King was born in New York City in 1849, the son of David H. King, [6] a wealthy property owner of... more King was born in New York City in 1849, the son of David H. King, [6] a wealthy property owner of Lower East Side tenements. [7][8] Having been educated in New York City, which had prepared him for college, King decided to pursue a business career early on instead and in 1870 became a contractor. [2] David H. King Jr. started his building career in masonry and became a general contractor. In 1877 the architects Charles William Clinton and James W. Pirrson commissioned King to do the masonry work for their Queen Insurance Company Building (37-39 Wall Street). [9] In 1878, when apartments were associated with tenements rather than homes to the financially comfortable, Miers Coryell commissioned the then up-and-coming architect Bruce Price and King Jr. to erect an upper-middle-class Queen Anne apartment house at 21 East 21st Street. The names of the builder and the architect are still visible on either side of the date stone on the building. [10] In the early 1880s when the idea of luxurious apartment living was picking up, a group of investors, Knickerbocker Apartment Company, purchased and demolished the mansion of the Knickerbocker Club on the southwest corner of 5th Avenue and 28th Street to build the Knickerbocker Apartment House. The company contracted King as a builder in 1882. [11] Early life Career Early career Statue of Liberty pedestal New York Dock Company Children 4 Parent David H. King (father) Relatives Alexi Lubomirski (great-great grandson) King's involvement with the building of the pedestal of the Statue of Liberty started in 1882, when the American Committee on the Statue of Liberty appointed him as the head of the special committee within the Executive Committee, the Building and Mechanics' Exchange Committee, where he was responsible for collecting subscriptions for the building of the pedestal from the respective occupational groups. [12] When the concrete base of the pedestal was completed in 1884, the Executive Committee outlined specifications for the stone pedestal and asked for proposals. However, as fundraising for the pedestal had been proving difficult and slow, [13][14][15][16] and the received tenders exceeded what the Committee could afford, Gen. Charles P. Stone, the engineer-in-chief of the pedestal proposed that only the facing of the statue be made of stone, the backing be entirely made of the best quality concrete. It was then that King offered to build the pedestal according to the original exterior design by Richard Morris Hunt and technical specifications of Gen. Stone for $132,500, "including the dressing of stone". [17] King also promised that in no event was he going to charge more than the sum initially stipulated, and that he would return to the Executive Committee, as his contribution to the Statue fund any profits which he might have made on the work. On behalf of the Committee, Stone signed a contract with King on May 16, 1884. [17] Upon the completion of the pedestal in 1886, the American Committee for the Statue of Liberty contracted with King to assemble the Statue, which task he completed by October 23, 1886. [18] On the day of the dedication of the Statue, October 28, 1886, King was in charge of all the arrangements on the then Bedloe's Island (renamed Liberty Island) and was one of the three men, with Auguste Bartholdi and Richard Butler, to be standing on the head of the Statue and holding a cord attached to the veil which had covered the Statue's face. [19] King's son, Van Rensselaer Choate (b. 1880), standing below the three men, gave them a sign with a white handkerchief to pull the rope and remove the cloth. [20] From 1878 to 1881 King completed the Long Island Historical Society building on the corner of Pierrepoint and Clinton Streets, which was designed by George B. Post and is now the Center for Brooklyn History. This was the first time for terracotta to be used in place of stone, as the best fireproof material then available. [21] Professional relationship with Post which started on the Long Island Historical Building project was responsible for many of the City's most prominent buildings in the 1880s and early 1890s. In 1882, in only one year, King completed the construction of the G.B. Post's Mills Building at 15 Broad Street and Exchange Place, across from the New York Stock Exchange (torn down in 1925), then the largest, most expensive and luxurious office building ever erected in New York City. [7] The Mills Building set a new standard by which other tall office buildings were judged in the City for more than a decade. [7] From 1885 to 1887 King was a general constructor of a large