Prof. Boerner's Explorations

by Gerald Boerner

“Back in the 70s it cost 15-20$ a shot for the film, the processing, and the contact sheet, now it’s twice that.”
— Stephen Shore

“The work that was shown was like a by-product, but never the purpose of my photography.”
— Stephen Shore

“I went on to flickr and it was just thousands of pieces of shit, and I just couldn’t believe it. And it’s just all conventional, it’s all clichés, it’s just one visual convention after another.”
— Stephen Shore

“His photographs of everyday American scenes unveiled the exceptional beauty to be found in banality, at the same time laying the groundwork for contemporary photographic genres such as the diaristic snapshot and the monumentalized landscape.”
— Stephen Shore

“Shore’s images present a world that is right around us, but unseen for its familarness. Shore isolates and deftly composes the natural world in such a way that the seemingly mundane becomes a tapestry of discovery.”
— Donald Giannatti

“What I found happen was, after years of doing it, it forced me into a kind of sense of certainty. I figured out what it is I want, and so there was no reason to take more than one. And now when I take pictures with any camera, I still shoot the same way.”
— Stephen Shore

“To see something spectacular and recognise it as a photographic possibility is not making a very big leap. But to see something ordinary, something you’d see every day, and recognize it as a photographic possibility – that is what I am interested in.”
— Stephen Shore

“A quote that I like very much… comes close to explaining my attitude about taking photographs…. ‘Chinese poetry rarely trespasses beyond the bounds of actuality… the great Chinese poets accept the world exactly as they find it in all its terms and with profound simplicity… they seldom talk about one thing in terms of another; but are able enough and sure enough as artists to make the ultimately exact terms become the beautiful terms.’ ”
— Stephen Shore

Note:
The quotes included in this posting were taken from the public quotation sites which do not indicate that they are covered by any special copyright restrictions. Likewise, the images included in this posting were obtained under the Creative Commons Attribution-ShareAlike License from the Wikipedia.com web site or from the Masters-of-Photography.com web site which did not state any restrictions on their use. This blog makes every attempt to comply with the legal rights of copyright holders.

This posting is intended for the educational use of photographers and photography students and complies with the “educational fair use” provisions of copyright law. For readers who might wish to reuse some of these images should check out their compliance with copyright limitations that might apply to that use.

GLB

Stephen Shore (Born: 1947)

Stephen Shore is an American photographer known for his deadpan images of banal scenes and objects in the United States, and for his pioneering use of color in art photography.

Stephen Shore was interested in photography from an early age. Self-taught, he received a photographic darkroom kit at age six from a forward-thinking uncle. He began to use a 35mm camera three years later and made his first color photographs. At ten he received a copy of Walker Evans’s book, American Photographs, which influenced him greatly. His career began at the early age of fourteen, when he made the precocious move of presenting his photographs to Edward Steichen, then curator of photography at the Museum of Modern Art (MoMA). Recognizing Shore’s talent, Steichen bought three of his works. At age seventeen, Shore met Andy Warhol and began to frequent Warhol’s studio, the Factory, photographing Warhol and the creative people that surrounded him. In 1971, at the age of 24, Shore became the second living photographer to have a solo exhibition at the Metropolitan Museum of Art.

Shore then embarked on a series of cross-country trips, making "on the road" photographs of American and Canadian landscapes. In 1972, he made the journey from Manhattan to Amarillo, Texas, that provoked his interest in color photography. Viewing the streets and towns he passed through, he conceived the idea to photograph them in color, first using 35mm and then an 4×5" view camera before finally settling on the 8×10 format. In 1974 an NEA endowment funded further work, followed in 1975 by a Guggenheim grant and in 1976 a color show at MoMA, NY. His 1982 book, Uncommon Places was a bible for the new color photographers because, alongside William Eggleston, his work proved that a color photograph, like a painting or even a black and white photograph, could be considered a work of art. Many artists, including Nan Goldin, Andreas Gursky, Martin Parr, Joel Sternfeld , and Thomas Struth, have acknowledged his influence on their work.

