. One death was reported, but government officials later said it was unrelated to the demonstrations.
Muslims have been livid over a 14-minute trailer for "Innocence of Muslims," an obscure film that mocks the Prophet Mohammed as a womanizer, child molester and ruthless killer.
Two months after the film's trailer was posted online on YouTube, and days after it got attention in Egyptian media, Cairo residents first expressed their ire Tuesday, the 11th anniversary of the September 11, 2001, attacks, with protests targeting the American embassy.
Outpourings soon spread like wildfire across the Muslim world. As a result, Western diplomats found themselves and their missions under siege.
The region has been on edge after those initial volatile Cairo protests and the killings of U.S. Ambassador to Libya Chris Stevens and three other American officials at the U.S. consulate in the Libyan city of Benghazi.
Ex-SEALs, gaming maven among Benghazi dead
Ties between the United States and Egypt have cooled since the overthrow last year of Mubarak and the election of President Mohamed Morsy, the country's first democratically elected leader. Before he became president, he was a leader in the political arm of the Muslim Brotherhood, the popular Islamist movement.
When the protests began Tuesday, police and Egyptian troops formed defensive lines around the embassy to prevent demonstrators who had also gathered there from advancing, but not before the protesters had scaled the embassy fence and placed a black flag atop a ladder in the American compound.
Police arrested a handful of protesters at the time, but the failure of Egyptian authorities to take action sooner has been widely questioned, as has Morsy's delayed condemnation of the attacks on American diplomatic missions.
Morsy initially focused his criticism on the anti-Muslim film as an unacceptable slap at Islam.
"Those who are attacking the embassies do not represent any of us," he said from Brussels, Belgium, where he was visiting the headquarters of the European Union.
Discussing Egypt's relationship with the United States, the prime minister, Kandil, said Egyptian officials believe that Washington is "sincere" in wanting to foster "good relations," adding that Egypt's chief goal is to create "balanced relations," the MENA report said.
"Relations between countries of the so-called Arab Spring and the West have not yet taken complete shape," Kandil said, stressing this is particularly true of Egypt.
Egypt's complicated relationship with the U.S.
As this relationship evolves, the prime minister said his country is committed to protecting U.S. diplomats and their missions.
Until late Saturday, demonstrations near the U.S. Embassy in Cairo have been persistent and, at times, violent with scores injured and scores more arrested.
Still, the thousands of protesters represent a fraction of the Egyptian capital's total population of roughly 11 million people.
In Egypt's northern Sinai, a large number of security forces backed by tanks regained control of a base housing an international peacekeeping force that was breached Friday by Islamist militants.
Carrying automatic weapons, the militants burned trucks and a watch tower on the base, Egyptian media said.
The 1,500-troop Multinational Force & Observers mission has supervised the security of the Egyptian-Israeli peace treaty since 1979.
The force said in a statement that the demonstration outside its North Camp in el Gorah "turned violent."
"Individuals throwing Molotov cocktails and explosive devices breached the camp's perimeter. The breach was quickly contained by the professional actions of MFO personnel," the force said in a statement.
It reported eight minor injuries to force members and damage to vehicles and property. There had been a news report of an injury to an Islamist Bedouin, but the MFO said intruders left "with no known injury." The situation stabilized after Egyptian authorities "helped secure the camp's perimeter."
Militants have threatened the observers before, saying they would attack if they didn't leave.
"The MFO views these events with the gravest concern and is coordinating with Egyptian authorities regarding strengthened measures to secure MFO premises and personnel, and to ensure that the MFO mission may continue securely and effectively," it said.
Egyptian security has been fighting militants in Sinai since August. That's when 16 border guards were killed in an attack by Islamist militants.
Opinion: Should Google censor an anti-Islam video?
Ian Lee contributed from Cairo and Hamdi Alkhshali, Joe Sterling from Atlanta. CNN's Amir Ahmed contributed to this report.


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4th January 2012
A new study published in Proceedings of the National Academy of Sciences today undermines claims that people's genetic make-up can be used to predict and prevent the diseases they will get (1). This claim has been central to the idea of a genetic revolution in healthcare, in which every adult and child is assumed to have their whole genome sequenced and stored in a database or on their mobile phone.
The study supports earlier findings by GeneWatch UK that much of the heritability of common diseases, calculated using twin studies, may not exist (2). Scientists have been puzzled by the failure of large genetic studies to find genes which explain the "missing heritability" of common diseases such as heart disease and cancer and traits such as height. Typically, 85 to 95 per cent of the expected heritability has not been found. Today's new study confirms that one explanation may be that interactions between multiple genes would reduce the predicted heritability. These interactions were not properly accounted for by the eugenicist Ronald Fisher who developed the original twin studies method in 1918, and later analysis has not corrected Fisher's error.
"Claims of a genetic revolution in healthcare have long been based on false assumptions" said Dr Helen Wallace, Director of GeneWatch UK, "If heritability is much lower than expected this means that genetic differences play only a small role in explaining why some individuals get a disease which others do not. Genetic testing can help people with rare disorders but will never be useful to predict and prevent the common diseases that most people get."
Companies which sell technologies to analyse the human genome, such as Life Technologies and Illumina, have previously claimed that it will become routine to sequence the DNA of every baby at birth in order to predict their risk of future illnesses and tailor lifestyle advice and preventive medication to their personal genetic make-up. Companies selling gene tests online to consumers, such as 23andMe and DeCode Genetics, rely on convincing a large market of healthy people that they should buy such tests. The idea that everyone should have their whole genome read and stored also led to the New Labour Government's decision to spend billions on creating a database of electronic medical records in the NHS (3).
"Past policy decisions have been based on hubris, lobbying by vested interests and failure to check unsubstantiated claims" said Dr Wallace, "Sequencing the whole genome of every person is a science fantasy that will not deliver benefits to health".
Some genetic studies will remain useful to identify disease mechanisms, because even small differences in risk can provide clues about the biological pathways involved in a disease. But the medical value of genetic testing will be likely to remain restricted to situations where an individual is thought to be at high risk of an inherited disease, or displaying unexplained symptoms.
The study does not assess the usefulness of genetic screening to predict adverse drug reactions. However, many such tests also have low predictive value and are only useful prior to taking a few specific drugs.
For further information contact:
Dr Helen Wallace: 01298-24300 (office); 07903-311584 (mobile).
Notes for Editors:
(1) Zuk et al. (2012) The mystery of missing heritability: Genetic interactions create phantom heritability. PNAS Early Edition. On: http://www.pnas.org/content/early/2012/01/04/1119675109.full.pdf ; Reported in: Broad-Led Analysis Suggests Genetic Interactions Could Account for Substantial Portion of 'Missing Heritability'. January 03, 2012. On: http://www.genomeweb.com/node/1007726?hq_e=el&hq_m=1168863&hq_l=2&hq_v=b6b3a85825
(2) Wallace HM (2006) A model of gene-gene and gene-environment interactions and its implications for targeting environmental interventions by genotype. Theoretical Biology and Medical Modelling 2006, 3:35. http://www.tbiomed.com/content/3/1/35
(3) GeneWatch UK (2009) Is 'early health' good health? On: http://www.genewatch.org/uploads/f03c6d66a9b354535738483c1c3d49e4/Data_mining_brief_fin_3.doc


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Breeder : Dorieux (Fr) 1995
Culture : A rare purple color for climber and a taking scent of violets. He adorned the entire season of large double flowers (12 cm) and climbs up to 2.5 tall. When he is contained he is never invasive. Since Violette Parfumée is neither large nor very thorny, he is convenient to cover arches and arcades. His large flowers bloom very honorably in wet weather and he is resistant to disease for a rosebush of this type.
Uses : Walls, fences, arches.
Association : Here in our garden, he is associated with the soft pink colors of Petit Bonheur and the contrast of flowers and colors is very successful. You can also link to Pierre de Ronsard (Eden Rose) and Pierre Bonnard for a range of very original tone.
Diseases : He is very resistant to disease and requires little care to thrive. It may even suit gardeners who have decided to do without treatment. For our part we are dealing with preventive Homéocult.


