Solid Gold Sculpture of Kate Moss by Marc Quinn

Siren is the work of artist Marc Quinn whose most famous sculpture was Alison Lapper Pregnant which appeared on the Fourth Plinth in Trafalgar Square.
His sculpture of Moss said to be the largest gold statue to be made in the world since the time of Ancient Egypt.
Speaking about choosing the supermodel as a subject, Quinn said: “I thought the next thing to do would be to make a sculpture of the person who’s the ideal beauty of the moment.”
The 50kg statue will be displayed in the Nereid Gallery of the British Museum, alongside other statues such as Crouching Venus, a Hellenistic model of Venus surprised while bathing.
Quinn’s latest work, which shows Moss in a yoga pose, is part of a collection, entitled Statuephilia, by contemporary artists going on display at the British Museum.
It is the second time the London-born artist has used the model as his muse. He previously created Sphinx, a white-painted bronze sculpture of the fashion icon.
Quinn is also known for Self, a bust of his head made from eight pints of his own frozen blood.
Other artists exhibiting include Damien Hirst and Angel of the North creator Anthony Gormley.
Gormley said: “The British Museum is a laboratory of possibility for any creative mind. It is filled with objects that reach across time and touch us intimately.
“Seeing as a child the great head of Rameses and the Assyrian winged bulls at the British Museum was what made me become a sculptor.”
The exhibition will run from October 4 to January 25.

Found Here: http://www.telegraph.co.uk/

British artist Marc Quinn stands with his solid gold sculpture of British supermodel Kate Moss at the British Museum in London, Britain, 02 October 2008. Quinn's 50kg solid gold statue of Moss in yogic pose was unveiled to the public for the first time 02 October. Siren, a GBP1.5 million (1.9 million Euros) solid gold sculpture, is one of several contemporary sculptures in the exhibition Statuephilia. EPA/ANDY RAIN

Found Here: http://www.monstersandcritics.com/people/features/article_1434471.php/In_photos_Solid_Gold_Sculpture_of_Kate_Moss?page=7

Ernesto Neto

ernesto neto is considered one of the absolute
leaders of brazil’s contemporary art scene.
his inspiration comes partly from brazilian
neo-concretism. at the end of the 1950s and
beginning of the 60s the movement’s best-known
proponents, lygia clarc and hélio oiticica,
rejected modernism’s ideas of autonomous
geometric abstraction. instead, they wanted to
equate art with living organisms in a kind of
organic architecture, and invite the viewer to be
an active participant.

ernesto neto works with abstract installations
which often take up the entire exhibition space.
his materials are gossamer-thin, light,
stretchable fabrics in nylon or cotton. like fine
membranes fixed to the ceiling by long,
stretched threads his works hang down into
the room and create shapes that are almost
organic. sometimes they are filled with scented
spices and hang in tear-shaped forms like
gigantic mushrooms or huge stockings,
sometimes he creates peculiar soft sculptures
which the visitor is allowed to feel through
small openings in the surface. he also creates
spatial labyrinths which the visitor can enter
and thereby experience the work and interact
with it.

neto’s art is an experience which creates
associations with the body and with something
organic. he describes his works as an
exploration and a representation of the body’s
landscape from within. it is important to neto
that the viewer should actively interact with
and physically experience his work by feeling,
smelling, and touching it.

for malmö konsthall neto will create a
completely new work which he is calling
'the malmö experience'. the exhibition in
malmö will provide an overview and synopsis
of neto’s previous works and contain a number
of important works which will be presented in
a new way. in a huge 'organic labyrinth' of
fabrics and shapes, which takes up the entire
exhibition space, the visitor can experience
the work from both inside and outside.
the exhibition is based on the colours of the
rainbow and the body labyrinth/organism
consists of a number of smaller spaces which
together constitute the whole.

Found Here: http://www.designboom.com/contemporary/neto.html

Ernesto Neto began exhibiting in Brazil in 1988 and has had solo exhibitions abroad since 1995. He represented with Vik Muniz their country in 2001 Venice Biennale, his installations were featured in Brazil's national pavilion and in the international group exhibition at the Arsenale.

