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London Company
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The Virginia Company of London
Former type
Public
Industry
Company colonies
Fate
Dissolved
Predecessor
None
Successor
The Somers Isles Company (in Bermuda)
Founded
1606
Defunct
1624
Headquarters
London, Kingdom of England
Number of locations
Jamestown, Virginia, St. George's, Bermuda, Bermuda Hundred, Virginia, Henricus, Virginia, Charles City Point, Virginia
Area served
Virginia, Bermuda, New England
Products
Cash crops, Tobacco, Timber
The London Company (also called the Charter of the Virginia Company of London) was an English joint stock company established in 1606 by royal charter by King James I with the purpose of establishing colonial settlements in North America.[1]
The territory granted to the London Company included the eastern coast of America from the 34th parallel (Cape Fear) north to the 41st parallel (in Long Island Sound). As part of the Virginia Company and Colony, the London Company owned a large portion of Atlantic and Inland Canada. The company was permitted by its charter to establish a 100-square-mile (260 km2) settlement within this area. The portion of the company's territory north of the 38th parallel was shared with the Plymouth Company, with the stipulation that neither company found a colony within 100 miles (161 km) of each other.
The London Company made landfall on 26 April 1607, at the southern edge of the mouth of the Chesapeake Bay, which they named Cape Henry, near present-day Virginia Beach. Deciding to move the encampment, on 4 May 1607, they established the Jamestown Settlement on the James River about 40 miles (64 km) upstream from its mouth at the Chesapeake Bay. Later in 1607, the Plymouth Company established its Popham Colony in present-day Maine, but it was abandoned after about a year. By 1609, the Plymouth Company had dissolved. As a result, the charter for the London Company was adjusted with a new grant that extended from "sea to sea" of the previously-shared area between the 38th and 40th parallel. It was amended in 1612 to include the new territory of the Somers Isles (or Bermuda).
The London Company struggled financially, especially with labour shortages in its Virginia colony. Its profits improved after sweeter strains of tobacco than the native variety were cultivated and successfully exported from Virginia as a cash crop beginning in 1612. By 1619 a system of indentured service was fully developed in the colony;[2] the same year the home government passed a law that prohibited the commercial growing of tobacco in England.[3] In 1624, the company lost its charter, and Virginia became a royal colony. (Its spin-off, The London Company of The Somers Isles, operated until 1684).
Contents
[hide]
1 History
1.1 Founding
1.2 First expedition
1.3 Charter of 1609
1.4 Collapse and dissolution
2 Native American relationships
3 See also
4 References
5 Further reading
6 External links
History[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2014) (Learn how and when to remove this template message)
The 1606 grants by James I to the London and Plymouth companies. The overlapping area (yellow) was granted to both companies on the condition that neither found a settlement within 100 miles (160 km) of the other. Jamestown is noted by "J." The Spanish settlement of Saint Augustine and the French settlements of Québec, Port-Royal, and Popham are also shown
In Renaissance England, wealthy merchants were eager to find investment opportunities, so they established a number of companies to trade in various parts of the world. Each company was made up of individuals who purchased shares of company stock. The Crown granted a charter to each company with a monopoly to explore, settle, or trade with a particular region of the world. Profits were shared among the investors according to the amount of stock that each owned. More than 6,300 Englishmen invested in joint stock companies between 1585 and 1630, trading in Russia, Turkey, Africa, the East Indies, the Mediterranean, and North America.
Founding[edit]
Investors in the Virginia Company hoped to profit from the natural resources of the New World. In 1606 Captain Bartholomew Gosnold obtained of King James I a charter for two companies. The first, for the South-Virginia or London Company, covered what are now Maryland, Virginia and Carolina, between Latitude 34° and Latitude 41° North. Gosnold's principal backers were Sir Thomas Gates, Sir George Somers, Edward Wingfield and Richard Hakluyt. The second Company, the Plymouth Adventurers, were empowered to settle as far as 45° North, encompassing what are present day Pennsylvania, New Jersey, New York, and New England.[4] The Company paid all the costs of establishing each colony, and in return controlled all land and resources there, requiring all settlers to work for the Company.
The first leader of the Virginia Company in England was its treasurer, Sir Thomas Smythe, who arranged the 1609 charter. He had been governor of the East India Company since 1603 and continued with one break until 1620.
In an extensive publicity campaign, Wingfield, Gosnold and a few others, circulated pamphlets, plays, sermons and broadsides throughout England to raise interest in New World investments. Shareholders could buy stock individually or in groups. Almost 1,700 people purchased shares, including men of different occupations and classes, wealthy women, and representatives of institutions such as trade guilds, towns and cities. Investors, called "adventurers", purchased shares of stock to help finance the costs of establishing overseas settlements. Money from the sale of stock was used to pay for ships and supplies and to recruit and outfit laborers. A single share of stock in the Virginia Company cost 12 pounds 10 shillings, the equivalent of more than six months' wages for an ordinary working man.
The largest single investor was Thomas West, Lord de la Warre, who served as the first governor of Virginia between 1610 and 1618. (The English colonists named the Delaware River and Native American Lenape tribe for him.)
