Sermoise

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Géolocalisation sur la carte : Aisne

Géolocalisation sur la carte : Aisne

Géolocalisation sur la carte : France

Géolocalisation sur la carte : France

Sermoise est une commune française, située dans le département de l’Aisne en région Hauts-de-France.

Entrée de Sermoise

Vue sur la vallée de l’Aisne avec au loin Missy-sur-Aisne

L’ancienne voie ferrée, croisant la D 101.

Son nom vient de Sarmatia, nom d’une tribu, les Sarmates, dont des membres ont été installés en ce lieu au IVe ou Ve siècle comme auxiliaires de l’armée romaine (Cf. notitia dignitatum ).

L’évolution du nombre d’habitants est connue à travers les recensements de la population effectués dans la commune depuis 1793. À partir de 2006, les populations légales des communes sont publiées annuellement par l’Insee. Le recensement repose désormais sur une collecte d’information annuelle, concernant successivement tous les territoires communaux au cours d’une période de cinq ans. Pour les communes de moins de 10 000 habitants, une enquête de recensement portant sur toute la population est réalisée tous les cinq ans, les populations légales des années intermédiaires étant quant à elles estimées par interpolation ou extrapolation. Pour la commune, le premier recensement exhaustif entrant dans le cadre du nouveau dispositif a été réalisé en 2007.

En 2015 drinking bottles for sale, la commune comptait 340 habitants, en augmentation de 6,58 % par rapport à 2010 (Aisne : -0,34 %, France hors Mayotte : +2,44 %).

Église Saint-Rémi en restauration, juin 2015

Monument aux morts, vue de face.

Monument aux morts, vue latérale, plaque commémorant les 32 soldats.

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Rodel Tapaya

Rodel Tapaya is a Filipino painter whose works have gained renown and critical acclaim by winning in several regional art contests and exposure in international exhibitions.

Rodel Tapaya was born in 1980, in Montalban, Rizal, Philippines. He broke out in the art scene by earning the coveted top prize in the Nokia Art Awards competed among artists in the Asia-Pacific region which allowed him to pursue intensive drawing and painting courses at Parsons School of Design in New York and from the University of Helsinki in Finland prior to graduating from the University of the Philippines College of Fine Arts. In 2011, he won a landmark achievement for a Filipino artist by winning the Signature Art Prize given by the Asia-Pacific Breweries Foundation and the Singapore Art Museum. He currently lives in Bulacan, Philippines.

Tapaya’s works recurrently depict narratives embedded in Filipino cultural history that offer sharp and often piercing commentary on contemporary life and issues. Through his adept manipulation of folk aesthetic and material, Tapaya provides his mythical characters with allegorical significances that transcend common perception, offering fresh insights about their origins and relevance. The paintings become a tableau of the painter’s articulations and traces of the stories that inspired them. Sometimes his characters appear in archetypes culled from pre-colonial historical research and recorded folktales from recent scholarship.”Rodel Tapaya: Folkgotten,” was the artist’s maiden solo show outside his home country which was organized by the Drawing Room Manila and Utterly Art Singapore in 2008. The exhibit launched Tapaya’s direction in painting based on folk myths and narratives and signified a change of styles from his signature burlap paintings, a material which has gained some popularity and copied by other Filipino painters.

In 2008, At Sotheby’s Modern and Contemporary Southeast Asian Paintings auction, Tapaya’s The Wedding raked in HKD220,000 while his Donsadat And The Magic Dog sold for HKD90,000. At a similar Christie’s auction, his acrylic-on-canvas piece, The Banquet hit HKD137,500. At a Borobudur Auction, The Giant Watermelon sold for SGD33,600.

Tapaya remains a favorite at Southeast Asian auction houses where his works are highly regarded. He is widely exhibited in cities in the Southeast Asian region as well as in Beijing, Berlin, New York and Tokyo.