extension to the Equitable Life Building (destroyed by fire in 1912), the headquarters of the Equitable Life Assurance Society of the United States, at 120 Broadway (including the removal of the mansard roof and replacing it with the eighth and ninth stories). Post designed the extension. [22] In 1889 King completed an ambitious enlargement of the New York Times Building at 41 Park Row designed by Post, adding eight stories and new foundations while the operations at the Times preexisting quarters proceeded, and the printing presses remained in place. [23] King "arrived at the conclusion that it [had been] perfectly feasible to carry on the entire business of the New York Times under what were abnormal conditions." [24] Describing the new structure Harper's Weekly compared King to Aladdin, whose "pure magic" had been "accomplished [...] by the means of practical 1880s and collaboration with George B. Post
Recently, the oeuvre of the German artist Anselm Kiefer, brimming with references to historical e... more Recently, the oeuvre of the German artist Anselm Kiefer, brimming with references to historical events, Germanic, Nordic, Egyptian, and Middle Eastern mythology as well as assorted religions features intensified interest in Jewish mysticism. The intention of the author of this article is to decode the artist's particular works explicitly referring via the title or the visual stratum to ideas derived from the written sources of the Kabbalah (The Book of Creation, Etz Chaim) as well as those preceding them (Hekhalot). Particular conceptions of Jewish mysticism present in the works of Anselm Kiefer - the journey across seven celestial palaces and communing with the Throne of God, His emanations (Sefirot), the female element (Shekhinah), the Tree of Life, the pre-catastrophe (shattered vessels), God's withdrawal (tzimtzum) and the rectification of the world (tikkun) - comprise the structural axis of the text and were presented upon the basis of works by Gershom Scholem. A discussion about successive mystical ideas is accompanied by matching them with the artist's concrete works. The author also proposed to insert into the context of Jewish mysticism those of Kiefer's works that originated before the artist became interested in Judaism as well as those, which literally referred to cultural circles other than the Judaeo-Christian one (e.g. the myth of Osiris and Isis). At the same time, the analysis refers to such themes as material (e.g. lead). The author perceives the presence of the Kabbalah shevira - a mystical catastrophe - in a considerable number of the artist's works referring to destruction, including those evoking the Holocaust and thus opposing the universally held view linking Kiefer's oeuvre with readiness to work through the traumatic lineage of the German nation.
Recently, the oeuvre of the German artist Anselm Kiefer, brimming with references to historical e... more Recently, the oeuvre of the German artist Anselm Kiefer, brimming with references to historical events, Germanic, Nordic, Egyptian, and Middle Eastern mythology as well as assorted religions features intensified interest in Jewish mysticism. The intention of the author of this article is to decode the artist's particular works explicitly referring via the title or the visual stratum to ideas derived from the written sources of the Kabbalah (The Book of Creation, Etz Chaim) as well as those preceding them (Hekhalot). Particular conceptions of Jewish mysticism present in the works of Anselm Kiefer - the journey across seven celestial palaces and communing with the Throne of God, His emanations (Sefirot), the female element (Shekhinah), the Tree of Life, the pre-catastrophe (shattered vessels), God's withdrawal (tzimtzum) and the rectification of the world (tikkun) - comprise the structural axis of the text and were presented upon the basis of works by Gershom Scholem. A discussion about successive mystical ideas is accompanied by matching them with the artist's concrete works. The author also proposed to insert into the context of Jewish mysticism those of Kiefer's works that originated before the artist became interested in Judaism as well as those, which literally referred to cultural circles other than the Judaeo-Christian one (e.g. the myth of Osiris and Isis). At the same time, the analysis refers to such themes as material (e.g. lead). The author perceives the presence of the Kabbalah shevira - a mystical catastrophe - in a considerable number of the artist's works referring to destruction, including those evoking the Holocaust and thus opposing the universally held view linking Kiefer's oeuvre with readiness to work through the traumatic lineage of the German nation.