The business of the company was the settlement of the Virginia colony, supported by a labour force of voluntary transportees under the customary indenture system. In exchange for 7 years of labor for the company, the company provided passage, food, protection, and land ownership (if the worker survived).
First expedition[edit]
See also: Jamestown, Virginia and History of Jamestown, Virginia (1607–99)
In December 1606, the Virginia Company's three ships, containing 144 man and boys (with only one man who died during the voyage[citation needed]), set sail from Blackwall, London. After an unusually long voyage of 144 days, they made landfall on 26 April 1607 at the southern edge of the mouth of what they named the James River on the Chesapeake Bay. They named this shore as Cape Henry. They were attacked by Native Americans, and the settlers moved north. On 14 May 1607, these first settlers selected the site of Jamestown Island, further upriver and on the northern shore, as the place to build their fort.
In addition to survival, the early colonists were expected to make a profit for the owners of the Virginia Company. Although the settlers were disappointed that gold did not wash up on the beach and gems did not grow in the trees, they realised there was great potential for wealth of other kinds in their new home. Early industries, such as glass manufacture, pitch and tar production for naval stores, and beer and wine making took advantage of natural resources and the land's fertility. From the outset settlers thought that the abundance of timber would be the primary leg of the economy, as Britain's forests had long been felled. The seemingly inexhaustible supply of cheap American timber was to be the primary enabler of England's (and then Britain's) rise to maritime (merchant and naval) supremacy. However, the settlers could not devote as much time as the Virginia Company would have liked to developing commodity products for export. They were too busy trying to survive.
Within the three-sided fort erected on the banks of the James, the settlers quickly discovered that they were, first and foremost, employees of the Virginia Company of London, following instructions of the men appointed by the Company to rule them. In exchange, the laborers were armed, and received clothes and food from the common store. After seven years, they were to receive land of their own. The gentlemen, who provided their own armor and weapons, were to be paid in land, dividends or additional shares of stock.
Initially, the colonists were governed by a president and seven-member council selected by the King. Leadership problems quickly erupted. Jamestown's first two leaders coped with varying degrees of success with sickness, assaults by Native Americans, poor food and water supplies, and class strife. Many colonists were ill-prepared to carve out a new settlement on a frontier. When Captain John Smith became Virginia's third president, he proved the strong leader that the colony needed. Industry flourished and relations with Chief Powhatan's people improved.
Charter of 1609[edit]
Main article: Second Virginia Charter
The 1608 grant to the Virginia Company of London "from sea to sea" is shown demarcated in red. The later grant to the Plymouth Council of New England is shown in green.
In 1609, the Virginia Company received its Second Charter, which allowed the Company to choose its new governor from amongst its shareholders. Investment boomed as the Company launched an intensive recruitment campaign. Over 600 colonists set sail for Virginia between March 1608 and March 1609.
Sir Thomas Gates, Virginia's deputy governor, bound for the colony in the Third Supply aboard the Sea Venture, was shipwrecked in Bermuda, along with the Admiral of the Company, Sir George Somers, Captain Newport, and 147 other settlers and seamen. When Gates finally arrived to take up his new post in 1610, with most of the survivors of the Sea Venture (on two new ships built in Bermuda, the Deliverance and the Patience), he found that only 60 of the original 214 colonists had survived the infamous "Starving Time" of 1609–1610.[5] Most of these were dying or ill. Despite the abundance of food which Gates' expedition brought from Bermuda (which had necessitated the building of two ships), it was clear the colony was not yet self-sufficient and could not survive.
The survivors of Jamestown were taken aboard the Deliverance and the Patience, and the colony was abandoned. Gates intended to transport all the settlers back to England, but the fortuitous arrival of another relief fleet, bearing Governor Lord De la Warre, granted Jamestown a reprieve. All the settlers were put ashore again, and Sir George Somers returned to Bermuda aboard the Patience to obtain more food. (Somers died there, and his nephew, Matthew Somers, the captain of the Patience, sailed the vessel to Lyme Regis in England, instead, to claim his inheritance).
Collapse and dissolution[edit]
After 1620, with growing demand for tobacco on the continent, the Company arranged to sell Virginia tobacco in the Netherlands, but the next year and despite company pleas to maintain the privilege of freedom of trade, the Privy Council forbade the export of any product of Virginia to a foreign country until the commodities had been landed in England, and English duties had been paid.[3] By 1621, the Company was in trouble; unpaid dividends and increased use of lotteries had made future investors wary. The Company debt was now over £9,000. Worried Virginians were hardly reassured by the advice of pragmatic Treasurer Sandys, who warned that the Company "cannot wish you to rely on anything but yourselves." In March 1622, the Company's and the colony's situation went from dire to disastrous when, during the Indian massacre of 1622, the Powhatan confederacy killed one-quarter of the European population of the Virginia colony.