Rodel Tapaya’s current works are marked by labyrinthine patterns and recurring characters that transmit scenes and figures from folk stories in his pictorial world. His detailed execution and finish was described by critic Patrick Flores as a “practice (that) pursues the process of myth-making, appropriating certain archetypes in the discourse of origin and expanding it to create a visual vocabulary that is entirely his own. The folk aesthetic in this highly mediated and idiosyncratic language becomes part of a contemporary reflection on a sense of belonging to a domain of culture. The style resists nativist appropriation of motif; rather it invents its own drinking bottles for sale, making the artist’s effort an interesting intertext to prevailing mythologies.” These qualities have led him to receive positive reception from art collectors. He is one of Southeast Asia’s most successful contemporary artist at auctions; the far-reaching appreciation of his works has been part of the wave that gained more attention for Southeast Asian contemporary art in recent years.

Rodel Tapaya received the 2011 Signature Art Prize granted by the Asia-Pacific Breweries Foundation and the Singapore Art Museum. He was also among the Thirteen Artists Awardee of the Cultural Center of the Philippines in 2012. Prior to this, he was shortlisted four times to the Ateneo Art Awards in four separate years and won a jury prize to the Phillip-Morris Philippine Art Awards in 2007. As a student he was a semi-finalist of the Metrobank Young Painters’ Annual Art Competition.Tapaya also scored first place at the Shell National Students Art Competition in the Watercolor Category. In honor of his achievements, the President of the Republic of the Philippines, Benigno Simeon Aquino III, presented him with an Ani ng Dangal Award at the Malacanang Palace. As a twenty-year-old painter he won the Nokia Art Awards competed among young artists in the Southeast Asian region. This gave him the opportunity to study Painting and Drawing at the Parsons School of Design and the University of Art and Design in Helsinki, Finland. Tapaya is one of Southeast Asia’s most active artists with exhibitions held in the region as well as in Berlin, New York, Tokyo and Beijing

·Deutsche Bank Collection

·Art Galley of New South Wales, Sydney, Australia

·Singapore Art Museum Collection, Singapore

·Metropolitan Museum of Manila, Manila, Philippines

·Central Bank of The Philippines (Bangko Sentral ng Pilipinas) Collection

·RCBC Rizal Commercial Banking Corporation Collection, Philippines

·Pinto Art Museum Collection, Philippines

·Tiroche DeLeon Collection

Winner of Asia-Pacific Breweries Foundation and Singapore Art Museum (SAM) Signature Art Prize 2012

In a statement issued by the jury consisted of Indian poet, cultural theorist and curator Ranjit Hoskote; Gregor Muir, executive director of the Institute of Contemporary arts in London; Fumio Nanjo, director of the Mori Museum of Tokyo; Indonesian writer, critic and curator Hendro Wiyanto; and Tan Boon Hui, director of the SAM, Rodel Tapaya’s Baston ni Kabunian, Bilang Pero di Mabilang (Cane of Kabunian, numbered but cannot be counted) was called

“a compelling and monumental-scale work. With its multiple narratives and diverse allegorical references, this stunning mural-sized painting embodies a vibrant strain in contemporary art from the Asia-Pacific region. While Tapaya does not shy away from drawing on the folklore of his native region, his is neither a naïve nor self-exoticising practice. The artist is audacious in his use of the Philippine mural tradition as well as Latin American magic realism and Bosch-like phantasmagoria. Anchored in a postcolonial setting but with far-reaching universal relevance, the work will surely provoke discussion about emerging aesthetic tendencies in Asia-Pacific.”

Winner of the Nokia Art Awards Asia-Pacific,2001

“When I first learned about the competition’s theme “Playground of Your Imagination”, one thing quickly came into my mind, the family

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. It is because of these two reasons: first, I have read Plato’s dialogue “The Republic”, where in the abolition of family was discussed. I didn’t like the idea most specifically when he mentioned of the separation of the mothers from their children. Second, I notice that it seems that the essence of family is gone. Father, mother, and children closely knit, united and full of love and understanding. Instead of those ideals