King was born in New York City in 1849, the son of David H. King, [6] a wealthy property owner of... more King was born in New York City in 1849, the son of David H. King, [6] a wealthy property owner of Lower East Side tenements. [7][8] Having been educated in New York City, which had prepared him for college, King decided to pursue a business career early on instead and in 1870 became a contractor. [2] David H. King Jr. started his building career in masonry and became a general contractor. In 1877 the architects Charles William Clinton and James W. Pirrson commissioned King to do the masonry work for their Queen Insurance Company Building (37-39 Wall Street). [9] In 1878, when apartments were associated with tenements rather than homes to the financially comfortable, Miers Coryell commissioned the then up-and-coming architect Bruce Price and King Jr. to erect an upper-middle-class Queen Anne apartment house at 21 East 21st Street. The names of the builder and the architect are still visible on either side of the date stone on the building. [10] In the early 1880s when the idea of luxurious apartment living was picking up, a group of investors, Knickerbocker Apartment Company, purchased and demolished the mansion of the Knickerbocker Club on the southwest corner of 5th Avenue and 28th Street to build the Knickerbocker Apartment House. The company contracted King as a builder in 1882. [11] Early life Career Early career Statue of Liberty pedestal New York Dock Company Children 4 Parent David H. King (father) Relatives Alexi Lubomirski (great-great grandson) King's involvement with the building of the pedestal of the Statue of Liberty started in 1882, when the American Committee on the Statue of Liberty appointed him as the head of the special committee within the Executive Committee, the Building and Mechanics' Exchange Committee, where he was responsible for collecting subscriptions for the building of the pedestal from the respective occupational groups. [12] When the concrete base of the pedestal was completed in 1884, the Executive Committee outlined specifications for the stone pedestal and asked for proposals. However, as fundraising for the pedestal had been proving difficult and slow, [13][14][15][16] and the received tenders exceeded what the Committee could afford, Gen. Charles P. Stone, the engineer-in-chief of the pedestal proposed that only the facing of the statue be made of stone, the backing be entirely made of the best quality concrete. It was then that King offered to build the pedestal according to the original exterior design by Richard Morris Hunt and technical specifications of Gen. Stone for $132,500, "including the dressing of stone". [17] King also promised that in no event was he going to charge more than the sum initially stipulated, and that he would return to the Executive Committee, as his contribution to the Statue fund any profits which he might have made on the work. On behalf of the Committee, Stone signed a contract with King on May 16, 1884. [17] Upon the completion of the pedestal in 1886, the American Committee for the Statue of Liberty contracted with King to assemble the Statue, which task he completed by October 23, 1886. [18] On the day of the dedication of the Statue, October 28, 1886, King was in charge of all the arrangements on the then Bedloe's Island (renamed Liberty Island) and was one of the three men, with Auguste Bartholdi and Richard Butler, to be standing on the head of the Statue and holding a cord attached to the veil which had covered the Statue's face. [19] King's son, Van Rensselaer Choate (b. 1880), standing below the three men, gave them a sign with a white handkerchief to pull the rope and remove the cloth. [20] From 1878 to 1881 King completed the Long Island Historical Society building on the corner of Pierrepoint and Clinton Streets, which was designed by George B. Post and is now the Center for Brooklyn History. This was the first time for terracotta to be used in place of stone, as the best fireproof material then available. [21] Professional relationship with Post which started on the Long Island Historical Building project was responsible for many of the City's most prominent buildings in the 1880s and early 1890s. In 1882, in only one year, King completed the construction of the G.B. Post's Mills Building at 15 Broad Street and Exchange Place, across from the New York Stock Exchange (torn down in 1925), then the largest, most expensive and luxurious office building ever erected in New York City. [7] The Mills Building set a new standard by which other tall office buildings were judged in the City for more than a decade. [7] From 1885 to 1887 King was a general constructor of a large extension to the Equitable