When the Crown and company officials proposed a fourth charter, severely reducing the Company's ability to make decisions in the governing of Virginia, subscribers rejected it. King James I forthwith changed the status of Virginia in 1624, taking control of it as a royal colony to be administered by a governor appointed by the King. The government's colonial policy of export restrictions however, did not change. The Crown approved the election of a Virginia Assembly in 1627. This form of government, with governor and assembly, would oversee the colony of Virginia until 1776, excepting only the years of the English Commonwealth.
Bermuda had been separated from the Virginia Company in 1614, when the Crown briefly took over its administration. In 1615, the shareholders of the Virginia Company created a new company, the Somers Isles Company, which continued to operate Bermuda. It was subsequently, also known officially as The Somers Isles (for the Admiral of the Virginia Company, Sir George Somers) until being dissolved in 1684 and made a royal colony.
Native American relationships[edit]
The instructions issued to Sir Thomas Gates, on 20 November 1608, called for a forcible conversion of Native Americans to Anglicanism and their subordination to the colonial administration. The records of the company record a discussion during one of its first meetings about publishing a justification of their business enterprise methods to "give adventurers, a clearness and satisfaction, a public debate where Catholics and neutrals might attack them. Whereas Catholic arguments would be in support of Spanish legal claims to the New World under the Treaty of Tordesillas, it was feared that the neutral "pen-adversaries" might "cast scruples into our conscience" by criticising the lawfulness of the plantation." It was decided to forego such a publication of a justification.
In 1608, Sir Edward Coke, in his capacity as Lord Chief Justice, offered a ruling in Calvin's Case that went beyond the issue at hand: whether a Scotsman could seek justice at an English Court. Coke distinguished between aliens from nations at war with England and friendly aliens, those from nations in league with England. Friendly aliens could have recourse to English courts. But he also ruled that with "all infidels" (i.e. those from non-Christian nations), there could be no peace, and a state of perpetual hostility would exist between them and Christians.[6]
In 1609, the company issued instructions to settlers to kidnap Native American children so as to indoctrinate them with English values and religion. These instructions also sanctioned attacking the Iniocasoockes, the cultural leaders of the local Powhatans. Only after Thomas West, 3rd Baron De La Warr arrived in 1610, was the Company able to commence a war against the Powhatan with the First Anglo-Powhatan War. De La Warr was replaced by Sir Thomas Dale, who continued the war. It was during this period that Pocahontas married John Rolfe.
The military offensive was accompanied by a propaganda war: Alderman Robert Johnson published Nova Britannia, in 1609, which compared Native Americans to wild animals--"heardes of deere in a forest". While it portrayed the Powhatan as peace-loving, it threatened to deal with any who resisted conversion to Anglicanism as enemies of 'their' country. (Johnson was the son-in-law of Sir Thomas Smythe, treasurer of the Company in London and leader of its "court" faction.)
The Company began to turn a profit after 1612, when planting a couple of new varieties of tobacco yielded a product that appealed more to English tastes than the native tobacco. Tobacco became the commodity crop of the colony, and settlers were urged to cultivate more. The colony struggled with labor shortages as mortality was high.
In 1622, the Second Anglo-Powhatan War erupted. Its origins are disputed. English apologists for the company say that Opchanacanough initiated the war. Robert Williams, a 21st-century Native American Law Professor, argues that Opchanacanough had secured concessions from Governor Yeardley which the company would not accept.[citation needed] Thus, Opchanacanough's attack, on 18 April 1622, may have been a pre-emptive attempt to defeat the colony before reinforcements arrived.[citation needed]
In about a day, the Powhatan killed 350 of 1,240 colonists, destroying some outlying settlements. The Virginia Company quickly published an account of this attack. It was steeped in Calvinist theology of the time: the massacre was the work of Providence in that it was justification for the destruction of the Powhatan, and building English settlements over their former towns. New orders from the London Company directed a "perpetual war without peace or truce" "to root out from being any longer a people, so cursed a nation, ungrateful to all benefitte, and incapable of all goodnesses."[citation needed] Within two years, the Crown took over the territory in 1624 as a royal colony.
See also[edit]
Companies portal
Richard Hakluyt, a director of the company
Jamestown, Virginia
List of trading companies
Somers Isles Company
Sir Edwin Sandys
Thomas Graves
References[edit]
Jump up ^ Charles Wankel (16 June 2009). Encyclopedia of business in today's world. SAGE Publications. p. 333. ISBN 978-1-4129-6427-2. Retrieved 8 April 2011.
Jump up ^ Karl Frederick Geiser, Redemptioners and indentured servants in the colony and commonwealth of Pennsylvania, p.5. Supplement to the Yale Review, Vol. X, No. 2, August, 1901.
^ Jump up to: a b Chapter III - The Commercial Policy of England Toward the American Colonies: the Acts of Trade, p.37 in Emory R. Johnson, T. W. Van Metre, G. G. Huebner, D. S. Hanchett, History of Domestic and Foreign Commerce of the United States - Vol. 1, Carnegie Institution of Washington, 1915. Retrieved 2016-01-15 – via Questia (subscription required)
Jump up ^ Anderson, Adam (1764). An Historical and Chronological Deduction of the Origin of Commerce. 1. p. 471.