Neto's work has been described as "beyond abstract minimalism". His installations are large, soft, biomorphic sculptures that fill an exhibition space with viewrs can touch, poke, and even sometimes walk on or through. These are made of white, stretchy, stockinglike material, which he stuffs- to fill out and solidify the amorphous forms- with Styrofoam pellets or, occasionally, aromatic spices: in some installations, he has also used this material to create translucent scrims that transform the space's walls and floor. His sculptures can be regarded as expression of traditional abstract form, but in their interaction with the viewer they work on another level as well.

• 1994, 1997 Escola de Artes Visuais Pargua Lage, Rio de Janeiro
• 1994-96 Museu de Arte Moderna, Rio de Janeiro

One of his most acclaimed installation is the one at the Panthéon in Paris called Léviathan Thot.

Neto has been awarded chevalier de L'Ordre des Arts et des Lettres.

Found Here: http://en.wikipedia.org/wiki/Ernesto_Neto

The Amero - Currency of the North American Union

Amero

The North American currency union is a controversial proposal in which the three principal countries of North America, namely Canada, the United States and Mexico, would share a common currency. Implementation would probably involve the three countries giving up current currency units (Canadian dollar, US dollar and Mexican peso) and adopting a new one, created specifically for this purpose. The hypothetical currency for the union is sometimes referred to as the amero. The concept is modeled on the common European Union currency (the euro) and it is argued to be a natural extension of NAFTA. Conspiracy theorists contend that the governments of the US, Canada, and Mexico are already taking steps to implement such a currency.



The idea for a North American currency union was first proposed in 1999 by Canadian economist Herbert G. Grubel. A senior fellow of the Fraser Institute think-tank, he published a book entitled The Case for the Amero in September 1999, the year that the euro became a virtual currency. Another Canadian think-tank, the conservative C.D. Howe Institute, advocates the creation of a shared currency between Canada and the United States.

After the report came out, centre-left nationalist groups in Canada expressed their opposition to any currency union because they view it as an attempt by American businesses to gain access to Canada's extensive natural resources while dismantling the nation's social services. The 100,000 member strong Council of Canadians, a progressive advocacy group, has declared one of its central issues to be the threat of "deep integration."

The idea envisioned a currency union of the amero would mix the two dollars, and the peso, or it could also simply be dollarization of the American currency.

Some assert that having a single North American currency would be unconstitutional under the current U.S. constitution under Article 1, Section 8; which states that the United States Congress has the right to “coin money, regulate the value thereof, and of foreign coin, and fix the standard of weights and measures;”.

This concern rests on the contention that the Federal Reserve, created in 1913, is unconstitutionally issuing and regulating American currency as it is a quasi-government entity and not part of the legislative branch of the United States government. While physical U.S. Dollars are issued by the Department of the Treasury (in paper form by the Bureau of Engraving and Printing, in coin form by the U.S. Mint), most dollars in existence are not in physical form, and the value of the dollar is largely controlled by the actions of the Federal Reserve in lending and purchasing government securities.

Found Here: http://lifeoverdeath.org/amero.htm

Banksy To New York: 'Let Them Eat Crack'

(Photo: Brian 'Money' Ries)

The Colossal Media painted Banksy ad featuring a massive rat with an umbrella on Howard and Broadway will soon read "Let Them Eat Crack." An eagle-eyed street scout noticed the traced out letters and snapped this photo of the work currently in progress. Well that's certainly one way to promote your new gallery Mr. Lazarides. UPDATE: Completed ad below.

by ANIMAL on October 2, 2008

Found Here: http://animalnewyork.com/news/2008/10/banksy-to-new-york-let-them-ea.php


Although many successful gallery artists do employ assistants to execute their ideas or concepts, Banksy is not generally one to relegate work to others, except when it comes to NYC. In what must be a huge disappointment for street art fans, the infamous stenciler's imagery has been popping around the city up but he didn't paint any of them himself, instead relying on outdoor advertising company Colossal Media. Now that's just weak. At least Nick Walker painted his own shit while in the city this past summer even if it was all legal walls. UPDATE: Jump for the almost completed rodent. |Gawker|