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Behance additional privacy notices
Last updated: April 1, 2018
The Adobe Privacy Policy describes the general privacy practices of most of Adobe's websites and applications, including Behance, an online platform where creative professionals can showcase their work and discover the creative work of others ("Behance"). Behance is hosted exclusively in the United States; any information you provide to Behance will be shared within the Adobe family of companies. More privacy-related information for Behance services is provided below.
How does Behance use geographic information it collects at registration and how can I change it?
Behance requires that users provide geographic information (city, state and country) when registering. This information lets users search for artists or creative work by geographic region. It also helps Behance make your web experience more geographically relevant. If you move, you can update your geographic information by going to your "Behance Profile," as well as your "Manage Adobe ID" settings.
How can I opt out of or customize messages Behance sends to me?
You can opt out of or customize the type of messages you receive from Behance by visiting "Email Notifications" under "Settings", or by clicking on the unsubscribe link included at the bottom of Behance marketing emails. You may also set your marketing preferences for other Adobe products and services here.
How does Behance share my information if I join a Custom Creative Network?
Behance allows organizations to set up private galleries hosted by Behance called Custom Creative Networks. If you join a Custom Creative Network, Behance will share with the Custom Creative Network your name, email address, country, date you joined Behance, the number of projects you have published, your Behance URL, and if applicable, your school status, school/organization email address, degree program, and year of graduation. By joining a Custom Creative Network you will be subject to that organization's privacy policy in addition to the policies outlined on, or linked from, this page.
How can I review, update, or delete my personal information on Behance?
You may review and update your personal information by visiting the "Manage Adobe ID" tab. If you wish to delete your Behance account, you can go to the "Delete Account" tab under "Settings" and click "Delete" (please note, this process is irreversible and we can't restore your account afterwards). You can also delete your account by submitting a request to http://behancenetwork.zendesk.com/tickets/new. Additionally, you can edit or update other information in your Behance profile by visiting the "My Profile" tab. You can also edit your personal Behance URL on the "Behance Profile" tab, but you are only permitted to do so once.


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NYT's Front Page Features Paternalistic Liberal Take on Minority Groups Against NYC Soda Ban
New York Times campaign finance reporter Nicholas Confessore's 2,000-word front-page story Wednesday took a liberal angle on a judge striking down New York City's controversial new regulation that would have banned soda portions over 16 ounces. Besides the paternalism of lines like "a victory for the industry's steadfast, if surprising, allies: advocacy groups representing the very communities hit hardest by the obesity epidemic," Confessore hinted at a quid pro quo involving donations from the beverage industry going to black and Hispanic non-profits, which in turn parroted the industry talking points against the regulation.
The decision by a New York State judge striking down the Bloomberg administration's ban on large, sugary drinks this week was not just a high-profile victory for the soda companies in their pitched battle against anti-obesity policies that are aimed at their products. It was also a victory for the industry's steadfast, if surprising, allies: advocacy groups representing the very communities hit hardest by the obesity epidemic.
Dozens of Hispanic and African-American civil rights groups, health advocacy organizations and business associations have joined the beverage industry in opposing soda regulation around the country in recent years, arguing that such measures -- perhaps the greatest regulatory threat the soft-drink industry has ever faced -- are discriminatory, paternalistic or ineffective.
Many of these groups have something else in common: They are among the recipients of tens of millions of dollars from the beverage industry that has flowed to nonprofit and educational organizations serving blacks and Hispanics over the last decade, according to a review by The New York Times of charity records and other documents.
Soda companies have sponsored conferences for the National Hispana Leadership Institute, scholarships for local chapters of the National Association for the Advancement of Colored People, financial literacy classes offered by the National Puerto Rican Coalition and programs from the National Hispanic Medical Association.
These connections came to the fore recently when the New York chapter of the N.A.A.C.P., along with the Hispanic Federation, a coalition of Hispanic community service agencies in the New York area, filed an amicus brief in support of the beverage industry's effort to block Mayor Michael R. Bloomberg's proposal for a citywide ban on large, sugary beverages. The judge ruled on Monday that the limits would be "arbitrary and capricious" because they would apply unequally to some establishments and to different kinds of sugary beverages.
The black and Hispanic groups were not the only liberal groups against Bloomberg: Petitioners to the suit include the Soda and Brewery Workers Union and the local Teamsters.
The two groups that opposed the New York ban -- both of which have received grants or sponsorship dollars from Coca-Cola or PepsiCo -- argued that the regulations unfairly discriminated against bodegas and other small neighborhood stores while leaving supermarkets and other retailers exempt.
In many cases, the financial relationships between soda companies and nonprofit groups go back decades, stemming from the industry's early embrace of the civil rights movement. But as battles over soda taxes have broken out around the country in recent years, advocates for tighter regulation argue, the money has effectively muzzled organizations that might otherwise be on the side of regulation.
For nonprofit groups, especially those serving low-income communities, corporate grants and sponsorships can be a financial lifeline, underwriting programs, conferences and research. And as community groups serving blacks and Latinos try to tackle rising rates of obesity, many of them have chosen to team up with soda manufacturers and other food companies. Their preferred solutions often reflect those favored by the beverage industry: calorie labeling, nutritional education and expanded exercise programs.
This isn't the only case of the Times showing a paternalism toward minorities. A weird story by reporter Andrew Martin from July 2007 actually bashed McDonald's for advertising a new giant soft drink in several languages: "Making matters worse, Hugo ads are available in several languages, making sure that minorities -- who are disproportionately affected by the obesity epidemic -- are aware of the budget beverage."


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Ford Mustang News: Hot Off The Press - January 2014
Related Video
NMRA Adds Coyote Modified Class
Coyote Modified will be NMRA's newest heads-up drag racing category in 2014, and it picks up where the previously launched Coyote Stock leaves off.
"Last year we launched the first-ever sealed crate engine program in drag racing history with the popular Strange Engineering Coyote Stock," explained NMRA Tech Director Dave Werremeyer. Coyote Stock has seen its naturally aspirated, crate-powered Mustangs run deep into the 10s.
Coyote Modified is a heads-up eliminator with few barriers to entry—the power adders will likely dictate the mechanical limits instead of a long list of specs. The idea behind this is that this relatively loose formula will generate a wide range of competitors that can enter, which can include everything from street cars to purpose-built racecars. The official Preliminary Rules are listed below and interested parties are invited to contact the NMRA at firstname.lastname@example.com with any questions. While Coyote Stock has been primarily dominated by late-model Mustangs, the rules for both classes allow for any year and any model of Ford vehicle. If you're planning on competing in one of these classes with a vintage Ford, we want to ear from you. Contact us at firstname.lastname@example.com.
Tuning Your Holley
Many enthusiasts' first modification on acquiring a car destined for performance was to swap out the factory induction system for a new Holley four-barrel carb and intake manifold.
While many of today's modern cars have moved past carburetors and into high-tech fuel-injection systems, most cars from the highly collectible eras are still running carburetors. Carbs are comparatively inexpensive, highly tunable, and do not require laptops, expensive tuning equipment, or computers to function. And by far the most popular carb still in use is the Holley carb.
In David Vizard's Holley Carburetors: How to Super Tune and Modify, the best-selling author explains the science, the function, and most importantly, the tuning expertise required to get your Holley carburetor to perform its best for your performance application, whether it's street, 'strip, supercharging, or race applications. Holley has been a best-selling subject for years, and this much-needed update guides you through the traditional 4150 Double Pumper, Dominator, and 4160 vacuum secondary models, as well as all the recent releases from Holley, including the Ultra Street Avenger and Ultra HP Series Carbs.
With its high degree of tuning ease, and with all the new models coming into the market, the knowledge of an expert like Vizard is a requirement to meet your performance goals, now more than ever. This book is an essential addition to any hot rodder's library.
David Vizard is a revered engine builder, technical writer, and author. In fact, he has authored more than 30 highly respected engine building and automotive books, penned about 4,000 magazine articles, and contributed scores of web pieces to popular sites. Often referred to as Vizard the Wizard, his work is often the subject of blogs and editorial pieces in popular automotive magazines. Currently, he owns and runs MotorTec magazine in Charlotte, North Carolina.
The 8.5x11 softbound book (ISBN: 978-1-934709-65-8) features 144 pages packed with more than 400 color images. This October 2013 release may be ordered for $24.95 plus $6.95 shipping and handling by calling CarTech at (800) 551- 4754 or by visiting www.cartechbooks.com.