Jump up ^ "Archived copy". Archived from the original on 2009-04-16. Retrieved 2013-10-26. Association for the Preservation of Virginia Antiquities: Jamestown History
Jump up ^ Williams, Robert A. (1990). The American Indian in Western Legal Thought. Oxford; New York: Oxford University Press. ISBN 0195050223. OCLC 18948630. 0195050223{{inconsistent citations}}
Further reading[edit]
The Three Charters of the Virginia Company of London edited and introduction by Samuel M. Bemiss, published by Virginia's 350th Anniversary Celebration Corp, 1957, Williamsburg, Virginia. ISBN 0-8063-5088-1
Dissolution of the Virginia Company: The Failure of a Colonial Experiment by Wesley Frank Craven, published by Oxford University Press, 1932, New York
The Virginia Company of London, 1606-1624, by Wesley Frank Craven, published by University Press of Virginia, 1957, Charlottesville, Virginia. ISBN 0-8063-4555-1
The First Seventeen Years: Virginia, 1607-1624, by Charles E. Hatch, Jr. ISBN 0-8063-4739-2
History of the Virginia Company of London with Letters to and from the First Colony Never Before Printed, by Edward D. Neill, originally published by Joel Munsell, 1869, Albany, New York, reprinted by Brookhaven Press ISBN 1-58103-401-6
Love and Hate in Jamestown: John Smith, Pocahontas, and the Heart of A New Nation, by David A. Price, published by Alfred A. Knopf, 2003, New York
External links[edit]
London Company nowadays (founded in 1994, not related in any way other than the name)
List of original settlers Jamestown Rediscovery
1606 Charter of the Virginia Company of London
National Park Service brief
Daily Republican: The Virginia Company
Library of Congress images of manuscript and printed editions of the Records of the Virginia Company of London
The Anglo-Powhatan Wars
Richmond Times Dispatch: Virginia's roots reach to Bermuda
The Virginia Company of London, 1606-1624 - Free ebook from manybooks.net
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Canon EOS 600D
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Not to be confused with Canon EOS 60D.
Canon EOS 600D/EOS Rebel T3i/EOS Kiss X5
Overview
Type
Digital single-lens reflex camera
Lens
Lens
Canon EF lens mount, Canon EF-S lens mount
Sensor/Medium
Sensor
CMOS APS-C 22.3 × 14.9 mm (1.6x conversion factor)
Maximum resolution
5,184×3,456 (18.0 effective megapixels)
ASA/ISO range
ISO 100 to 6400 (expandable to 12800)
Storage
Secure Digital Card
Secure Digital High Capacity
Secure Digital Extended Capacity
Focusing
Focus modes
AI Focus, One-Shot, AI Servo, Live View
Focus areas
9 AF points, (f/5.6 cross type at centre, extra sensitivity at f/2.8)
Exposure/Metering
Exposure modes
Scene Intelligent Mode (or Full Auto), Portrait, Landscape (Daylight, Shade, Cloudy, Sunset, Default setting), Close-up, Sports, Night Portrait, No Flash, Program AE, Shutter-priority, Aperture-priority, Manual, Auto Depth-of-field, Movie
Exposure metering
Full aperture TTL, 63-zone SPC
Metering modes
Evaluative, Spot (4% at center), Partial (9% at center), Center-weighted average
Flash
Flash
E-TTL II automatic built-in pop-up
Flash bracketing
Yes
Shutter
Shutter
focal-plane
Shutter speed range
1/4000 to 30 sec and bulb, 1/200 s X-sync
Continuous shooting
3.7 frame/s for 34 JPEG or 6 raw frames
Viewfinder
Viewfinder
Eye-level pentamirror SLR, 95% coverage, 0.85× magnification, and electronic (Live View)
Image Processing
Custom WB
Auto, Daylight, Shade, Cloudy, Tungsten, Fluorescent, Flash, Custom
WB bracketing
+/- 3 stops for 3 frames
General
Rear LCD monitor
3 in 3:2 color TFT LCD, 1,040,000 dots, articulated
Battery
LP-E8 Lithium-Ion rechargeable battery
Optional battery packs
BG-E8 grip
Dimensions
133.1 mm × 99.5 mm × 79.7 mm
Weight
560 g (20 oz) (including battery and card)
Made in
Taiwan/Japan
The Canon EOS 600D is an 18.0 megapixel digital single-lens reflex camera, released by Canon on 7 February 2011.[1] It is known as the EOS Kiss X5 in Japan and the EOS Rebel T3i in the Americas. The 600D is the second Canon EOS camera with an articulating LCD screen and supersedes the 550D, although the earlier model was not discontinued until June 2012, when the successor of the 600D, the 650D, was announced.
Contents
[hide]
1 Feature list
2 Video
3 Successor
4 See also
5 References
6 External links
Feature list[edit]
18.0 effective megapixel APS-C CMOS sensor
Full HD 1080p video recording at 24/25/30 frame/s
HD 720p video recording at 50/60 frame/s
3–10× Digital Zoom in video recording (available only in 1080p).