Found Here: http://animalnewyork.com/news/2008/10/more-banksy-ads-going-up-in-ne.php

Paolo Soleri

Born in Turin, Italy on June 21, 1919, Paolo Soleri was awarded his Ph.D. with highest honors in architecture from the Torino Polytechnico in 1946. He came to the United States in 1947 and spent a year-and-a-half in fellowship with Frank Lloyd Wright at Taliesin West in Arizona, and at Taliesin East in Wisconsin. During this time, he gained international recognition for a bridge design displayed at the Museum of Modern Art and published in The Architecture of Bridges by Elizabeth Mock.

He returned to Italy in 1950 where he was commissioned to build a large ceramics factory, "Ceramica Artistica Solimene." The processes he became familiar with in the ceramics industry led to his award-winning designs of ceramic and bronze windbells and siltcast architectural structures. For over 30 years, the proceeds from the windbells have provided funds for construction to test his theoretical work.

In 1956 he settled in Scottsdale, Arizona, with his late wife, Colly, and their two daughters. Dr. and Mrs. Soleri made a life-long commitment to research and experimentation in urban planning, establishing the Cosanti Foundation, a not-for-profit educational foundation.

The Foundation's major project is Arcosanti, a prototype town for 5,000 people designed by Soleri, under construction since 1970. Located at Cordes Junction, in central Arizona, the project is based on Soleri's concept of "Arcology," architecture coherent with ecology. Arcology advocates cities designed to maximize the interaction and accessibility associated with an urban environment; minimize the use of energy, raw materials and land, reducing waste and environmental pollution; and allow interaction with the surrounding natural environment.

A landmark exhibition, "The Architectural Visions of Paolo Soleri," organized in 1970 by the Corcoran Gallery of Art in Washington, DC, traveled extensively in the U.S. and Canada, breaking records for attendance. "Two Suns Arcology, A Concept for Future Cities" opened at the Xerox Square Center in Rochester, New York, in 1976. In 1989 "Paolo Soleri Habitats: Ecologic Minutiae," and exhibition of arcologies, space habitats and bridges, was presented at the New York Academy of Sciences. Most recently, "Soleri's Cities, Architecture for the Planet Earth and Beyond" was featured at the Scottsdale Center for the Arts in Scottsdale, AZ. His work has been exhibited worldwide.

Soleri has received one fellowship from the Graham Foundation and two from the Guggenheim Foundation. He has been awarded three honorary doctorates, the American Institute of Architects Gold Medal for Craftmanship in 1963, the Gold Medal from the World Biennieal of Architecture in Sofia, Bulgaria, in 1981, and the SIlver Medal of the Academied' Architecture in Paris, 1984. Soleri is a distinguished lecturer in the College of Architecture at Arizona State University.

He has written six books and numerous essays and monographs. When he is not traveling on the international lecture circuit, Soleri divides his time between Cosanti, the original site for his research located in Scottsdale, and Arcosanti.

Archology Theory

Arcology is Paolo Soleri's concept of cities which embody the fusion of architecture with ecology. The arcology concept proposes a highly integrated and compact three-dimensional urban form that is the opposite of urban sprawl with its inherently wasteful consumption of land, energy and time, tending to isolate people from each other and the community. The complexification and miniaturization of the city enables radical conservation of land, energy and resources.

An arcology would need about two percent as much land as a typical city of similar population. Today’s typical city devotes more than sixty percent of its land to roads and automobile services. Arcology eliminates the automobile from within the city. The multi-use nature of arcology design would put living, working and public spaces within easy reach of each other and walking would be the main form of transportation within the city.

An arcology’s direct proximity to uninhabited wilderness would provide the city dweller with constant immediate and low-impact access to rural space as well as allowing agriculture to be situated near the city, maximizing the logistical efficiency of food distribution systems. Arcology would use passive solar architectural techniques such as the apse effect, greenhouse architecture and garment architecture to reduce the energy usage of the city, especially in terms of heating, lighting and cooling. Overall, arcology seeks to embody a “Lean Alternative” to hyper consumption and wastefulness through more frugal, efficient and intelligent city design.