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Need some yeasty inspiration? Try these from the past week's food blog offerings:
- Whole Wheat Challah at Jugalbandi
- Strawberry-Rhubarb Calzones at Food Blogga
- Müesli Bread (and Minneolo Marmalade) at vegan visitor
- Jim Lahey's Potato Pizza at smitten kitchen
- Pane Casalingo at Rosa's Yummy Yums
- Deep-Dish Sausage and Tomato Pizza at Vicarious Foodie
- Leek and Onion Tart at Sunday Nite Dinner
- Easy Brioche at pete bakes
- Bretzel Rolls (Bavarian Pretzel Sandwich Rolls) at The Teacher Learns to Cook
- Sticky Buns at tastytype
If that's not enough, check out the BreadBakingDay #10 Roundup at Baking a Sweet Life for 54 breakfast breads!
And if you're tired of eating your bread straight-up:
- Savory Mushroom Bread Pudding at off the (meat)hook
- North African Pitta Bread Salad at cooking up a storm
- Bread and Butter Pudding at e's joie
For more bread inspiration, and information on how to be spotted, visit the YeastSpotting archive.


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About Us
Health experts (and parents) recommend the Cardiology and Heart Surgery Program at Doernbecher as one of the nation's best.
Our experts offer a full spectrum of heart care services, from developing heart-healthy action plans for children at risk for disease to performing complex surgical procedures. In addition, our specialists are available for emergency care 24 hours a day.
The Pediatric Cardiology team consists of board-certified doctors, nurse practitioners, physician assistants, perfusionists, nurses, medical assistants, technicians, dieticians, and other support personnel, all highly experienced in caring for children with both congenital and acquired heart disease and focused on providing the highest quality, family-centered, care possible.
In a typical year:
- We are the leading provider of care for infants born with heart problems in Oregon and SW Washington.
- We see more than 5,000 patients in over 13 different locations throughout the Pacific Northwest.
- We perform over 10,000 diagnostic tests including, electrocardiograms, echocardiograms, cardiac MRI, and electrophysiology studies.
- We perform over 500 interventional cardiac procedures, including both surgical and cardiac catheterizations.
We provide services throughout Oregon. At these sites across the state, we consult with local doctors on new patients as well as provide ongoing care for children with congenital heart disease. Almost 30 percent of the heart patients we see receive care from our experts in their own community.
Complete heart care, 24-hours a day
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Performance Personnel Services, a Panama City employment agency, provides temporary staffing, direct hire and temp to direct services for all industries, professional, and technical markets. Our vast network of workers is far greater than that of most employers. We also have high levels of expertise in job knowledge, trends and recruitment practices.
Performance Personnel Services can help you find the best candidates, no matter if you are looking to hire seasonal workers or veterans.
Panama ( (listen) PAN-ə-mah, pan-ə-MAH; Spanish: Panamá IPA: [panaˈma] (listen)), officially the Republic of Panama (Spanish: República de Panamá), is a transcontinental country spanning the southern part of North America and the northern part of South America. It is bordered by Costa Rica to the west, Colombia to the southeast, the Caribbean Sea to the north, and the Pacific Ocean to the south. Its capital and largest city is Panama City, whose metropolitan area is home to nearly half the country's 4 million people.Panama was inhabited by indigenous tribes before Spanish colonists arrived in the 16th century. It broke away from Spain in 1821 and joined the Republic of Gran Colombia, a union of Nueva Granada, Ecuador, and Venezuela. After Gran Colombia dissolved in 1831, Panama and Nueva Granada eventually became the Republic of Colombia.
Avondale Estates, Beach Commerce Park, Bid-a-wee Beach, Biltmore Beach, Bonefish Pointe, Bylsma Manor Estates, Carillon Beach, Cedar Grove, College Station, Colony Club, Cove, Cove Terrace, Daffins Subdivision, Delwood Point At The Preserve, Dragons Ridge


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I know I've been a real bad blogger lately...shame on me! No wait.....SHAME ON MOM! But I feel I still really want to do the COTCs I've committed to it keeps me connected! I try to get Mom to blog every night but she falls asleep on me! Anywho....here we go!
The Carnival of the Cats is a weekly roundup of cat-related posts on weblogs, in America, and around the world, who choose to submit a post for inclusion.
For us Cat Bloggers the Carnival is a chance to discover blogs we might never have heard of, on subjects of all kinds, and you can learn more about the carnival, and how to participate, here.
Oh Cat-synth you make not only my but my brother Pepper and my Moms heart sing with your support of LiveStrong Day! Why don't we all go and support CatSynth for supporting LiveStrong Day!
Over at Gattinas we got some investigative work going on, by TWO cats...one is looking for something and the other for a handout! Find the whole story here!
Little Pinchita hasn't been talked about for a while but now her Mom has a new blog up and running! turns out Pinchita got some devastating news but good things cats can live well through almost anything! We know Pinchita is just living the high life at home! Check it out for yourself!
Cheese? Ohhh yum yum!! *nom nom nom* Oh no someones coming *hides the cheese* What would you do if I hid the cheese from you? Maybe you would be something like this cat here!
Sometimes letting one of us go is the hardest thing for a human being to bear. How do you make the decision and how do you go about it with those close to you. Well this vet is wise and caring, her story for me goes beyond the words.
Charlie, I think really wants to stay at his home, he's so cute so tiny and just plain lovable! Let's convince his parents to keep him!
We all always knew Nikita was the cat with the silver tongue, but his Daddy betrayed him! Find out how!
Nikita has sent his Daddy on a mission! What kinda mission you may ask? Well one of great importance to the CB! To sniff out the origins of KC.
Elvira Mistress of Pussydom sends out her thanks in the best ways she knows how! Check it out!
Matilda, the cat has some magical powers! What kind you may ask? Well check it out I think she should work at NASA.
Livestrong together with Samantha and Clementine! What wonderful kitties supporting such wonderful causes!


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Play 6 nimmt! (Take 5!) online
We're celebrating an anniversary
Game description
|6 nimmt!
|Wolfgang Kramer
|Number of players
|30 Minutes
|Family game
|Ca. 5 Euro
|"Spiel des Jahres" shortlist 1994, 1st "Deutscher Spielepreis" 1994.
There are 104 cards numbered from 1 to 104. Every card has at least 1 small ox-head on it, which will score against you. The deck is shuffled and players are dealt 10 cards each. 4 more are dealt up on the table to form the start of 4 rows. When each player has chosen a card from their hand, these are revealed and put on the ends of the rows according to simple rules. As the rows get longer, a row with 5 cards in it is full. If your card is to be the 6th, you pick up the 5 cards in the row, and your 6th card goes to the front to restart the row. The cards you pick up do not go into your hand, but sit in front of you to score against you at the end of the round. Play rounds until someone hits -66 and the least lowest score wins. The game plays from 2 to 10 players and the dynamics change the more you have. Whilst luck of the draw has effect, there are some tactics you can apply and timing your choice makes a difference.
6 nimmt! It is a sophisticated card game that will not let go!
How to play 6 nimmt!:
- Four rows to play your cards to.
- Each row can have up to five cards.
- All players place one of their ten cards at the same. Afterwards, these cards will be revealed.
- Each row has the lowest card to the left and the cards are in ascending order.
- If your card would become the 6th card in a row then you MUST take all the cards in the row and be penalized accordingly.
- The game finishes when someone gets 66 points against them. The winner is the person with the least penalty points.


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Winter is one of four seasons. It follows autumn and precedes spring. In the northern hemisphere, winter is between December and March. It's the darkest and coldest time of the year in Europe, as the nights are long and the days short. The shortest day of the year is December 21.
We associate snow, frost, and ice with winter. It's when icicles form and hang from buildings and snowflakes really are snowflakes and not just people. It's the time of the year when you put that winter coat on and wrap up well to keep warm. Inside your house you light that log fire and look out at the snow piled up outside.