One reviewer concluded that this feature takes a 1920×1080 crop from the middle of the sensor frame for the "3×" zoom, but was unable to confirm this with Canon.[2] This feature has not been included in any subsequent models of the Rebel line, or in the EOS M mirrorless camera, but returned with the 2013 release of the EOS 70D.
DIGIC 4 image processor
14-bit analog to digital signal conversion
3.0-inch (76 mm) Vari-angle 3:2 aspect ratio LCD articulating screen.
The screen, inherited from the mid-range 60D, is also notable in that its aspect ratio matches that of the sensor—a rare feature among DSLRs at the time of introduction.[3]
Live view mode
Built in flash with Speedlite wireless multi-flash support
9 point AF with centre cross-type sensor sensitive at f/2.8
Four metering modes, using 63 zones: spot, partial, center-weighted average, and evaluative metering.
Highlight tone priority
EOS integrated cleaning system
sRGB and Adobe RGB colour spaces
ISO 100–6,400 expandable to 12,800
Continuous drive up to 3.7 frame/s (34 images (JPEG), 6 images (raw))
SD, SDHC, and SDXC memory card file storage
RAW and large JPEG simultaneous recording
Eye-Fi support
USB 2.0, HDMI interface
LP-E8 battery
Video[edit]
As with many DSLRs and unlike the SLT cameras, the 600D does not have continuous auto-focus while filming video; to keep a moving subject in focus the user must either trigger the auto-focus, as when shooting stills, or track the subject's motion manually.
Successor[edit]
The successor of Canon EOS 600D was[4] the Canon EOS 650D, equipped with a newly-developed Hybrid CMOS sensor that enabled full-time AF during video and live view mode, and had a multi-touch vari-angle display for one touch shooting. The DIGIC V image processor gave 5 fps of continuous shooting speed and enabled the capture of HDR images with just one click of the shutter button. The Canon 650D also came with a multi-frame NR mode and Handheld Night Scene mode. DPReview praised its innovative touch screen, but also pointed out that with regard to auto-focussing in live view mode the 650D was "still far behind the better mirrorless models we have seen from the likes of Panasonic and Olympus as well as rival Nikon's 1 series". [5]
See also[edit]
Canon EF lens mount
Canon EF-S lens mount, a subset of the EF mount designed for cameras with APS-C sensors such as the 600D
Comparison of Canon EOS digital cameras
References[edit]
Jump up ^ "Canon Rebel T3i / EOS 600D announced and previewed". Digital Photography Review. 7 February 2011. Retrieved 7 February 2011.
Jump up ^ Laing, Gordon (April 2011). "Canon EOS 600D / Rebel T3i Movie Mode". CameraLabs.com. Retrieved 4 September 2011.
Jump up ^ Laing, Gordon (April 2011). "Canon EOS 600D / Rebel T3i design and controls". CameraLabs.com. Retrieved 16 October 2011.
Jump up ^ Dey, Abhishek (June 2012). "Canon EOS 650D". thenewcamera.com. Retrieved 4 August 2015.
Jump up ^ "Canon EOS 650D/Rebel T4i In-Depth Review, Conclusion". DPReview. Retrieved 4 September 2015.
External links[edit]
Media related to Canon EOS 600D at Wikimedia Commons
Canon 600D Product Page at Canon USA
[show]
v
t
e
Canon EOS digital camera timeline (comparison)
Type Sensor 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018
2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
DSLR Full-frame 1Ds 1Ds Mk II 1Ds Mk III 1D C
1D X 1D X Mk II
5DS / 5DS R
5D 5D Mk II‡ 5D Mk III‡ 5D Mk IV
6D‡ 6D Mk II
APS-H 1D 1D Mk II 1D Mk II N 1D Mk III 1D Mk IV
APS-C 7D‡ 7D Mk II
20Da 60Da
D30 D60 10D 20D 30D 40D 50D‡ 60D‡ 70D 80D
760D 77D
300D 350D 400D 450D 500D‡ 550D‡ 600D‡ 650D‡ 700D‡ 750D 800D
100D 200D
1000D 1100D‡ 1200D‡ 1300D
MILC APS-C M5
M‡ M2 M3 M6
M10 M100
Type Sensor 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4
2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018
Early models
Canon EOS DCS 5 (1995)
Canon EOS DCS 3 (1995)
Canon EOS DCS 1 (1995)
Canon EOS D2000 (1998)
Canon EOS D6000 (1998)
‡These cameras are supported by Magic Lantern