Arcology theory holds that this leanness is obtainable only via the miniaturization intrinsic to the Urban Effect, the complex interaction between diverse entities and organisms which mark healthy systems both in the natural world and in every successful and culturally significant city in history.

Found Here: http://www.arcosanti.org/project/background/soleri/main.html

The Maitreya Buddha Project, Kushinagar, Uttar Pradesh, India:

The focal point of Indian architecture, like its culture, has always been religious in nature. Just as the Indian economic boom is bringing incredible economic and architectural growth in the secular area, so has Indian religious architecture once again become manifest in the creation of some of the worlds largest, massive, and most intricate religious architecture the world has seen.

Maitreya Buddha Project

Now, another great religious project has officially been given the go-ahead in one of the poorest parts of India. The Maitreya Project is a tribute to Buddhism for and from the land of the Buddha and is as a multi-faith cooperative designed by Tibetans who call India their home as as a lasting gift to India and Buddhism.

In this era of veritable skyscraper-hedonism (*cough*Dubai*coughh* j/k), this project is unique in that it is designed to fulfill a completely selfless goal, namely "to benefit as many people as possible."

A monumental sustainable work of art that will serve as a constant source of inspiration and a symbol of loving-kindness, work will soon begin on the 152 meter-tall Maitreya Buddha Statue that is the centerpiece of a large temple complex. An engineering marvel that at will not only be -- at three times the size of the Statue of Liberty -- the world's tallest statue and world's tallest temple but will also be the world's largest (first?) statue-skyscraper, designed to for a lifespan surpassing a 1,000 years.

^ A cutaway view of the 152 meter Maitreya statue and throne building showing the spaces and levels within. Note that the throne itself will be a 17 storey fully functional temple, with 15 additional shrine rooms in the the body of the Maitreya statue.

The statue is a temple that will contain 17 individual shrine rooms. The highest room at 140 meters high -- the equviliant of the 40th storey of a standard building -- making the statue a veritable temple-skyscraper as well. This statue and complex will be a fusion of Indian and Tibetan architectural styles that will adhere to ancient Vaastu Shastra design code and will also hold the world's largest collection of Lord Buddha's relics.

Apart from the statue/skyscraper, the Maitreya Project organizers will also build free hospitals and schools servicing tens of thousands of poor, and also be a huge catalyst for infrastructure and tourism development efforts in one of the most economically backwards parts of India.

The project is a joint religious collaboration by organizations representing the various sects and faiths that revere the Buddha: from Hinduism to Mahayana to Vajrayana to Hinayana to Jaina to Christian and Muslim. Under guidance of the overall project conceptualizer, Nepalese-Tibetan spiritual leader Lama Zopa Rinpoche, the Project was funded by Buddhist and Hindu temples, social organizations, religious groups and by individuals in India, Nepal, Bhutan, Sri Lanka, Tibet, China, Japan, Korea, the UK and America.

Through this project, India once again shows that the ancient arts of massive devotional architecture continues to undergo a veritable renaissance.


Found Here: http://forum.skyscraperpage.com/showthread.php?t=133517

Ilya Repin

Ilya Yefimovich Repin (Russian: Илья́ Ефи́мович Ре́пин,Ukrainian: Ілля Юхимович Рєпін, (5 August [O.S. 24 July] 1844, Chuhuiv, Russian Empire (now in Ukraine) – September 29, 1930, Kuokkala, Finland) was a leading Russian^[1] painter and sculptor of the Peredvizhniki artistic school. An important part of his work is dedicated to his native country, Ukraine.^[2] His realistic works often expressed great psychological depth and exposed the tensions within the existing social order. Beginning in the late 1920s, detailed works on him were published in the USSR, where a Repin cult developed about a decade later, and where he was held up as a model "progressive" and "realist" to be imitated by "Socialist Realist" artists in the Soviet Union.