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I just purchased a Dell Optiplex 755 PC to use as a server in my home environment. This was necessitated by a few things, including the need to test Microsoft Hyper-V Server 2008 (see my recent screenshot gallery), Virtual Machine Manager 2008, Small Business Server 2008, and Essential Business Server 2008. These are complex products and they require a lot more on the hardware end than your typical software review.
The Optiplex has a 2.4 GHz quad-core processor (Intel Q6600) and 8 GB of RAM, and everything cost just over $1000 with taxes and shipping. It's amazing how inexpensive PCs are these days. Right now it's only got a single 250 GB hard drive, but I'm clearly going to need to increase capacity in the coming weeks. I'll cross that bridge when I come to it. Storage, of course, is very cheap as well.
I've only had the system for a day, but it's proven to be nearly silent and amazingly fast. With the addition of a decent video card, it'd make a killer Vista x64 system. In fact, maybe I'll head in that direction some day.
To save money, I purchased the system with Vista Home Basic and 512 MB of RAM, and purchased the 8 GB upgrade from Crucial. (The system was about $835 and the RAM was $175.) So what does Vista Home Basic look like with 8 GB of RAM (note that only 3.x GB is available since it was a 32-bit version)? It looks like this:
So that's cute and everything, but the reason I got this box was to test Microsoft's virtualization and server products. I loaded up Microsoft Hyper-V Server 2008 first and have to say, it's a bit of a mess. It does nothing out of the box, and you have to manage it remotely. That's fine, except that Microsoft's downloadable Hyper-V Management tools for Vista don't work out of the box either. You get a "can't connect" message, and nothing in the documentation explains what you have to do to make it work. Searching the Web, I discovered that you have to enable a feature in what I consider to be a legacy control panel for DCOM, and, sorry, but that's both silly and something the installation program for the tool should do for you. This stuff is head-scratchingly stupid.
Anyway, once you get things configured correctly, you can of course start installing virtual machines on Hyper-V Server, and remotely. And it works as advertised. But after doing that for a while, I decided to go with the full Windows Server 2008 system instead, adding Hyper-V to that. It's just easier to sit down in front of the thing and get work done. The headless Hyper-V Server has some serious issues from a usability standpoint. Maybe that was on purpose, come to think of it. Sometimes you do get what you pay for.
Anyhoo… I'm loading up the server with virtual machines. I've got SBS 2008 up and running already, and will add Essential Business Server (Centro) this weekend. I've added a number of Vista clients as well, for testing. Here's a shot from last night:
It seems really solid so far. More on this setup over time...


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Skip to main content
The LMDC has contributed $27 million in grants to 62 cultural institutions in order to enhance and restore the vital
cultural life of every Lower Manhattan neighborhood.
Opportunities for Businesses
LMDC works in cooperation with its partners in the public and private sectors to coordinate long-term planning for the World Trade Center site and surrounding areas. Each government agency performs different tasks in the rebuilding process. LMDC also implements short-term initiatives to improve the quality of life in Lower Manhattan during the course of rebuilding. In executing its responsibilities, LMDC often requires outside resources to assist rebuilding efforts.


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- Description
DetailsThis Three Stone ring is crafted with 3 round diamonds to dazzle those around you. The ring is fashioned out of 14K White Gold. Total diamond weight is 1 ctw. Diamond clarity is I1.
311 Main Street #109, Trussville, Al 35173
(205) 661-3422
OPEN: Tues - Sat 9:30-5:30


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Findings May Lead to Effective New Treatments
BOSTON -- July 23, 2012 -- Scientists at Joslin Diabetes Center have identified biological mechanisms by which glucagon-like peptide-1 (GLP-1), a gut hormone, protects against kidney disease, and also mechanisms that inhibit its actions in diabetes. The findings, which are reported today online by Diabetes, may lead to the development of new therapeutic agents that harness the actions of GLP-1 to prevent the harmful effects of hyperglycemia on renal endothelial cells.
Renal complications, also known as diabetic nephropathy, are one of the most life-threatening complications of diabetes that often lead over time to end-stage renal disease (ESRD). About a half million people in the US – 44 percent of whom are diabetics -- have ESRD, which requires dialysis or kidney transplantation. As a result, investigating the relationship of diabetes to renal dysfunction is a major focus of diabetes research. "We are very eager to develop new treatments for diabetic kidney disease," says George King, M.D., lead author of the study, and chief scientific officer, head of the Dianne Nunnally Hoppes Laboratory for Diabetes Complications and a professor of medicine at Harvard Medical School.
GLP-1 is an incretin hormone that is produced by the intestine in response to food. GLP-1 increases the secretion of insulin from the pancreas, slows absorption of glucose from the gut, and reduces the action of glucagon – all of which lower glucose levels in the blood. In addition, GLP-1 reduces appetite. The drug, exendin-4 (marketed as Exenatide), which mimics the effects of GLP-1, is used to lower blood glucose in type 2 diabetes.
Recent studies have reported that GLP-1 improves the function of renal endothelial cells (which regulate blood clotting, immune response and blood vessel activity, among other critical functions, and are impaired by insulin resistance) and can prevent some renal pathologies in diabetic rodents. GLP-1 receptors (GLP-1R), which are abundant in the intestine, are also found in the endothelium and kidney.
The Joslin study investigated the effects of GLP-1 in non-diabetic and diabetic mice with an "overexpression" of the enzyme PKCβ (protein kinase C-beta) which is produced in excess when blood glucose is high. Excess PKCβ can lead to diabetes complications, including kidney disease. PKCβ enhances the action of angiotensin II (Ang II), a peptide hormone that affects renal filtration and blood flow and also regulates blood pressure, which increases inflammation and accelerates the progression of kidney damage.
The study looked at the interactions of GLP-1, PKC-beta and ANG II that affect GLP-1's protective action in renal endothelial cells. "We've been interested in diabetic kidney disease for a long time, particularly the role of PKCβ and Ang II in promoting kidney damage," says Dr. King. "We were interested in investigating how GLP-1 could protect against the effects of hyperglycemia on renal function."
Josin researchers made two major findings: They identified the mechanisms by which GLP-1 can induce protective actions on the glomerular (renal) endothelial cells by inhibiting the signaling pathway of Ang II and its pro-inflammatory effect; and demonstrated a dual signaling mechanism by which hyperglycemia, via PKCβ activation, can increase Ang II action and inhibit GLP-1's protective effects by reducing the expression of GLP-1 receptors in the glomerular endothelial cells. "We know that people with diabetes are more sensitive to Ang II; our data suggests one reason why," says Dr. King.
The results suggest that effective therapeutic agents could be developed to enhance the effects of GLP-1R on the endothelium which may prevent glomerular endothelial dysfunction and slow the progression of diabetic nephropathy. "We now know that increased PKCβ decreases GLP-1R which makes the kidney less responsive to treatment with GLP-1-based drugs. Possible new treatments could combine PKCβ inhibitors with higher doses of GLP-1 agonists. GLP-1 is one potential pharmaceutical that could both lower glucose and minimize the toxic effects of Ang II to lower the risk of kidney diseases," says Dr. King.
The study was funded by the National Eye Institute (NEI), a component of the National Institutes of Health.


text: Mother son soccer practice Soccer practice and running with kids while on childcare duty, from home. The new normal in Orange County, CA. Stuck at home COVID 19 coronavirus portrait project. All subjects photographed from at least 6 feet away. © Tracy Boulian and David Ahntholz, Tracy + David Stills and Motion, www.tracydavid.com


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Toothbrush? Check. Towel? Check. Computer, smartphone, tablet? Check. If you are one of those travelers who can't hit the road without having all the tech gadgets in their suitcase, then you should also be aware of the risks that lurk in the "shadows" of public internet connections, online banking and shopping on the road.
But don't worry, there are ways to protect yourself from sticky hands of cybercriminals. ESET experts have put together a short guide to help you travel safely and keep all your data and devices protected:
- Make sure that your laptop and mobile devices run a fully updated operating system, software and a reputable security solution before you go on the road.
- Backup your data before you leave your home and store the backup in a safe place. Think about moving sensitive data from your laptop hard drive to an encrypted external storage while you are on vacation.
- Never leave your devices unattended in public places. With the use of an anti-theft solution you can track your missing laptop or smartphone, in the case it gets stolen, and wipe its contents remotely, if necessary.
- Make sure that you have password protection and inactivity timeout engaged on all devices including laptops, tablets, and smartphones. Consider shortening the time span to minimum. Frequent logging in might be annoying, but it's better than having your sensitive information stolen by the intruders.
- If possible, only use reputable internet services. Ask at your hotel or the place where you are accommodated for the name of their Wi-Fi. Then use the exact same name. Beware of the scams which are trying to look similar by attaching "free wifi", or something alike, to the original name.
- If the hotel internet asks you to update software in order to connect, immediately disconnect and tell it to the person at the front desk or the owner of the place.
- Do not use Wi-Fi connections that are not encrypted with WPA2. Anything with lower standards is simply not safe enough and can be hacked relatively easy. Disconnect from the Wi-Fi if you're not using the connection.
- If you have to use public Wi-Fi to connect to your company network, always use a virtual private network.
- If it's not necessary, avoid online banking and shopping when you're using public Wi-Fi. Otherwise, it is safer to use your data plan and create your own hotspot.
- If you are not using antivirus solution and suspect your laptop has been infected, you can use free ESET Online Scanner which doesn't require installation and can be used to detect and remove malware on-the-go.