Heinz Liesbrock, in Stephen Shore: Photographs, 1973-1993, noted the following characteristics of Shore’s photography:

"…Shore’s ability to react to fluid situations and translate the spontaneity unique to them into an image, using the heavy, difficult-to-set-up plate camera is seen in another photograph, one that has an apparently more confused structure. In El Paso Street, El Paso, Texas, July 5, 1975, he again selects a viewpoint facing a clear vertical, the back of a man waiting on the curb, thus initially giving the observer’s gaze a fixed direction. On the sunlit island of sidewalk jutting into the foreground of the picture from two directions, there is a network of objects and their shadows from which individual aspects nevertheless seem to radiate, apparently autonomously: the tree that seems to have been placed on top of the concrete, and, to the right of it, an assembly of street signs (with the helmeted head at the center), which takes on its own values in terms of direction, surface, and color – values that may seem detached from the real spatial context of the picture. In general, in fact, the advertising and traffic signs in this picture are potentially released from their normal indicative character as graphics. They give the picture an ordered structure and a dynamic quality to the same degree that they momentarily step out of their context.

"Since he started taking color shots, Shore has exclusively produced contact prints of the negatives, which since 1974 have measured 8 x 10 inches (ca. 20 x 25 cm). No enlargement is involved, therefore, and the greatest possible directness is achieved in the relation between the negative and the print. Precisely against the background of the large-sized reproductions that have become common in international photography in recent years, it is well worth emphasizing the advantages of the contact print, as Shore uses it. Its relatively small format gives it the appearance of being a concise visual impression, in which a wealth of detail can nevertheless be perceived, and which invites the observer to read the image, to engage in a progressive process of understanding the individual elements it contains and the connections between them. The contact print gives the picture an extraordinary formal differentiation and a special succinctness in its use of color… The contact print, as Shore sees it, undoubtedly gives the photographic image a quality of aura that no enlargement can achieve. His pictures therefore have a special presence, in which the sensual conciseness is equally charged with an intellectual and spiritual force.

"Shore’s understanding of color is an unmistakable part of the peculiar, special quality that his pictures have. He shares a preference for the obvious – taking color and as it were saturating it with reality – with other artists belonging to the "second generation of color photographers," which emerged at the beginning of the 1970s. Color no longer has a decorative status, but is conceived instead as a natural quality of everyday experience. Shore, however, manages above and beyond this to shape color into an entirely personal form of expression. Natural light stimulates the whole of the space in his pictures, and does not appear to be a special phenomenon in itself that is being used in an attempt to dramatize the formal structure. Shadow formations, when they appear, have a quite incidental quality, and in no way seek to emancipate themselves and become independent constructions. Shore usually registers sunlight entering from the side, and this also explains the specially saturated quality that the light has in his work. Color is really a quality of the light for him. This subdues any potential tendency for the color to become harsh; and equally, the light itself in this way acquires a special delicacy. The light is absorbed into the colored materiality of objects, and charges them with a restrained glow. The impression arises that color has been spiritualized; it constantly appears to be felt, at every point. And this explains the sudden change often observed when the pictures are studied for a longer period, when the color becomes an independent construct, although without disturbing the unity of the image. Above all, however, the image’s saturation with reality in Shore’s work arises from the color; it is the color that provides the vital connection with the world…"

ARTINFO’s Philip Gefter notes that Stephen Shore as well as William Eggleston borrowed from photorealist painters, such as Robert Cottingham, Richard Estes and Ralph Goings. Gefter notes, “[Shore and Eggleston’s] interpretation of the American vernacular — gas stations, diners, parking lots—is foretold in photorealist paintings that preceded their pictures.”

Shore has achieved recognition as a key figure in new color photography, a loosely defined movement whose practitioners have brought serious aesthetic considerations to color photography as an art form. Shore’s body of work includes banal images of everyday subject matter – the back wall of a parking lot, yellow traffic stripes, a tabletop place setting in a restaurant – in sparsely populated areas that convey his formalistic vision of balance and serenity.

[Stephen Shore and William Eggleston] are inseparable from the recognition of color photography as a legitimate medium of artistic expression. Long into the 1970s, the view of Walker Evans, the American photographer of the 1920s and 1930s, that "color photography is vulgar," was still considered axiomatic. Serious photography was only executed in black and white: color photography, expensive to use and with prints that were unstable when exposed to light, was left to the applied, commercial side of photography, to advertising and journalism. We now know that Evans, who propounded this doctrine, had worked intensively in color himself long before, but had not been satisfied with the results except in a very few cases.