Life Building (destroyed by fire in 1912), the headquarters of the Equitable Life Assurance Society of the United States, at 120 Broadway (including the removal of the mansard roof and replacing it with the eighth and ninth stories). Post designed the extension. [22] In 1889 King completed an ambitious enlargement of the New York Times Building at 41 Park Row designed by Post, adding eight stories and new foundations while the operations at the Times preexisting quarters proceeded, and the printing presses remained in place. [23] King "arrived at the conclusion that it [had been] perfectly feasible to carry on the entire business of the New York Times under what were abnormal conditions." [24] Describing the new structure Harper's Weekly compared King to Aladdin, whose "pure magic" had been "accomplished [...] by the means of practical 1880s and collaboration with George B. Post
Recently, the oeuvre of the German artist Anselm Kiefer, brimming with references to historical e... more Recently, the oeuvre of the German artist Anselm Kiefer, brimming with references to historical events, Germanic, Nordic, Egyptian, and Middle Eastern mythology as well as assorted religions features intensified interest in Jewish mysticism. The intention of the author of this article is to decode the artist's particular works explicitly referring via the title or the visual stratum to ideas derived from the written sources of the Kabbalah (The Book of Creation, Etz Chaim) as well as those preceding them (Hekhalot). Particular conceptions of Jewish mysticism present in the works of Anselm Kiefer - the journey across seven celestial palaces and communing with the Throne of God, His emanations (Sefirot), the female element (Shekhinah), the Tree of Life, the pre-catastrophe (shattered vessels), God's withdrawal (tzimtzum) and the rectification of the world (tikkun) - comprise the structural axis of the text and were presented upon the basis of works by Gershom Scholem. A discussion about successive mystical ideas is accompanied by matching them with the artist's concrete works. The author also proposed to insert into the context of Jewish mysticism those of Kiefer's works that originated before the artist became interested in Judaism as well as those, which literally referred to cultural circles other than the Judaeo-Christian one (e.g. the myth of Osiris and Isis). At the same time, the analysis refers to such themes as material (e.g. lead). The author perceives the presence of the Kabbalah shevira - a mystical catastrophe - in a considerable number of the artist's works referring to destruction, including those evoking the Holocaust and thus opposing the universally held view linking Kiefer's oeuvre with readiness to work through the traumatic lineage of the German nation.
Recently, the oeuvre of the German artist Anselm Kiefer, brimming with references to historical e... more Recently, the oeuvre of the German artist Anselm Kiefer, brimming with references to historical events, Germanic, Nordic, Egyptian, and Middle Eastern mythology as well as assorted religions features intensified interest in Jewish mysticism. The intention of the author of this article is to decode the artist's particular works explicitly referring via the title or the visual stratum to ideas derived from the written sources of the Kabbalah (The Book of Creation, Etz Chaim) as well as those preceding them (Hekhalot). Particular conceptions of Jewish mysticism present in the works of Anselm Kiefer - the journey across seven celestial palaces and communing with the Throne of God, His emanations (Sefirot), the female element (Shekhinah), the Tree of Life, the pre-catastrophe (shattered vessels), God's withdrawal (tzimtzum) and the rectification of the world (tikkun) - comprise the structural axis of the text and were presented upon the basis of works by Gershom Scholem. A discussion about successive mystical ideas is accompanied by matching them with the artist's concrete works. The author also proposed to insert into the context of Jewish mysticism those of Kiefer's works that originated before the artist became interested in Judaism as well as those, which literally referred to cultural circles other than the Judaeo-Christian one (e.g. the myth of Osiris and Isis). At the same time, the analysis refers to such themes as material (e.g. lead). The author perceives the presence of the Kabbalah shevira - a mystical catastrophe - in a considerable number of the artist's works referring to destruction, including those evoking the Holocaust and thus opposing the universally held view linking Kiefer's oeuvre with readiness to work through the traumatic lineage of the German nation.
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