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Currently showing content for Portugal
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Edvard Munch
Paintings , Drawings
The Scream
Weeping Nude
Train Smoke
Shore with Red House
Ploughed Field
Seated Female Nudes
The Sun
The Haymaker
Death and Life
Galloping Horse
Horse and Cart on a Country Road
Horse and Wagon in front of Farm Buildings
Landscape with Trees and Water
Landscape with Woman Walking by a Lake
Still Life with Pipe and Bibles
Goblin with Christmas Porridge
Landscape with a Small House and Two Figures,
Landscape with Lake and Forest
Landscape with Woman and Child.
The Living Room of the Misses Munch in Pilestredet 61
People on the Road in Wet Snow
Still Life with Jar, Apple, Walnut and Coconut
View from Vossveien 7 towards Bergfjerdingen
Winter Landscape with House and Red Sky
Birch Trees with Woman Walking
Birch Trees and Man Carrying Twigs
Landscape with a Small Waterfall
Olaf Rye's Square towards South East
Olaf Rye's Square towards South East
Potted Plant on the Windowsill
Afternoon at Olaf Rye's Square
Aunt Karen in the Rocking Chair, aka, Karen Bjølstad in the Rocking Chair
Old Fisherman and His Daughter
Summer Night, Asgardstrand, aka, House in the Summer Night,
Two Children on Their Way to the Fairytale Forest
Fisherman against Yellow Background,
Gardener in Dr. Linde's Garden,
Girl with Red Checkered Dress and Red Hat
Self Portrait on the Operating Table,
Street in Asgardstrand, aka, Children Playing in the Street in Åsgårdstrand
Symbolic Motif, aka, Landowner in the Park
Two Nudes Standing by a Chest of Drawers
Woman in Red Dress, aka, Aasgaardstrand,
The Women on the Bridge, aka, Three Girls on the Jetty
Bathing Scene from Åsgårdstrand
Dance on the Beach, The Linde Frieze
Embrace on the Beach, The Linda Frieze,
The Frenchman, Monsieur Archimard,
Girls Picking Fruit, The Linde Frieze
Girls Watering Flowers, The Linda Frieze
Kissing Couples in the Park, The Linde Frieze,
Male Portrait, aka, Herr von R
Self Portrait Against Two-Colored Background
Summer in the Park, The Linde Frieze
Summer Night in Studenterlunden
Trees and Garden Wall in Åsgårdstrand
Trees on the Shore, The Linde Frieze,
Young People on the Beach, The Linde Frieze
Young Woman under the Apple Tree
Beach Landscape, aka, By the Shore
Caricature Portrait of Henrik Lund
Caricature Portrait of Tulla Larsen
Cherry Tree in Blossom and Young Girls in the Garden
Erdmute and Hans Herbert Esche
Garden in Taarbæk, aka, The Lonely Ones,
Kiøsterudgärden in Åsgårdstrand
Fine Art Prints | Greeting Cards | iPhone Cases | Tote Bags | Clothing | Lifestyle | Beach ...
Edvard Munch (/mʊŋk/;[1] Norwegian: [ˈɛdvɑʈ muŋk] ( listen); 12 December 1863 – 23 January 1944) was a Norwegian painter and printmaker whose intensely evocative treatment of psychological themes built upon some of the main tenets of late 19th-century Symbolism and greatly influenced German Expressionism in the early 20th century. One of his most well-known works is The Scream of 1893.
Edvard Munch was born in a farmhouse in the village of Ådalsbruk in Løten, Norway, to Laura Catherine Bjølstad and Christian Munch, the son of a priest. Christian was a doctor and medical officer who married Laura, a woman half his age, in 1861. Edvard had an elder sister, Johanne Sophie, and three younger siblings: Peter Andreas, Laura Catherine, and Inger Marie. Both Sophie and Edvard appear to have inherited their artistic talent from their mother. Edvard Munch was related to painter Jacob Munch and historian Peter Andreas Munch.[2]
The family moved to Christiania (now Oslo) in 1864 when Christian Munch was appointed medical officer at Akershus Fortress. Edvard's mother died of tuberculosis in 1868, as did Munch's favorite sister Johanne Sophie in 1877.[3] After their mother's death, the Munch siblings were raised by their father and by their aunt Karen. Often ill for much of the winters and kept out of school, Edvard would draw to keep himself occupied, and received tutoring from his school mates and his aunt. Christian Munch also instructed his son in history and literature, and entertained the children with vivid ghost-stories and tales of Edgar Allan Poe.[4]
As Edvard remembered it, Christian's positive behavior toward his children was overshadowed by his morbid pietism. Munch wrote, "My father was temperamentally nervous and obsessively religious—to the point of psychoneurosis. From him I inherited the seeds of madness. The angels of fear, sorrow, and death stood by my side since the day I was born."[5] Christian reprimanded his children by telling them that their mother was looking down from heaven and grieving over their misbehavior. The oppressive religious milieu, plus Edvard's poor health and the vivid ghost stories, helped inspire macabre visions and nightmares in Edvard, who felt death constantly advancing on him.[6] One of Munch's younger sisters was diagnosed with mental illness at an early age. Of the five siblings, only Andreas married, but he died a few months after the wedding. Munch would later write, "I inherited two of mankind's most frightful enemies—the heritage of consumption and insanity."[7]
Christian Munch's military pay was very low, and his attempts at developing a private side practice failed, keeping his family in genteel but perennial poverty.[3] They moved frequently from one cheap flat to another. Munch's early drawings and watercolors depicted these interiors, and the individual objects, such as medicine bottles and drawing implements, plus some landscapes. By his teens, art dominated Munch's interests.[8] At thirteen, Munch had his first exposure to other artists at the newly formed Art Association, where he admired the work of the Norwegian landscape school. He returned to copy the paintings, and soon he began to paint in oils.[9]
Studies and influences
Self Portrait with Skeleton Arm, 1895
In 1879, Munch enrolled in a technical college to study engineering, where he excelled in physics, chemistry and math. He learned scaled and perspective drawing, but frequent illnesses interrupted his studies.[10] The following year, much to his father's disappointment, Munch left the college determined to become a painter. His father viewed art as an "unholy trade", and his neighbors reacted bitterly and sent him anonymous letters.[11] In contrast to his father's rabid pietism, Munch adopted an undogmatic stance toward art, writing in his diary his simple goal: "in my art I attempt to explain life and its meaning to myself."[10]
In 1881, Munch enrolled at the Royal School of Art and Design of Christiania, one of whose founders was his distant relative Jacob Munch. His teachers were sculptor Julius Middelthun and the naturalistic painter Christian Krohg.[12] That year, Munch demonstrated his quick absorption of his figure training at the Academy in his first portraits, including one of his father and his first self-portrait. In 1883, Munch took part in his first public exhibition and shared a studio with other students.[13] His full-length portrait of Karl Jensen-Hjell, a notorious bohemian-about-town, earned a critic's dismissive response: "It is impressionism carried to the extreme. It is a travesty of art."[14] Munch's nude paintings from this period survive only in sketches, except for Standing Nude (1887), perhaps confiscated by his father.[15]
During these early years in his career, Munch experimented with many styles, including Naturalism and Impressionism. Some early works are reminiscent of Manet. Many of these attempts brought him unfavorable criticism from the press and garnered him constant rebukes by his father, who nonetheless provided him with small sums for living expenses.[14] At one point, however, Munch's father, perhaps swayed by the negative opinion of Munch's cousin Edvard Diriks (an established, traditional painter), destroyed at least one painting (likely a nude) and refused to advance any more money for art supplies.[16]
Munch also received his father's ire for his relationship with Hans Jæger, the local nihilist who lived by the code "a passion to destroy is also a creative passion" and who advocated suicide as the ultimate way to freedom.[17] Munch came under his malevolent, anti-establishment spell. "My ideas developed under the influence of the bohemians or rather under Hans Jæger. Many people have mistakenly claimed that my ideas were formed under the influence of Strindberg and the Germans…but that is wrong. They had already been formed by then."[18] At that time, contrary to many of the other bohemians, Munch was still respectful of women, as well as reserved and well-mannered, but he began to give in to the binge drinking and brawling of his circle. He was unsettled by the sexual revolution going on at the time and by the independent women around him. He later turned cynical concerning sexual matters, expressed not only in his behavior and his art, but in his writings as well, an example being a long poem called The City of Free Love.[19] Still dependent on his family for many of his meals, Munch's relationship with his father remained tense over concerns about his bohemian life.