As is well known, viewing a color photograph is different from looking at a black-and-white one. Film theorist Stanley Cavell has noted that both in photographs and in movies, black-and-white pictures are psychologically perceived as documents of completed action. The motifs in color photographs, however, appear to be from the present, or even in a certain sense from the future. They are less burdened with the labor of memory, and are therefore easier to approach. As source material for scholarship, they are more exact, because the colors of the period concerned are reproduced. Since color photographs are one stage less abstract than black-and-white ones, they seem to us to be more concrete and to have a more direct connection with the world.

Text from Stephen Shore, The Nature of Photographs:

The next transformative element is the frame. A photograph has edges; the world does not. The edges separate what is in the picture from what is not. Robert Adams aimed his camera down a little bit and to the right, included a railroad track in [his] photograph of a partially clear-cut Western landscape, and sent a chilling reverberation through the image’s content and meaning. The frame corrals the content of the photograph all at once. The objects, people, events, or forms that are in the forefront of a photographer’s attention when making the fine framing decisions are the recipients of the frame’s emphasis. The frame resonates off them and, in turn, draws the viewer’s attention to them.

Just as monocular vision creates juxtapositions of lines and shapes within the image, edges create relationships between these lines and shapes and the frame. The relationships that the edges create are both visual and "contentual."

The men in the foreground of this photograph by Helen Levitt bear a visual relationship not only to each other, but also to the lines of the frame. The frame energizes the space around the figures. These formal qualities unite the disparate action of this picture – the seated man with his stolid stare, the languid dialogue of the two men on the left, and the street-wise angularity of the central figure – into the jazzy cohesion of 1940s New York City street life.

For some pictures the frame acts passively. It is where the picture ends. The structure of the picture begins within the image and works its way out to the frame.

Books of his photographs include Uncommon Places: 50 Unpublished Photographs; Essex County; The Gardens at Giverny; Stephen Shore: Photographs 1973 – 1993; and The Velvet Years, Andy Warhol’s Factory, 1965 – 1967. In 1998, Johns Hopkins University Press published The Nature of Photographs, a book Shore wrote about how photographs function (reprinted in an expanded edition by Phaidon Press). Most recently, Aperture has published Uncommon Places: The Complete Work, and Phaidon has published American Surfaces.

Currently Shore is the director of the photography department at Bard College, a position he has held since 1982.

Background and biographical information is from Wikipedia articles on:

Stephen Shore that can be found at…
http://en.wikipedia.org/wiki/Stephen_Shore

Also see…

Masters of Photography: Stephen Shore…
http://www.masters-of-photography.com/S/shore/shore.html

by Gerald Boerner

“An old abbot was fond of saying, ‘The devil is always the most active on the highest feast days.’ ”
— Edward Hays

“Thanks be to God for his unspeakable Gift— indescribable, inestimable, incomparable inexpressible – precious beyond words.”
— Lois Lebar

“For the Christ-child who comes is the Master of all; No palace too great, no cottage too small.”
— Phillips Brooks

“A prison cell, in which one waits, hopes… and is completely dependent on the fact that the door of freedom has to be opened from the outside, is not a bad picture of Advent.”
— Dietrich Bonhoeffer

“Take time to be aware that in the very midst of our busy preparations for the celebration of Christ’s birth in ancient Bethlehem, Christ is reborn in the Bethlehems of our homes and daily lives. Take time, slow down, be still, be awake to the Divine Mystery that looks so common and so ordinary yet is wondrously present.”
— Edward Hays

“In spite of the many benefits God has blessed us with, how many times do we complain about little difficulties and trials? We lose sight of the big picture and fail to appreciate the really important things. Just as we cannot benefit from a wrapped gift under a Christmas tree until we open it, so gratitude can be seen as our way of opening the gift of God’s love intended by all the small and big positive events of our lives.”
— Ronda De Sola Chervin

“Advent is concerned with that very connection between memory and hope which is so necessary to man. Advent’s intention is to awaken the most profound and basic emotional memory within us, namely, the memory of the God who became a child. This is a healing memory; it brings hope. The purpose of the Church’s year is continually to rehearse her great history of memories, to awaken the heart’s memory so that it can discern the star of hope.…”
— Joseph Cardinal Ratzinger