Image processor: Non-DIGIC DIGIC | DIGIC II | DIGIC III | DIGIC 4 | DIGIC 5 / 5+ | DIGIC 6 / 6+ | DIGIC 7
Video: 720p | 1080p | Uncompressed 1080p | 4K
Specialty models: A - astrophotography | C - Cinema EOS | S - high resolution camera
See also: Canon EOS film cameras
[show]
v
t
e
DSLR, SLT and MILC cameras with HD video (uncompressed – 4K resolution) mode (comparison)
Canon
EOS
High-end
5D Mark IIw (2008)
7Dgw (2009)
1D Mark IVw (2009)
1D Xgw (2012)
5D Mark IIIHgw (2012)
1D Cgw (2012)
6DHGW (2012)
7D Mark IITHGw (2014)
5Ds/5DsRTHw (2015)
1D X Mark IITHGw (2016)
5D Mark IVTHGW (2016)
6D Mark IITHGWB (2017)
Mid-range
500D (2009)
60Dw (2010)
550Dw (2010)
600Dw (2011)
650DgHw (2012)
MHwg (2012)
700DgHw (2013)
70DgHW (2013)
M2 (2013)
750DgHW (2015)
760DgHW (2015)
M3HW (2015)
80DgTHW (2016)
M5THWB (2016)
800DgTHWB (2017)
77DgTHWB (2017)
M6THWB (2017)
200DTHWgB (2017)
Entry-level
1100Dw (2011)
100DH (2013)
1200Dgw (2014)
M10HW (2015)
1300DgW (2016)
M100HWB (2017)
Nikon
D / 1 series
High-end
D300STgw (2009)
D3STgw (2009)
D800/D800ETHgw (2012)
D4THgw (2012)
D600THgw (2012)
D610THgw (2013)
D4STHgw (2014)
D810THgw (2014)
D750THgW (2014)
D810ATHgw (2015)
D500THgW (2016)
D5THgw (2016)
D850TSHgWB (2017)
Mid-range
D90gw (2008)
D5000Tgw (2009)
D7000Tgw (2010)
D5100THgw (2011)
1 V1TSFgw (2011)
1 V2SFgw (2012)
D5200THgw (2012)
D7100THgw (2013)
D5300THGW (2013)
1 V3SFHPgW (2014)
D5500THgW (2015)
D7200THgW (2015)
D5600THgWB (2016)
D7500THgWB (2017)
Entry-level
D3100gw (2010)
1 J1SFw (2011)
D3200gw (2012)
1 J2SFHPw (2012)
1 S1SFHPw (2013)
1 J3SFHPw (2013)
1 AW1SFHPGw (2013)
D3300Pgw (2014)
1 J4SFHPW (2014)
1 J5TSFHPW (2015)
D3400gwB (2016)
Olympus
Micro 4/3
Mid-range
E-M5 (2012)
E-P5W (2013)
E-M1HW (2013)
E-M10THW (2014)
PEN-FTHW (2016)
E-M1 Mark IITHW (2016)
E-M10 Mark IIITHW (2017)
Entry-level
E-PL1 (2010)
E-P1 (2010)
E-P2 (2010)
E-PL2 (2011)
E-PL3 (2011)
E-P3 (2011)
E-PM1 (2011)
E-PL5W (2012)
E-PM2 (2012)
E-PL7W (2014)
E-PL8W (2016)
Panasonic
Lumix
Mid-range
GH1 (2009)
GH2 (2010)
GH3THW (2012)
GX7 (2013)
GM1THW (2013)
GH4THW (2014)
GH5THW (2017)
Entry-level
GF1 (2009)
G10 (2010)
G2 (2010)
GF2 (2010)
G3 (2011)
GX1 (2011)
GF3 (2011)
GF5 (2012)
G5 (2012)
G6 (2013)
Pentax
645 / K /
Q series
High-end
645DTH (2010)
645ZTHgw (2014)
K-1THGW (2016)
Mid-range
K-7TH (2009)
K-5THg (2010)
K-30THg (2012)
K-5 II/K-5 IIsTHg (2012)
K-50THg (2013)
K-3THgw (2013)
K-3 IITHGw (2015)
K-70THgw (2016)
KPTHW (2017)
Entry-level
K-xH (2009)
K-rTHg (2010)
QT (2011)
K-01THg (2012)
Q10T (2012)
K-500THg (2013)
Q7T (2013)
Q-S1T (2014)
Samsung
NX series
High-end
NX1 (2014)
Mid-range
NX5Pg (2010)
NX10Pg (2010)
NX11Pg (2010)
NX20PgW (2012)
NX30 (2013)
Galaxy NXPgW (2013)
NX500 (2015)
Entry-level
NX100Pg (2010)
NX200Pg (2011)
NX1000PgW (2012)
NX210PgW (2012)
NX300PgW (2013)
NX1100PgW (2013)
NX2000PgW (2013)
Sony
α
High-end
α99VHPG/α99HP (2012)
α7/α7RHPgW (2013)
α7SSHPgW (2014)
α7IIHPgW (2014)
α7RIISHPgW (2015)
α7SIISHPgW (2015)
α99 II (2016)
Mid-range
α580HP (2010)
α560HP (2010)
α55VHPG/α55HP (2010)
α77VHPG/α77HP (2011)
NEX-7HP (2011)
NEX-6HPW (2011)
α65VHPG/α65HP (2011)
α57HP (2012)
α58HP (2013)
α6000HPW (2014)
α77 IIHPW (2014)
α6300SHPgW (2016)
α6500TSHPgW (2016)
Entry-level
NEX-3/NEX-3CHP (2010)
NEX-5/NEX-5CHP (2010)
α33HP (2010)
α35HP (2011)
NEX-5NHP (2011)
NEX-C3HP (2011)
NEX-F3HP (2012)
α37HP (2012)
NEX-5RHPW (2012)
NEX-5THPW (2013)
α3000 (2013)
α5000 (2014)
Leica
Fujifilm X / G
High-end
Leica M (2012)
Leica S (2014)
Leica SL (2015)
Fujifilm X-Pro2W (2016)
Fujifilm X-T2PTW (2016)
Fujifilm GFX 50SW (2017)
Leica TL2W(2017)
Mid-range
Fujifilm X-Pro1 (2012)
Fujifilm X-E1 (2012)
Fujifilm X-E2W (2013)
Fujifilm X-T1W (2014)
Fujifilm X-T10W (2015)
Fujifilm X-T20PTW (2017)
Fujifilm X-E3PTWB (2017)
Entry-level
Fujifilm X-M1W (2013)
Fujifilm X-A1W (2013)
Fujifilm X-A2W (2015)
Fujifilm X-A3PW (2016)
Fujifilm X-A10W (2016)
Hasselblad XCD / H
High-end
Hasselblad X1D-50cGW (2016)
H6XH (2016)
H6D-50cHW (2016)
H6D-100cHW (2016)
TimelapseT
Slow motionS
Fast fpsF
HDRH
PanoramaP
GPSG(opt.)g
WiFiW(opt.)w
BluetoothB
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de Young Museum