After numerous experiments, Munch concluded that the Impressionist idiom did not allow sufficient expression. He found it superficial and too akin to scientific experimentation. He felt a need to go deeper and explore situations brimming with emotional content and expressive energy. Under Jæger's commandment that Munch should "write his life", meaning that Munch should explore his own emotional and psychological state, Munch began a period of reflection and self-examination, recording his thoughts in his "soul's diary".[20] This deeper perspective helped move him to a new view of his art. He wrote that his painting The Sick Child (1886), based on his sister's death, was his first "soul painting", his first break from Impressionism. The painting received a negative response from critics and from his family, and caused another "violent outburst of moral indignation" from the community.[21] Only his friend Christian Krohg defended him:
He paints, or rather regards, things in a way that is different from that of other artists. He sees only the essential, and that, naturally, is all he paints. For this reason Munch's pictures are as a rule "not complete", as people are so delighted to discover for themselves. Oh, yes, they are complete. His complete handiwork. Art is complete once the artist has really said everything that was on his mind, and this is precisely the advantage Munch has over painters of the other generation, that he really knows how to show us what he has felt, and what has gripped him, and to this he subordinates everything else.[22]
Munch continued to employ a variety of brushstroke technique and color palettes throughout the 1880s and early 1890s, as he struggled to define his style.[23] His idiom continued to veer between naturalistic, as seen in Portrait of Hans Jæger, and impressionistic, as in Rue Lafayette. His Inger On the Beach (1889), which caused another storm of confusion and controversy, hints at the simplified forms, heavy outlines, sharp contrasts, and emotional content of his mature style to come.[24] He began to carefully calculate his compositions to create tension and emotion. While stylistically influenced by the Post-Impressionists, what evolved was a subject matter which was symbolist in content, depicting a state of mind rather than an external reality. In 1889, Munch presented his first one-man show of nearly all his works to date. The recognition it received led to a two-year state scholarship to study in Paris under French painter Léon Bonnat.[25]
Munch arrived in Paris during the festivities of the Exposition Universelle (1889) and roomed with two fellow Norwegian artists. His picture, Morning (1884), was displayed at the Norwegian pavilion.[26] He spent his mornings at Bonnat's busy studio (which included live female models) and afternoons at the exhibition, galleries, and museums (where students were to make copies).[27] Munch recorded little enthusiasm for Bonnat's drawing lessons—"It tires and bores me—it's numbing"—but enjoyed the master's commentary during museum trips.[28][29]
Munch was enthralled by the vast display of modern European art, including the works of three artists who would prove influential: Paul Gauguin, Vincent van Gogh, and Henri de Toulouse-Lautrec—all notable for how they used color to convey emotion.[29] Munch was particularly inspired by Gauguin's "reaction against realism" and his credo that "art was human work and not an imitation of Nature", a belief earlier stated by Whistler.[30] As one of his Berlin friends stated later about Munch, "he need not make his way to Tahiti to see and experience the primitive in human nature. He carries his own Tahiti within him."[31]
That December, his father died, leaving Munch's family destitute. He returned home and arranged a large loan from a wealthy Norwegian collector when wealthy relatives failed to help, and assumed financial responsibility for his family from then on.[32] Christian's death depressed him and he was plagued by suicidal thoughts: "I live with the dead—my mother, my sister, my grandfather, my father…Kill yourself and then it's over. Why live?"[33] Munch's paintings of the following year included sketchy tavern scenes and a series of bright cityscapes in which he experimented with the pointillist style of Georges Seurat.[34]
Edvard Munch 1902
By 1892, Munch formulated his characteristic, and original, Synthetist aesthetic, as seen in Melancholy (1891), in which color is the symbol-laden element. Considered by the artist and journalist Christian Krohg as the first Symbolist painting by a Norwegian artist, Melancholy was exhibited in 1891 at the Autumn Exhibition in Oslo.[35] In 1892, Adelsteen Normann, on behalf of the Union of Berlin Artists, invited Munch to exhibit at its November exhibition,[36] the society's first one-man exhibition. However, his paintings evoked bitter controversy (dubbed "The Munch Affair") and after one week the exhibition closed.[36] Munch was pleased with the "great commotion", and wrote in a letter: "Never have I had such an amusing time—it's incredible that something as innocent as painting should have created such a stir."[37]
In Berlin, Munch involved himself in an international circle of writers, artists and critics, including the Swedish dramatist and leading intellectual August Strindberg, whom he painted in 1892. During his four years in Berlin, Munch sketched out most of the ideas that would comprise his major work, The Frieze of Life, first designed for book illustration but later expressed in paintings.[38] He sold little, but made some income from charging entrance fees to view his controversial paintings.[39] Already, Munch was showing a reluctance to part with his paintings, which he termed his "children".
His other paintings, including casino scenes, show a simplification of form and detail which marked his early mature style.[40] Munch also began to favor a shallow pictorial space and a minimal backdrop for his frontal figures. Since poses were chosen to produce the most convincing images of states of mind and psychological conditions, as in Ashes, the figures impart a monumental, static quality. Munch's figures appear to play roles on a theatre stage (Death in the Sick-Room), whose pantomime of fixed postures signify various emotions; since each character embodies a single psychological dimension, as in The Scream, Munch's men and women now appear more symbolic than realistic. He wrote, "No longer should interiors be painted, people reading and women knitting: there would be living people, breathing and feeling, suffering and loving."[41]
The Scream
Main article: The Scream
The Scream (1893)
The Scream exists in four versions: two pastels (1893 and 1895) and two paintings (1893 and 1910). There are also several lithographs of The Scream (1895 and later).
The 1895 pastel sold at auction on 2 May 2012 for US$119,922,500, including commission.[42] It is the most colorful of the versions[43] and is distinctive for the downward-looking stance of one of its background figures. It is also the only version not part of the collection of a Norwegian museum.
The 1893 version (shown here) was stolen and recovered from the National Gallery in Oslo in 1994. The 1910 painting was stolen in 2004 from The Munch Museum in Oslo, but recovered in 2006 with limited damage.
The Scream is Munch's most famous work and one of the most recognizable paintings in all art. It has been widely interpreted as representing the universal anxiety of modern man.[41] Painted with broad bands of garish color and highly simplified forms, and employing a high viewpoint, the agonized figure is reduced to a garbed skull in the throes of an emotional crisis.
With this painting, Munch met his stated goal of "the study of the soul, that is to say the study of my own self".[44] Munch wrote of how the painting came to be: "I was walking down the road with two friends when the sun set; suddenly, the sky turned as red as blood. I stopped and leaned against the fence, feeling unspeakably tired. Tongues of fire and blood stretched over the bluish black fjord. My friends went on walking, while I lagged behind, shivering with fear. Then I heard the enormous, infinite scream of nature."[45] He later described the personal anguish behind the painting, "for several years I was almost mad… You know my picture, 'The Scream?' I was stretched to the limit—nature was screaming in my blood… After that I gave up hope ever of being able to love again."[46]
In summing up the painting's impact, author Martha Tedeschi has stated: "Whistler's Mother, Wood's American Gothic, Leonardo da Vinci's Mona Lisa and Edvard Munch's The Scream have all achieved something that most paintings—regardless of their art historical importance, beauty, or monetary value—have not: they communicate a specific meaning almost immediately to almost every viewer. These few works have successfully made the transition from the elite realm of the museum visitor to the enormous venue of popular culture."[47]
Frieze of Life—A Poem about Life, Love and Death