“Advent, like its cousin Lent, is a season for prayer and reformation of our hearts. Since it comes at winter time, fire is a fitting sign to help us celebrate Advent…If Christ is to come more fully into our lives this Christmas, if God is to become really incarnate for us, then fire will have to be present in our prayer. Our worship and devotion will have to stoke the kind of fire in our souls that can truly change our hearts. Ours is a great responsibility not to waste this Advent time.”
— Edward Hays

Holiday Season: Advent

Advent (from the Latin word adventus meaning "coming") is a season observed in many Western Christian churches, a time of expectant waiting and preparation for the celebration of the Nativity of Jesus at Christmas. It is the beginning of the Western liturgical year and commences on Advent Sunday, called Levavi. The Eastern churches’ equivalent of Advent is called the Nativity Fast, but it differs both in length and observances and does not begin the church year, which starts instead on 1 September.

The progression of the season may be marked with an Advent calendar, a practice introduced by German Lutherans. At least in the Roman Catholic, Lutheran and Anglican calendars, Advent starts on the fourth Sunday before December 25, the Sunday between November 27 and December 3 inclusive.

Latin adventus is the translation of the Greek word parousia, commonly used in reference to the Second Coming. Christians believe that the season of Advent serves a reminder both of the original waiting that was done by the Hebrews for the birth of their Messiah as well as the waiting of Christians for the second coming of Christ.

Traditions

The theme of readings and teachings during Advent is often to prepare for the Second Coming while commemorating the First Coming of Christ at Christmas. With the view of directing the thoughts of Christians to the first coming of Jesus Christ as savior and to his second coming as judge, special readings are prescribed for each of the four Sundays in Advent.

The usual liturgical colour in Western Christianity for Advent is purple or blue. The purple colour is often used for hangings around the church, on the vestments of the clergy, and often also the tabernacle. On the 3rd Sunday of Advent, Gaudete Sunday, rose may be used instead, referencing the rose used on Laetare Sunday, the 4th Sunday of Lent. In some Christian denominations, blue, a colour representing hopefulness, is an alternative liturgical colour for Advent, a custom traced to the usage of the Church of Sweden (Lutheran) and the medieval Sarum Rite in England. In addition, the colour blue is also used in the Mozarabic Rite (Catholic & Anglican), which dates to the eighth century. This color is often referred to as "Sarum blue". The Lutheran Book of Worship lists blue as the preferred colour for Advent while the Methodist Book of Worship identifies purple or blue as being appropriate for Advent. There has been an increasing trend to supplant purple with blue during Advent as it is an hopeful season of preparation that anticipates both Bethlehem and the consummation of history in the second coming of Jesus Christ. Proponents of this new liturgical trend argue that purple is traditionally associated with solemnity and somberness, which is fitting to the repentant character of Lent. During the Nativity Fast, red is used among the denominations of Eastern Christianity, although gold is an alternative colour.

Many churches make use of Advent
wreaths during this season, with one
candle representing each of the four
Sundays of Advent. The rose candle
is lit on the 3rd Sunday of Advent.
During Christmas Day, four white
candles are used.

The "Late Advent Weekdays", December 17-24, mark the singing of the Great Advent ‘O antiphons’. These are the antiphons for the Magnificat at Vespers, or Evening Prayer (in the Roman Catholic and Lutheran churches) and Evensong in Anglican churches each day and mark the forthcoming birth of the Messiah. They form the basis for each verse of the popular Advent hymn, "O come, O come, Emmanuel".

From the 4th century the season was kept as a period of fasting as strict as that of Lent (commencing in some localities on 11 November; this being the feast day of St. Martin of Tours, the fast became known as "St. Martin’s Lent", "St. Martin’s Fast" or the "forty days of St. Martin"). The feast day was in many countries a time of frolic and heavy eating, since the 40-day fast began the next day. In the Anglican and Lutheran churches this fasting rule was later relaxed, with the Roman Catholic Church doing likewise later, but still keeping Advent as a season of penitence. In addition to fasting, dancing and similar festivities were forbidden in these traditions. The third Sunday in Lent was a Rose Sunday, when the color of the vestments was changed and a relaxation of the fast was permitted. The Eastern Orthodox and Oriental Orthodox churches still hold the tradition of fasting for 40 days before the Nativity Feast.

 Censing During Solemn Advent
Vespers (St. Mary’s Catholic
Church, Greenville,
South Carolina).