LucyandBart

LucyandBart is a collaboration between Lucy McRae and Bart Hess described as an instinctual stalking of fashion, architecture, performance and the body. They share a fascination with genetic manipulation and beauty expression. Unconsciously their work touches upon these themes, however it is not their intention to communicate this. They work in a primitive and limitless way creating future human shapes, blindly discovering low – tech prosthetic ways for human enhancement.

Found Here: http://www.lucyandbart.blogspot.com/

Frank Frazetta

Frank Frazetta (born February 9, 1928) is an American fantasy and science fiction artist, noted for his Buck Rogers comic book covers for Famous Funnies and paperback book cover paintings on series' such as Tarzan by Edgar Rice Burroughs and Conan the Barbarian by Robert E. Howard. His paintings gained added popularity in the 1970's, appearing in books, posters, prints, record covers, and various other merchandise. He is the subject of the 2003 nationally televised American film documentary Frank Frazetta, Painting with Fire.<sup>[1]

Found Here: http://en.wikipedia.org/wiki/Frank_Frazetta</sup>

gary panter

Oklahoma-born illustrator, painter, designer and part-time musician, Gary Panter is a child of the ’50s who blossomed in the full glare of the psychedelic ’60s and, after surviving underground during the ’70s, finally made his mark in the ’80s as head set designer for the successful kid/adult TV show Pee Wee’s Playhouse, a job which brought his jagged art and surreal cartoon ideas into the homes of America and bagged him three Emmy Awards. With Pee Wee, Panter created another world, a fantasy extension of his natural studio habitat which was constructed out of a collection of garbage and buried treasure. In the same way that Francis Bacon surrounded himself with images that inspired him to carve out his grotesques in oil paint, so Panter gathered around himself the rubble of his childhood to create Pee Wee and the host of lovable (yet strange) characters which inhabit his Playhouse.

Possibly the most influential graphic artist of his generation, a fact acknowledged by the Chrysler Design award he received in 2000, Gary Panter has been everything from an underground cartoonist to an interior designer (for a children's playroom inside the Philippe Starck-designed Paramount Hotel in New York) to an internet animator (his Pink Donkey and the Fly series can be seen online at Cartoon Network’s web site). He is also the creator of Jimbo, a post-nuclear punk-rock cartoon character whose adventures were first chronicled as a comic strip in the ’70s LA hardcore-punk paper Slash and later in RAW magazine. Although the inspiration for Jimbo was partly rooted in the ’60s underground comix movement, other influences such as Japanese monster movies, cheap commercial packaging, the work of Marvel comics artist Jack Kirby, Mothers Of Invention house artist Cal Schenkel, and the writing of cult science fiction author Philip K. Dick leaked into the project. All of which gave Jimbo a startlingly fresh look that was subliminally familiar yet defiantly oddball.

Drawn with pen and black ink in his now familiar “ratty line” style, Panter’s work (like Andy Warhol’s before him) successfully broke down the barrier that separates “trash” from “art” and transformed underground comix into a viable art form. Equally ground-breaking were his extended comic novels Dal Tokyo and Cola Madnes (which has recently been published by Funny Garbage Press). Cola Madnes was created by Panter primarily for his Japanese audience (who named a café in Nagoya ‘Gary Panter Squar’ in his honor) using a manga-style two-panel-per-page layout that paid silent and respectful homage to the work of Toho Studios (creator of Godzilla) and comic book legend Jack “King” Kirby. Cola Madnes was Gary Panter’s artistic “holy mission” way back in 1983.

As an illustrator, Panter was one of the first to stop worrying about graphic perfection, preferring instead to push the underground punk attitude he had nurtured since the ’70s into his commercial art for established magazines such as Time, Rolling Stone, Entertainment Weekly and The New Yorker. By deliberately presenting his work with serrated edges instead of clean lines, Panter’s style came as a breath of fresh air to both publishers and audience alike. His fame as an illustrator grew when he was commissioned by Warner Brothers to produce a set of album sleeves for Frank Zappa. The resulting covers for Studio Tan, Sleep Dirt and Orchestral Favorites were universally admired (albeit initially not by Zappa himself), as was his cover illustration for the debut album by the Red Hot Chilli Peppers.