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, the irony rises today. Misunderstanding between couples offen [sic] lead to marriage break-ups. Most parents have lost quality time for their children and it attributes unfavourable conditions and more. The negative points mentioned about family urged me to do something positive about family. For the parents and the children should together trace life’s long journey united in harmony and love. It is from the experience of togetherness where they find out survival, how to live a just and humane life. My work depicts unity of people, women and men, young and old building the image of the family. It is obvious that the rendition is childlike because it seems to me that the family fills in the lives of people. As defined small shaver, the family is the basic unit of the society; it is where good citizens are molded. The colour implies strength, understanding and love for all.”– Rodel Tapaya’s artist statement for the Nokia Art Awards

THE Giant Watermelon fetched the highest price in the 2008 Borobodur Auction in Singapore and is one of the works by young Filipino artists which set a new benchmark for Filipino art’s popularity abroad. A record number of 50 works were put on the block in the auction, and 86 percent were sold.

Children’s book published by CANVAS and UST Publishing House

“Ang Batang Maraming Bawal” is the winner of The Center for Art, New Ventures and Sustainable Development’s (CANVAS’) second annual Romeo Forbes Children’s Storywriting Competition and Rodel Tapaya was selected by the publisher to illustrate the book before the story was selected. A number of writer’s submitted their stories based on a single painting by Tapaya, of which Fernando Gonzales was chosen. The book launching was accompanied by an exhibit of all Tapaya’s illustrations at Glorietta Artspace.

Johann Konrad von Gemmingen

Johann Konrad von Gemmingen, auch Johann Conrad (* 23. Oktober 1561 vermutlich in Tiefenbronn; † 7. November 1612 oder 8. November 1612 in Eichstätt) war Fürstbischof zu Eichstätt.

Johann Konrad entstammte der Linie Steinegg des schwäbischen Adelsgeschlechts der Herren von Gemmingen und wurde als drittes von acht Kindern des Dietrich IX. von Gemmingen, augsburgischer Rat und Statthalter zu Dillingen, und seiner Frau Lia (auch Leia), geborene von Schellenberg, vermutlich in Tiefenbronn geboren und wuchs teilweise dort auch auf. Sein Onkel, der Augsburger Fürstbischof Johann Otto von Gemmingen, soll maßgeblich Einfluss auf seine Erziehung ausgeübt haben und trat immer wieder als sein Mentor in Erscheinung.

Nach seiner Kindheit durchlief Johann Konrad die typische Domherrenlaufbahn. 1573 war er Expektant zu Konstanz. 1578 war er Kanonikat in Ellwangen, 1579 war er Domkanoniker in Augsburg und Domizellar im Bistum Eichstätt. 1588 kam ein Kanonikat in Konstanz hinzu.

1579 begann seine wissenschaftliche Ausbildung. Zunächst studierte er Theologie und daneben Jura an der Universität Freiburg im Breisgau, 1583 in Dillingen, 1584 in Pont-à-Mousson, 1587 in Paris, 1588 in Siena, 1588/89 in Perugia und 1589 in Bologna; neben Latein beherrschte er die italienische und französische Sprache. Bildungsreisen führten ihn in mehrere Länder, auch nach England. Auf diese Weise umfassend gebildet, holte ihn sein Onkel 1591 als Domdekan nach Augsburg, wo er am 10. Mai 1592 zum Priester geweiht wurde. Ebenfalls 1591 hatte er ein volles Domkanonikat in Eichstätt erhalten, wo er 1593 zum Koadjutor mit dem Recht der Bischofsnachfolge gewählt wurde. 1594 verlieh ihm Papst Clemens VIII. das Titularbistum Hierapolis in Isauria und Kaiser Rudolf II. die Regalien.

Am 17. September 1594 trat Johann Konrad bei gleichzeitigem Verzicht auf die Augsburger Domdechantei die Regierung des Hochstiftes Eichstätt an; die Diözese selbst übernahm er erst nach dem Tode des Vorgängers durch Weihe am 2. Juli 1595. Schon sein Onkel Johann Otto war (1590) vom Eichstätter Domkapitel zum Bischof von Eichstätt gewählt worden, hatte aber das Amt abgelehnt.