In many countries Advent was long marked by diverse popular observances, some of which still survive. In England, especially in the northern counties, there was a custom (now extinct) for poor women to carry around the "Advent images", two dolls dressed to represent Jesus and the Blessed Virgin Mary. A halfpenny coin was expected from every one to whom these were exhibited and bad luck was thought to menace the household not visited by the doll-bearers before Christmas Eve at the latest.

In Normandy, farmers employed children under twelve to run through the fields and orchards armed with torches, setting fire to bundles of straw, and thus it is believed driving out such vermin as are likely to damage the crops. In Italy, among other Advent celebrations, is the entry into Rome in the last days of Advent of the Calabrian pifferari, or bagpipe players, who play before the shrines of Mary, the mother of Jesus, the Italian tradition being that the shepherds played these pipes when they came to the manger at Bethlehem to pay homage to the infant Jesus. It is the second most important tradition behind Easter for Roman Catholics.

In recent times the commonest observance of Advent outside church circles has been the keeping of an advent calendar or advent candle, with one door being opened in the calendar, or one section of the candle being burned, on each day in December leading up to Christmas Eve.

End of the liturgical year

In Anglican churches the Sunday before Advent is sometimes nicknamed Stir-up Sunday after the opening lines of the Book of Common Prayer collect for that day. In the Roman Catholic Church since 1969, and in most Anglican churches since at least 2000, the final Sunday of the liturgical year before Advent has been celebrated as the Feast of Christ the King. This feast is now also widely observed in many Protestant churches, sometimes as the Reign of Christ. In consequence, the collect for the first Sunday of Advent in the Episcopal Church USA is no longer "stir up". Since the 1979 revision of the Book of Common Prayer that collect is read on the third Sunday of the season.

Background and biographical information is from Wikipedia articles on:

Holiday Season: Advent that can be found at…
http://en.wikipedia.org/wiki/Advent

by Gerald Boerner

“It is better to be alone than in bad company.”
— George Washington

“It is impossible to rightly govern a nation without God and the Bible.”
— George Washington

“Associate with men of good quality if you esteem your own reputation; for it is better to be alone than in bad company.”
— George Washington

“Be courteous to all, but intimate with few, and let those few be well tried before you give them your confidence.”
— George Washington

“Ninety-nine percent of the failures come from people who have the habit of making excuses.”
— George Washington

“Government is not reason, it is not eloquence, it is force; like fire, a troublesome servant and a fearful master. Never for a moment should it be left to irresponsible action.”
— George Washington

“The propitious smiles of Heaven can never be expected on a nation that disregards the eternal rules of order and right which Heaven itself has ordained.”
— George Washington

“Let us with caution indulge the supposition that morality can be maintained without religion. Reason and experience both forbid us to expect that national morality can prevail in exclusion of religious principle.”
— George Washington

Death of George Washington

George Washington was the commander of the Continental Army in the American Revolutionary War (1775–1783) and the first President of the United States of America (1789–1797). For his central role in the formation of the United States, he is often referred to as the father of his country.

The Continental Congress appointed Washington commander-in-chief of the American revolutionary forces in 1775. The following year, he forced the British out of Boston, lost New York City, and crossed the Delaware River in New Jersey, defeating the surprised enemy units later that year. As a result of his strategy, Revolutionary forces captured the two main British combat armies at Saratoga and Yorktown. Negotiating with Congress, the colonial states, and French allies, he held together a tenuous army and a fragile nation amid the threats of disintegration and failure. Following the end of the war in 1783, King George III asked what Washington would do next and was told of rumors that he’d return to his farm; this prompted the king to state, “If he does that, he will be the greatest man in the world.” Washington did return to private life and retired to his plantation at Mount Vernon.

He presided over the Philadelphia Convention that drafted the United States Constitution in 1787 because of general dissatisfaction with the Articles of Confederation. Washington became President of the United States in 1789 and established many of the customs and usages of the new government’s executive department. He sought to create a nation capable of surviving in a world torn asunder by war between Britain and France. His unilateral Proclamation of Neutrality of 1793 provided a basis for avoiding any involvement in foreign conflicts. He supported plans to build a strong central government by funding the national debt, implementing an effective tax system, and creating a national bank. Washington avoided the temptation of war and a decade of peace with Britain began with the Jay Treaty in 1795; he used his prestige to get it ratified over intense opposition from the Jeffersonians. Although never officially joining the Federalist Party, he supported its programs and was its inspirational leader. Washington’s farewell address was a primer on republican virtue and a stern warning against partisanship, sectionalism, and involvement in foreign wars.