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Art museum in California, United States
M. H. de Young Memorial Museum
Location within San Francisco
De Young Museum (California)
De Young Museum (the US)
Show map of San Francisco Show map of California Show map of the US Show all
Established
March 24, 1895
Location
50 Hagiwara Tea Garden Drive, San Francisco, California, United States
Coordinates
37°46′17″N 122°28′07″W / 37.771389°N 122.468611°W / 37.771389; -122.468611
Type
Art museum
Visitors
1,546,993 (2012)[1]
Ranked 6th nationally
Ranked 35th globally
Public transit access
44 O'Shaughnessy, N Judah, 5 Fulton, 28 19th Avenue, San Francisco Municipal Railway
Website
http://www.deyoungmuseum.org
"Cover Pot" for the Teotihuacan show, 2017-18. Avian effigy, 250 - 350 AD
The M. H. de Young Memorial Museum, commonly referred as the de Young, is a fine arts museum located in San Francisco's Golden Gate Park, and one of the Fine Arts Museums of San Francisco along with the Legion of Honor. The de Young is named for its founder, early San Francisco newspaperman M. H. de Young. Since June 1, 2016, Max Hollein has served as the Director and CEO of the Fine Arts Museums of San Francisco, overseeing the de Young and Legion of Honor museums.[2]
Contents
[hide]
1 History
2 Collections
2.1 American
2.2 International contemporary
2.3 Textiles and costumes
2.4 Africa, Pacific, and the Americas
3 Architecture
4 Notes
5 References
6 External links
History[edit]
The museum opened in 1895 as an outgrowth of the California Midwinter International Exposition of 1894 (a fair modeled on the Chicago World's Columbian Exposition of the previous year). It was housed in an Egyptian revival structure which had been the Fine Arts Building at the fair. The building was badly damaged in the 1906 San Francisco earthquake, and was closed for a year and a half for repairs. Before long, the museum's steady development called for a new space to better serve its growing audiences. Michael de Young responded by planning the building that would serve as the core of the de Young facility through the 20th century. Louis Christian Mullgardt, the coordinator for architecture for the 1915 Panama-Pacific International Exposition, designed the Spanish-Plateresque-style building. The new structure was completed in 1919 and formally transferred by de Young to the city's park commissioners. In 1921, de Young added a central section, together with a tower that would become the museum's signature feature, and the museum began to assume the basic configuration that it retained until 2001. Michael de Young's great efforts were honored with the changing of the museum's name to the M. H. de Young Memorial Museum. Another addition, a west wing, was completed in 1925, the year de Young died. In 1929 the original Egyptian-style building was declared unsafe and demolished. By 1949, the elaborate cast concrete ornamentation of the original de Young was determined to be a hazard and removed because the salt air from the Pacific had rusted the supporting steel.
As part of the agreement that created the Fine Arts Museums of San Francisco in 1972, the de Young's collection of European art was sent to the Legion of Honor. In compensation, the de Young received the right to display the bulk of the organization's anthropological holdings. These include significant pre-Hispanic works from Teotihuacan and Peru, as well as indigenous tribal art from sub-Saharan Africa. The building was severely damaged by the 1989 Loma Prieta earthquake.[3] It in turn was demolished and replaced by a new building in 2005. The only remaining original elements of the old de Young are the vases and sphinxes located near the Pool of Enchantment. The palm trees in front of the building are also original to the site.
Collections[edit]
The de Young showcases American art from the 17th through the 21st centuries, international contemporary art, textiles, and costumes, and art from the Americas, the Pacific and Africa.