In December 1893, Unter den Linden in Berlin was the location of an exhibition of Munch's work, showing, among other pieces, six paintings entitled Study for a Series: Love. This began a cycle he later called the Frieze of Life—A Poem about Life, Love and Death. "Frieze of Life" motifs such as The Storm and Moonlight are steeped in atmosphere. Other motifs illuminate the nocturnal side of love, such as Rose and Amelie and Vampire. In Death in the Sickroom, the subject is the death of his sister Sophie, which he re-did in many future variations. The dramatic focus of the painting, portraying his entire family, is dispersed in a series of separate and disconnected figures of sorrow. In 1894, he enlarged the spectrum of motifs by adding Anxiety, Ashes, Madonna and Women in Three Stages (from innocence to old age).[48]
Around the start of the 20th century, Munch worked to finish the "Frieze". He painted a number of pictures, several of them in larger format and to some extent featuring the Art Nouveau aesthetics of the time. He made a wooden frame with carved reliefs for the large painting Metabolism (1898), initially called Adam and Eve. This work reveals Munch's preoccupation with the "fall of man" and his pessimistic philosophy of love. Motifs such as The Empty Cross and Golgotha (both c. 1900) reflect a metaphysical orientation, and also echo Munch's pietistic upbringing. The entire Frieze showed for the first time at the secessionist exhibition in Berlin in 1902.[49]
"The Frieze of Life" themes recur throughout Munch's work but find their strongest outpouring in the mid-1890s. In sketches, paintings, pastels and prints, he taps the depths of his feelings to examine his major motifs: the stages of life, the femme fatale, the hopelessness of love, anxiety, infidelity, jealousy, sexual humiliation, and separation in life and death.[50] These themes find expression in paintings such as The Sick Child (1885), Love and Pain (retitled Vampire; 1893–94), Ashes (1894), and The Bridge. The latter shows limp figures with featureless or hidden faces, over which loom the threatening shapes of heavy trees and brooding houses. Munch portrayed women either as frail, innocent sufferers (see Puberty and Love and Pain) or as the cause of great longing, jealousy and despair (see Separation, Jealousy and Ashes).
Munch often uses shadows and rings of color around his figures to emphasize an aura of fear, menace, anxiety, or sexual intensity.[51] These paintings have been interpreted as reflections of the artist's sexual anxieties, though it could also be argued that they are a better representation of his turbulent relationship with love itself and his general pessimism regarding human existence.[52] Many of these sketches and paintings were done in several versions, such as Madonna, Hands and Puberty, and also transcribed as wood-block prints and lithographs. Munch hated to part with his paintings because he thought of his work as a single body of expression. So to capitalize on his production and make some income, he turned to graphic arts to reproduce many of his most famous paintings, including those in this series.[53] Munch admitted to the personal goals of his work but he also offered his art to a wider purpose, "My art is really a voluntary confession and an attempt to explain to myself my relationship with life—it is, therefore, actually a sort of egoism, but I am constantly hoping that through this I can help others achieve clarity."[54]
Still attracting strongly negative reactions, in the 1890s Munch did begin to receive some understanding of his artistic goals, as one critic wrote, "With ruthless contempt for form, clarity, elegance, wholeness, and realism, he paints with intuitive strength of talent the most subtle visions of the soul."[55] One of his great supporters in Berlin was Walther Rathenau, later the German foreign minister, who greatly contributed to his success.
Paris, Berlin and Christiania
The Sick Child (1907)
In 1896, Munch moved to Paris, where he focused on graphic representations of his "Frieze of Life" themes. He further developed his woodcut and lithographic technique. Munch's Self-Portrait With Skeleton Arm (1895) is done with an etching needle-and-ink method also used by Paul Klee.[56] Munch also produced multi-colored versions of "The Sick Child" which sold well, as well as several nudes and multiple versions of Kiss (1892)[56] Many of the Parisian critics still considered Munch's work "violent and brutal" but his exhibitions received serious attention and good attendance.[57] His financial situation improved considerably and in 1897, Munch bought himself a summer house facing the fjords of Christiania, a small fisherman's cabin built in the late 18th century, in the small town of Åsgårdstrand in Norway. He dubbed this home the "Happy House" and returned here almost every summer for the next 20 years. [58] It was this place he was missing when he was abroad and in the periods then he felt depressed and exhausted. "To walk in Åsgårdstrand is like walking among my paintings - I get so inspired to paint when I am here".
Harald Nørregaard (painted by Munch in 1899, National Gallery) was one of Munch's closest friends since adolescence, adviser and lawyer[59]
In 1897 Munch returned to Christiania, where he also received grudging acceptance—one critic wrote, "A fair number of these pictures have been exhibited before. In my opinion these improve on acquaintance."[58] In 1899, Munch began an intimate relationship with Tulla Larsen, a "liberated" upper-class woman. They traveled to Italy together and upon returning, Munch began another fertile period in his art, which included landscapes and his final painting in "The Frieze of Life" series, The Dance of Life (1899).[60] Larsen was eager for marriage, and Munch begged off. His drinking and poor health reinforced his fears, as he wrote in the third person, "Ever since he was a child he had hated marriage. His sick and nervous home had given him the feeling that he had no right to get married."[61] Munch almost gave in to Tulla, but fled from her in 1900, also turning away from her considerable fortune, and moved to Berlin.[61] His Girls on the Jetty, created in eighteen different versions, demonstrated the theme of feminine youth without negative connotations.[53] In 1902, he displayed his works thematically at the hall of the Berlin Succession, producing "a symphonic effect—it made a great stir—a lot of antagonism—and a lot of approval."[62] The Berlin critics were beginning to appreciate Munch's work even though the public still found his work alien and strange.
The good press coverage gained Munch the attention of influential patrons Albert Kollman and Max Linde. He described the turn of events in his diary, "After twenty years of struggle and misery forces of good finally come to my aid in Germany—and a bright door opens up for me."[63] However, despite this positive change, Munch's self-destructive and erratic behavior involved him first with a violent quarrel with another artist, then with an accidental shooting in the presence of Tulla Larsen, who had returned for a brief reconciliation, which injured two of his fingers. She finally left him and married a younger colleague of Munch. Munch took this as a betrayal, and he dwelled on the humiliation for some time to come, channeling some of the bitterness into new paintings.[64] His paintings Still Life (The Murderess) and The Death of Marat I, done in 1906-7, clearly reference the shooting incident and the emotional after effects.[65]
In 1903-4, Munch exhibited in Paris where the coming Fauvists, famous for their boldly false colors, likely saw his works and might have found inspiration in them. When the Fauves held their own exhibit in 1906, Munch was invited and displayed his works with theirs.[66] After studying the sculpture of Rodin, Munch may have experimented with plasticine as an aid to design, but he produced little sculpture.[67] During this time, Munch received many commissions for portraits and prints which improved his usually precarious financial condition.[68] In 1906 he painted the screen for an Ibsen play in the Berlin Deutsches Theater small Kammerspiele Theatre, in which the Frieze of Life was hung. The theatre's director Max Reinhardt later sold it; it is now in the Berlin Nationalgalerie.[69] After an earlier period of landscapes, in 1907 he turned his attention again to human figures and situations.[70]
Breakdown and recovery
Edvard Munch 1912
In the autumn of 1908, Munch's anxiety, compounded by excessive drinking and brawling, had become acute. As he later wrote, "My condition was verging on madness—it was touch and go."[71] Subject to hallucinations and feelings of persecution, he entered the clinic of Dr. Daniel Jacobson. The therapy Munch received for the next eight months included diet and "electrification" (a treatment then fashionable for nervous conditions, not to be confused with electroconvulsive therapy).[72] Munch's stay in hospital stabilized his personality, and after returning to Norway in 1909, his work became more colorful and less pessimistic. Further brightening his mood, the general public of Christiania finally warmed to his work, and museums began to purchase his paintings. He was made a Knight of the Royal Order of St. Olav "for services in art".[73] His first American exhibit was in 1912 in New York.[74]