Washington was awarded the very first Congressional Gold Medal with the Thanks of Congress.

Washington died in 1799, and the funeral oration delivered by Henry Lee stated that of all Americans, he was “first in war, first in peace, and first in the hearts of his countrymen”.

Eulogy of George Washington

Henry Lee III was an early American patriot who served as the Governor of Virginia and as the Virginia Representative to the United States Congress. During the American Revolution, Lee served as a cavalry officer in the Continental Army and earned the name Light Horse Harry. He was also the father of Confederate general Robert E. Lee.

Lee’s eulogy was:

First in war, first in peace and first in the hearts of his countrymen, he was second to none in the humble and endearing scenes of private life. Pious, just, humane, temperate and sincere — uniform, dignified and commanding — his example was as edifying to all around him as were the effects of that example lasting… Correct throughout, vice shuddered in his presence and virtue always felt his fostering hand. The purity of his private character gave effulgence to his public virtues… Such was the man for whom our nation mourns.

Thomas Jefferson, a fellow Virginian, wrote of Washington’s character:

His mind was great and powerful, without being of the very first order; his penetration strong, though not so acute as that of a Newton, Bacon, or Locke; and as far as he saw, no judgment was ever sounder…He was incapable of fear, meeting personal dangers with the calmest unconcern. Perhaps the strongest feature in his character was prudence, never acting until every circumstance, every consideration, was maturely weighed; refraining if he saw a doubt, but, when once decided, going through with his purpose, whatever obstacles opposed. His integrity was most pure, his justice the most inflexible I have ever known… It truly be said that never did nature and fortune combine more perfectly to make a great man.

After retiring from the presidency in March 1797, Washington returned to Mount Vernon with a profound sense of relief. He devoted much time to farming.

On July 4, 1798, Washington was commissioned by President John Adams to be Lieutenant General and Commander-in-chief of the armies raised or to be raised for service in a prospective war with France. He served as the senior officer of the United States Army between July 13, 1798, and December 14, 1799. He participated in the planning for a Provisional Army to meet any emergency that might arise, but did not take the field.

On December 12, 1799, Washington spent several hours inspecting his farms on horseback, in snow and later hail and freezing rain. He sat down to dine that evening without changing his wet clothes. The next morning, he awoke with a bad cold, fever, and a throat infection called quinsy that turned into acute laryngitis and pneumonia. Washington died on the evening of December 14, 1799, at his home aged 67, while attended by Dr. James Craik, one of his closest friends, Dr. Gustavus Richard Brown, Dr. Elisha C. Dick, and Tobias Lear V, Washington’s personal secretary. Lear would record the account in his journal, writing that Washington’s last words were “‘Tis well.” Modern doctors believe that Washington died largely because of his treatment, which included calomel and bloodletting, resulting in a combination of shock from the loss of five pints of blood, as well as asphyxia and dehydration.

Throughout the world men and women were saddened by Washington’s death. Napoleon ordered ten days of mourning throughout France and in the United States thousands wore mourning clothes for months. To protect their privacy, Martha Washington burned the correspondence between her husband and herself following his death. Only three letters between the couple have survived.

Other Events on this Day

• In 1774…
  Four months before the Battle of Lexington, 400 Patriots attack Fort William and Mary at Portsmouth, New Hampshire, to capture powder and small arms.
• In 1799…
  George Washington dies at Mount Vernon, his home in Virginia.
• In 1902…
  A ship begins laying the first transpacific telegraph cable between San Francisco and Honolulu.
• In 1947…
  NASCAR is founded in Daytona Beach, Florida.
• In 1972…
  Apollo 17 astronaut Eugene Cernan is the last person to walk on the moon during the twentieth century.

Dates and events based on:

William J. Bennett and John Cribb, (2008) The American Patriot’s Almanac Daily Readings on America. (Kindle Edition)

Background information is from Wikipedia articles on:

George Washington profile that can be found at…
http://en.wikipedia.org/wiki/George_Washington

Henry Lee III profile that can be found at…
http://en.wikipedia.org/wiki/Henry_Lee_III