In Ausübung seiner geistlichen Pflichten ließ er 1601/02 durch den Generalvikar Dr. Vitus Priefer eine Generalvisitation der Pfarreien drinking bottles for sale, Stifte und Klöster im Hochstift durchführen. Auch sorgte er für seine Priesterausbildungsstätte, dem Collegium Willibaldinum, wenn auch mit nachlassendem Einsatz. Auch verbesserte er die Bistumsverwaltung und vertrieb die letzten Lutheranhänger aus Eichstätt.

Johann Konrad trat er als vorsichtiger Politiker und erfolgreicher Finanzmann in Erscheinung. Aus Rücksicht auf die protestantischen Nachbarn trat er mit seinem Hochstift nicht der Katholischen Liga bei, sondern versuchte, sich pragmatisch zu verhalten. Größere Bedeutung erlangte er als Mäzen der Künste. Er war bekannt für seine umfangreiche Kunstsammlung und einer wahrhaft fürstlichen Einrichtung auf seiner Burg. Einer Sage nach beschenkte ihn die Königin Elisabeth von England mit einem Diamantschatz, nachdem er an deren Hof einige Zeit als Page tätig gewesen sein soll. Zu Neujahr 1603 fuhr mit einem sechsspännigen Jubelwagen und weiteren sechs Wagen mit insgesamt 91 Personen und 83 Pferden, in Ingolstadt ein, wo 18 an der Hochschule studierende Adelige ihm in der Kirche dienten und das Geleit gaben.

Während seiner Amtszeit wird die Hexenverfolgung im Hochstift Eichstätt fortgesetzt. Zwischen 1603 und 1606 werden mindestens 20 Frauen aus Eichstätt, Enkering, Landershofen, Dollnstein und Eitensheim als vermeintliche Hexen zum Tode verurteilt und hingerichtet.

Mit Grundsteinlegung am 14. Mai 1609, die er persönlich unter dem nördlichen Turm gegen Mariastein vornahm, ließ er die fürstbischöfliche Residenz „Willibaldsburg“ nach Plänen des Augsburger Baumeisters Elias Holl zu einem repräsentativen, wenn auch unvollendet gebliebenen Fürstensitz im Renaissance-Stil („Gemmingenbau“) ausbauen. Vier Jahre zuvor hatte er sich gegenüber der Burg ein fürstbischöfliches Jägerhaus errichten lassen.

Seit dem Frühjahr 1611 kränkelte er, ließ sich im Rollstuhl fahren und konnte gegen Ende seines Lebens keinen Schritt mehr gehen. Am 23. Juli 1611 nahm er eine von ihm in Auftrag gegebene Prunkmonstranz in Empfang, welche die Form eines Rebstockes mit 66 Weintrauben hatte, von dem ein Stern von Diamanten ausging. Es wurden hierfür 1400 Perlen, 350 Diamanten, 250 Rubine und andere Edelsteine benötigt. Ihr Wert wurde damals auf 150.000 Gulden geschätzt (zum Vergleich: Ein Zimmermann verdiente damals 8 Gulden im Monat, ein prachtvolles Stadthaus kostete 2500 Gulden). Die Monstranz wurde in der Säkularisation 1806 zerstört und die Goldteile und die Perlen für die bayerischen Kroninsignien verwendet.

Berühmt wurde er auch für die acht prachtvollen Gärten, die er durch den Botaniker und Apotheker Basilius Besler an der Schauseite des Burgberges zur Stadt hin anlegen und pflegen ließ. Gleichzeitig veranlasste er, dass die vielen, teils sehr seltenen Pflanzen in einem Prunkfolianten, dem „Hortus Eystettensis“, dokumentiert wurden. Er investierte knapp 20.000 Gulden in dieses Unternehmen und ließ ein bis heute berühmtes und begehrtes Kunstwerk schaffen, welches damals das modernste und umfangreichste Pflanzenbuch überhaupt war. Den Erstdruck dieses Werkes 1613 erlebte er nicht mehr, da er am 7./8. November 1612 seinen peinvollen Schmerzen erlag. Er wurde im Dom beigesetzt.