This enormous body of work has earned Panter the moniker of “King Of Punk Art” and roused fellow painter Robert Williams to dub him the “King Of The Preposterous”. To anybody unfamiliar with the world of Gary Panter, stepping into his ramshackle Brooklyn-based studio is akin to being injected directly into the artist’s brain, Fantastic Voyage-style, through the tip of a giant syringe. Once inside, the visitor is faced with a sprawling mass of artifacts from Panter’s past, present and future. An hallucinogenic stew of hippie posters, Rat Fink model kits, Japanese monster movies, punk rock artifacts and underground comix, all of which mirrors the passion, madness, psychedelic perversity and creativity which he pushes into the work that is hanging half-finished on the rust streaked walls. A series of acrylic paintings in progress, each sending juddering pools of acid color dancing across the grime and paint-smeared floor whenever the sun manages to beam a shaft of white light through the ugly cataract windows that are the bleary eyes of his studio. Happy-faced Martin Sharp magic daisy mutations unfold poisonous triffid petals, while a doe-eyed Walter Keane teen plucks at a lime green electric guitar, illuminated by a squiggling lava lamp that has come straight out of Pee Wee’s Playhouse. In another corner of the studio bake the spiked, severed heads of several Amazon natives, victims of a tribe of headhunters who have been wrenched from the pulped guts of some Men’s True Adventures magazine and sprayed on canvas where they now silently scream. Welcome to Planet Panter.
— Edwin Pouncy


Found Here: http://www.garypanter.com/index.html

SACRED GEOMETRY

...All of this is really incredible for following the pure ENERGY(99) infusion, or as I usually refer to it: THE MIRACLE(88) of 'The Spiritual ENERGY COMMUNICATION', these geometric Symbols came flowing forth from ME(23) and I had not even heard of Sacred Geometry prior to this; I learned about some of its details a considerable time later. When this advanced Symbolic Language was revealed to ME(23) and took the form of all of these intricate Sacred Geometry Designs, all incredibly interwoven within Powerful Positive States of Being and indelibly associated to Specific Spiritual Numbers, and with such a depth of LIFE WISDOM(77), it was almost too much for ME(23) to handle. The intense ENERGY(99) level at which I was operating during this time of manifesting THEE TRINITY CREATION® in written form was Truly exceptional. I would sometimes, in a Transcendent State of Being, walk for hours when suddenly that was it: the immutable Sacred Number, the Perfect Number match for its respective State of Being and Sacred Geometry Symbol. It would instantly be indelibly impressed upon ME(23) and I Knew without question this was The Number, not anything else that speaks of Spiritual or Sacred Number association or meaning, even if it be in the Known realm of Sacred Geometry Wisdom and Spiritual Numbers is of such matched PERFECTION(54). THIS IS IT! These are the Numbers. The World now Knows and eventually just as this Site itself has Grown to be the Number One Ranked Spiritual Web Site® in the World the New Age and Spiritual World will begin to associate the Numbers and Sacred Geometric Symbols to the Positive States of Being as Revealed within THEE TRINITY CREATION®: The Book©. YES! TRUTH(33) is 33.

YES! WISDOM(77) is 77.

YES! FREEDOM(7) is 7.

YES! ENLIGHTENMENT(70) is 70

and YES! ENERGY(99) is without a doubt of Number 99

These are the Sacred Numbers, these are the Spiritual Symbols, this is the ABSOLUTE(44) Sacred Geometry of LIFE(15) born from the Miraculous Spiritual ENERGY(99) COMMUNICATION(48) of 1988. I had it! I have it: the Precise bonding of Sacred Geometric Symbol, Positive State of Being and Sacred Number, YES! Thee Trinity Creation: The Book© is the authentic written manifestation of the impeccable Spiritual ENERGY COMMUNICATION(48) and without doubt the finest system of Sacred Geometry Wisdom of Spiritual Symbols and Numbers in the World. This entire Web Site© and all of its contents is built upon the foundation of The Book©, its Power fills it, THE POWER(96) to direct the ENERGY(99) of LIFE(15) in Immaculate Creative ways. YES! this is THE POWER(96) that moves ME(23) and YES! this is THE POWER(96) that will Fulfill the DESTINY of DAWN 1999, which is indeed a Higher Order Designed DESTINY. You can experience for yourself the Power to Create a LIFE(15) that is in Design your making. All lies within.