As part of his recovery, Dr. Jacobson advised Munch to only socialize with good friends and avoid drinking in public. Munch followed this advice and in the process produced several full-length portraits of high quality of friends and patrons—honest portrayals devoid of flattery.[75] He also created landscapes and scenes of people at work and play, using a new optimistic style—broad, loose brushstrokes of vibrant color with frequent use of white space and rare use of black—with only occasional references to his morbid themes. With more income, Munch was able to buy several properties giving him new vistas for his art and he was finally able to provide for his family.[76]
Munch in 1933
The outbreak of World War I found Munch with divided loyalties, as he stated, "All my friends are German but it is France that I love."[77] In the 1930s, his German patrons, many Jewish, lost their fortunes and some their lives during the rise of the Nazi movement.[78] Munch found Norwegian printers to substitute for the Germans who had been printing his graphic work.[79] Given his poor health history, during 1918 Munch felt himself lucky to have survived a bout of the Spanish Flu, the worldwide pandemic of that year.[80]
Later years
Munch spent most of his last two decades in solitude at his nearly self-sufficient estate in Ekely, at Skøyen, Oslo.[81] Many of his late paintings celebrate farm life, including many where he used his work horse "Rousseau" as a model.[82] Without any effort, Munch had a steady stream of female models, some of whom he may have had sexual relations with, and who were the subjects of numerous nude paintings.[83] Munch occasionally left his home to paint murals on commission, including those done for the Freia chocolate factory.[84]
To the end of his life, Munch continued to paint unsparing self-portraits, adding to his self-searching cycle of his life and his unflinching series of snapshots of his emotional and physical states. In the 1930s and 1940s, the Nazis labeled Munch's work "degenerate art" (along with Picasso, Paul Klee, Matisse, Gauguin and many other modern artists) and removed his 82 works from German museums.[85] Adolf Hitler announced in 1937, "For all we care, those prehistoric Stone Age culture barbarians and art-stutterers can return to the caves of their ancestors and there can apply their primitive international scratching."[86]
In 1940, the Germans invaded Norway and the Nazi party took over the government. Munch was 76 years old. With nearly an entire collection of his art in the second floor of his house, Munch lived in fear of a Nazi confiscation. Seventy-one of the paintings previously taken by the Nazis had found their way back to Norway through purchase by collectors (the other eleven were never recovered), including The Scream and The Sick Child, and they too were hidden from the Nazis.[87]
Munch died in his house at Ekely near Oslo on 23 January 1944, about a month after his 80th birthday. His Nazi-orchestrated funeral left the impression with Norwegians that he was a Nazi sympathizer.[88] The city of Oslo bought the Ekely estate from his heirs in 1946 and demolished his house in May 1960.[89]
Munch museum, Oslo
Munch museum, Oslo
From my rotting body,
flowers shall grow
and I am in them
and that is eternity.
Edvard Munch[90]
When Munch died, his remaining works were bequeathed to the city of Oslo, which built the Munch Museum at Tøyen (it opened in 1963). The museum hosts a collection of approximately 1,100 paintings, 4,500 drawings, and 18,000 prints, the broadest collection of his works in the world.[91] The Munch Museum currently serves as Munch's official estate,[91] and has been active in responding to copyright infringements, as well as clearing copyright for the work, such as the appearance of Munch's The Scream in a 2006 M&M's advertisement campaign.[92] The U.S. copyright representative for the Munch Museum and the Estate of Edvard Munch is the Artists Rights Society.[93]
Munch's art was highly personalized and he did little teaching. His "private" symbolism was far more personal than that of other Symbolist painters such as Gustave Moreau and James Ensor. Nonetheless, Munch was highly influential, particularly with the German Expressionists, who followed his philosophy, "I do not believe in the art which is not the compulsive result of Man's urge to open his heart."[41] Many of his paintings, including The Scream, have universal appeal in addition to their highly personal meaning.
Munch's works are now represented in numerous major museums and galleries in Norway and abroad. After the Cultural Revolution in the People's Republic of China ended, Munch was the first Western artist to have his pictures exhibited at the National Gallery in Beijing. His cabin "the Happy House" was given to the municipality of Åsgårdstrand in 1944 and is now a small Munch museum. The inventory is still exactly as he left it.
One version of The Scream was stolen from the National Gallery in 1994. In 2004, another version of The Scream, along with one of Madonna, were stolen from the Munch Museum in a daring daylight robbery. All were eventually recovered, but the paintings stolen in the 2004 robbery were extensively damaged. They have been meticulously restored and are on display again. Three Munch works were stolen from the Hotel Refsnes Gods in 2005; they were shortly recovered, although one of the works was damaged during the robbery.[94]
In October 2006, the color woodcut Two people. The lonely (To mennesker. De ensomme) set a new record for his prints when it was sold at an auction in Oslo for 8.1 million NOK (US$1.27 million). It also set a record for the highest price paid in auction in Norway.[95] On 3 November 2008, the painting Vampire set a new record for his paintings when it was sold for US$38.162 million at Sotheby's New York.
Munch appears on the Norwegian 1,000 kroner note, along with pictures inspired by his artwork.[96]
In February 2012, a major Munch exhibition, "Edvard Munch. The Modern Eye", opened at the Schirn Kunsthalle Frankfurt; the exhibition was opened by Mette-Marit, Crown Princess of Norway.[97][98]
In May 2012, The Scream sold for $119.9 million, and is currently the second most expensive artwork ever sold at an open auction (it was eventually surpassed in November 2013 by Three Studies of Lucian Freud, which sold for $142.4 million). [99]
In 2013, four of Munch's paintings were depicted in a series of stamps by the Norwegian postal service, marking the 150th anniversary of Edvard Munch's birth in 2014.[100]
University Aula
In 1911 the final competition for the decoration of the large walls of the University of Oslo Aula (assembly hall) was held between Munch and Emanuel Vigeland. The episode is known as the Aula Controversy. In 1914 Munch was finally commissioned to decorate the Aula and the work was completed in 1916. This major work in Norwegian monumental painting includes 11 paintings covering 223 m2. The Sun, History and Alma Mater are the key works in this sequence. Munch declared: "I wanted the decorations to form a complete and independent world of ideas, and I wanted their visual expression to be both distinctively Norwegian and universally human." In 2014 it was suggested that the Aula paintings have a value of at least 500 million kroner.[101][102]
Major works
A painting of Edvard Munch at the Rådhuset (Oslo City Hall) in Oslo, the room is called The Munch room.
Main article: List of paintings by Edvard Munch
1892: Evening on Karl Johan
1893: The Scream
1894: Ashes
1894–1895: Madonna
1895: Puberty
1895: Self-Portrait with Burning Cigarette
1895: Death in the Sickroom
1899–1900: The Dance of Life
1899–1900: The Dead Mother
1903: Village in Moonlight
1940–1942: Self Portrait: Between Clock and Bed
See also
Edvard Munch, a 1974 biographical film
"Munch". Random House Webster's Unabridged Dictionary.
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Chipp, Herschel B. (1968). Theories of Modern Art: A Source Book by Artists and Critics. Berkeley: University of California Press. p. 114. ISBN 0-520-05256-0.
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Further reading
Black, Peter; Bruteig, Magne, eds. (2009). Edvard Munch: Prints. London: Philip Wilson. ISBN 0-85667-677-2. Catalogue of exhibition at the Hunterian Museum and Art Gallery, University of Glasgow and the National Gallery of Ireland, Dublin
Dolnick, Edward (2005). The Rescue Artist: A True Story of Art, Thieves, and the Hunt for a Missing Masterpiece. New York, NY: Harper Collins Publishers. ISBN 0-06-053118-5. Recounts the 1994 theft of The Scream from Norway's National Gallery in Oslo, and its eventual recovery
Heller, Reinhold, ed. (1984). Munch: His Life and Work. London: Murray. ISBN 0-7195-4116-6.
Holland, J. Gill (2005). The Private Journals of Edvard Munch: We Are Flames Which Pour Out of the Earth. Madison, Wis: University of Wisconsin Press. ISBN 0-299-19814-6.
Schiefler, Gustav (1907). Verzeichnis Des Graphischen Werks Edvard Munchs Bis 1906 (in German). Berlin: B. Cassirer. OCLC 39789318.
Schiefler, Gustav (1927). Das Graphische Werk Von Edvard Munch: 1906-1926 (in German). Berlin: Euphorion Verlag. OCLC 638113186.
Woll, Gerd (2009). Edvard Munch: Complete Paintings: Catalogue Raisonné 4v. London: Thames & Hudson. ISBN 0-500-09345-8.
Clarke, Jay (2014). 'Munch on Paper,' in Print Quarterly. Volume XXXI. pp. 237-243.
Morehead, Allison (2014). 'Lithographic and Biological Error in Edvard Munch's Women in the Hospital' in Print Quarterly. Volume XXXI. pp. 308-315.
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