Die Familienchronik der Herren von Gemmingen berichtet: Seine Leiche deckt das schönste Monument unter den Bischöfen Eichstädts, welches ihm Christoph v. Westerstetten setzte. Eichstädts goldene Zeit sank auf länger als ein Jahrhundert mit in dieses Grab. Das erwähnte Bronze/Marmor-Epitaph im Ostchor des Domes schuf der Bildhauer Hans Krumpper aus München. Seine Grabplatte befindet sich heute im Kreuzgang des Eichstätter Domes.

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Harriet Cosgrove

θHarriet ‘Hattie’ Siliman Cosgrove (1887–1970) was an archaeologist trained in the Southwestern United States. Her fascination for archeology first started when she moved to Silver City, New Mexico, in 1906 with her husband Cornelius.

In 1919 the Cosgroves bought land in Grant County drinking bottles for sale, New Mexico and began excavating Mimbres Valley ceramics. The Mimbres Valley has pre-Columbian culture dating from 200AD to 1150AD. The Cosgroves reportedly spent their free time exploring the Mimbres Valley with their son, Burton Cosgrove, Jr football style t shirt. In the 1920s the Cosgroves met Alfred Vincent Kidder (1885–1963), at the time curator of North American Archeology at Harvard’s Peabody Museum. Kidder was extremely impressed with the Cosgroves’ amateur archaeological work on Mimbres culture; the Cosgroves were later hired in 1924 by Harvard University’s Peabody museum through the help of Kidder. Harriet was among the first women in the field of archeology to be professionally employed. She than began professionally excavating sites for the Harvard Peabody Museum, beginning with an expedition in the Mimbres Valley.

The Cosgroves’ first professional archaeology endeavor was to excavate the Swarts Ruin, also known as the Swarts Ranch Ruin. The Swarts Ruin was part of the Mimbres Valley, however cultural artifacts of this area of the site suggest that the culture was only active between 1000AD – 1150AD in that area. The Swarts excavation established the Cosgroves as elite Southwestern Archaeologists as well as solidifying their image as a team unit. The site was photographically documented by Cornelius and Harriet made ink drawings of every bowl excavated, totaling over 700 Swarts Ruin pots. In total, nearly 10,000 artifacts were found and chronologically recorded by season. Extremely thorough notes were also taken by Harriet pertaining to room locations on the site, dimensions of these rooms, and the floor’s soil type; this was done for all burial sites discovered by the Cosgroves. The finds of the site were published in 1932 as “The Swarts Ruin: A Typical Mimbres Site in Southwestern New Mexico” which detailed the findings from 1924–1927 by season. The excavation was deemed “prodigious” and is still used as the primary reference for Mimbres Scholars.

A year prior to the Cosgroves’ work at Stalling island they worked on the Gila River site in New Mexico from 1928–1929. After being hired by William Claflin, Jr. (an archeologist from Belmont, Massachusetts) the Cosgroves began work on the Stallings island Mound in Columbia County, Georgia. The site however was discovered to not be well preserved due to more recent aboriginal activity. A group of artifacts found at the site were termed the “stallings island culture.” The development of this idea of the culture allowed artifacts to be more accurately grouped by age, material, and groups of people. Cornelius discovered fiber-tempered pottery at the site as well as tools of late Archaic-type in great numbers. Through the work of the Cosgroves the Stalling Island Mound was found to be a shell heap rather than a major ceremonial construction like it was previously thought to be. Furthermore, the Cosgroves work at Stalling island was the first stratigraphic analysis of midden in Georgia.

The last site the Cosgroves worked on as a team was the Hopi Pueblo of Awatovi in Arizona. Burton Cosgrove died in 1936 during the first year of the project. Harriet returned to the site in 1937 and was placed in charge of the pottery tent on the site. She worked in training students and Indian assistants in the processes of washing, sorting, and cataloging the artifacts. In 1970 at the age of 84 Harriet Cosgrove died.