Found Here: http://www.theetrinitycreation.com/SacredGeometry.htm

and Here: http://www.charlesgilchrist.com/SGEO/Gal1001.html

Ernst Haeckel

Ernst Heinrich Philipp August Haeckel (February 16, 1834 — August 9, 1919),^[1] also written von Haeckel, was an eminent German biologist, naturalist, philosopher, physician, professor and artist who discovered, described and named thousands of new species, mapped a genealogical tree relating all life forms, and coined many terms in biology, including phylum, phylogeny, ecologyProtista. Haeckel promoted and popularized Charles Darwin'sGermany and developed the controversial recapitulation theoryontogeny, parallels and summarizes its species' entire evolutionary development, or phylogeny. and the kingdom work in ("ontogeny recapitulates phylogeny") claiming that an individual organism's biological development, or

The published artwork of Haeckel includes over 100 detailed, multi-colour illustrations of animals and sea creatures (see: Kunstformen der Natur, "Artforms of Nature"). As a philosopher, Ernst Haeckel wrote Die WelträthselThe Riddle of the Universe, 1901), the genesis for the term "world riddle" (Welträthsel); and Freedom in Science and Teaching^[2] (1895-1899, in English, to support teaching evolution.

In the United States, Mount Haeckel, a 13,418 ftm) summit in the Eastern Sierra Nevada, overlooking the Evolution Basin, is named in his honor, as are another Mount Haeckel, a 2,941 m (9,650 ft) summit in New Zealand; and the asteroid 12323 Häckel. (4,090

The Ernst Haeckel house ("Villa Medusa") in Jena, Germany contains a historic library.

Ernst Haeckel was born on February 16, 1834, in Potsdam (then part of Prussia). ^[3] In 1852, Haeckel completed studies at Cathedral High School (Domgymnasium) of Merseburg.^[3] He then studied medicine in Berlin, particularly with Albert von Kölliker, Franz Leydig, Rudolf VirchowJohannes Peter Müller (1801-1858).^[3] In 1857, Haeckel attained a doctorate in medicine (M.D.), and afterwards he received a license to practice medicine. The occupation of physician appeared less worthwhile to Haeckel, after contact with suffering patients.^[3] (with whom he later worked briefly as assistant), and with anatomist-physiologist

Haeckel studied under Carl Gegenbaur at the University of Jena for three years, earning a doctorate in zoology,^[3] before becoming a professor of comparative anatomy at the University of Jena, where he remained 47 years, from 1862-1909. Between 1859 and 1866, Haeckel worked on many invertebrate groups, including radiolarians, poriferans (sponges) and annelids^[4] During a trip to the Mediterranean, Haeckel named nearly 150 new species of radiolarians.^{[4] [4]} Haeckel named thousands of new species from 1859 to 1887. ^[5] (segmented worms).

From 1866 to 1867, Haeckel made an extended journey to the Canary Islands and during this period, met with Charles Darwin, in 1866 at Down House in Kent, Thomas Huxley and Charles Lyell.^[3] In 1867, he married Agnes Huschke. Their son Walter was born in 1868, their daughters Elizabeth in 1871 and Emma in 1873.^[3] In 1869, he traveled as a researcher to Norway, in 1871 to Dalmatia, and in 1873 to Egypt, Turkey, and to Greece.^[3] Haeckel retired from teaching in 1909, and in 1910 he withdrew from the Evangelical church.^[3] Haeckel's wife, Agnes, died in 1915, and Ernst Haeckel became substantially more frail, with a broken leg (thigh) and broken arm.^[3] He sold the mansion Medusa ("Villa Medusa") in 1918 to the Carl Zeiss foundation.^[3]August 9, 1919. Ernst Haeckel died on August 9, 1919.

Found Here: http://en.wikipedia.org/wiki/Ernst_Haeckel

and Here: http://pixs.media.mit.edu/pictures/show/12497