American[edit]
The American art collection consists of over 1,000 paintings,[4] 800 sculptures, and 3,000 decorative arts objects.[5] With works ranging from 1670 to the present day, this collection represents the most comprehensive museum survey of American art in the American West and is among the top ten collections nationally that encompass the entire history of non-indigenous American art. Since its inception in the Fine Arts Building at the California Midwinter International Exposition of 1894 in Golden Gate Park, its subsequent institutionalization in the M. H. de Young Memorial Museum in 1924, and its reinstallation in the new de Young in 2005, the permanent collection has evolved exponentially.
Rainy Season in the Tropics by Frederic Edwin Church (1866)
In 1978, the American art collections were transformed by the decision of John D. Rockefeller III and Blanchette Hooker Rockefeller to donate their renowned collection of 110 paintings, 29 drawings, and 2 sculptures to the Fine Arts Museums of San Francisco where they would be on view at the de Young. His bequest in 1979 together with her bequest in 1993 are among the Fine Arts Museums’ single most important gifts of art.
The de Young’s chronological survey of American art includes galleries devoted to art in the following areas: Native American and Spanish Colonial; Anglo-Colonial; Federal era art and Neoclassical; Victorian genre and realism; trompe l’oeil still life; the Hudson River School, Barbizon, and Tonalism; Impressionism and the Ashcan School; Arts and Crafts; Modernism; Social Realism and American Scene; Surrealism and Abstraction; Beat, Pop, and Figurative; and Contemporary.
Although the permanent collection is national in scope, art made in California from the Gold Rush era to the present day is also on display in the de Young. Important California collections with national significance include examples of Spanish colonial, Arts and Crafts, and Bay Area Figurative and Assemblage art. Important among them are the most significant museum collections of works by Bay Area painter Chiura Obata and sculptor Ruth Asawa.
The permanent collection galleries integrate decorative arts objects with paintings and sculptures, emphasizing the artistic, social, and political context for the works on display. While essentially chronological, the installation also juxtaposes works from different cultures and time periods to emphasize the historical connections between works in the collection. Painters with paintings in this art museum include; John Singleton Copley, John Vanderlyn, Thomas Cole (Prometheus Bound), Thomas Hill, Thomas Wood (Newspaper Vendor), Samuel Brookes, John Peto, Childe Hassam, Edmund C. Tarbell (The Blue Veil), George Hitchcock, Maynard Dixon, Otis Oldfield, Granville Redmond, Thomas Hart Benton (Susannah and the Elders), David Park, Richard Diebenkorn, Mel Ramos, and Wayne Thiebaud.
In January 2017, the institution announced a significant new addition to its collection of American Art through the acquisition of 62 works by 22 contemporary African American Arts, including Thornton Dial's Blood And Meat: Survival For the World (1992) and Lost Cows (2000-1), Joe Light's Dawn (1988), Jessie T. Pettway's Bars and String-Pierced Columns (1950's), Lonnie Holley's Him and Her Hold the Root (1994) and Joe Minter's Camel at the Watering Hole (1995) The works are currently exhibited in Revelations: Art from the African American South, on view until April 1, 2018.[12].
Archives of American Art
Since 1991, the American Art Department has housed a set of the Smithsonian Institution’s Archives of American Art microfilm collection. In conjunction with the Bothin Library and department research files, the American Art Study Center is the most important research center for American art on the West Coast.
International contemporary[edit]
In 1988, the Fine Arts Museums made a commitment to collect international contemporary art. In addition to works in traditional media, this commitment has expanded the museums’ holdings of works in new or multiple media––including installation and conceptual works, video and other time-based media, and photography and other lens-based media––to more accurately reflect contemporary art practice.
Recent contemporary acquisitions include Wall of Light Horizon (2005), by Sean Scully and signature sculptures by Zhan Wang and Cornelia Parker. The strength of the collection lies in artists associated with California, including Piotr Abraszewski, Christopher Brown, Squeak Carnwath, Jim Christiansen, Robert Colescott, Hung Liu, Bruce Nauman, Rachel Neubauer, Ed Ruscha and Masami Teraoka.
Lens-based and time-based media represent a new area of growth, with works by Nigel Poor, Catherine Wagner, Rebeca Bollinger, Alan Rath and the Propeller Group. The museums have also acquired works by international artists such as Anish Kapoor, Odd Nerdrum, Gottfried Helnwein, Doris Salcedo, David Nash, Barbara Hepworth, and Richard Deacon.
Textiles and costumes[edit]
The Fine Arts Museums’ textiles collection[6] boasts more than 13,000 textiles and costumes from around the world. It is one of the largest and most comprehensive collections of its type in the United States. It comprises costume and costume accessories; loom-woven textiles; non-woven fabrics such as bark cloth, felt, and knitting; and objects whose primary decoration is produced through techniques such as beading and embroidery. With holdings that span two and a half millennia and represent cultures from 125 countries, the textile arts collection enables the museums to draw connections across cultures and enrich its other collections.
Highlights from the collection include extraordinary Turkmen carpets, rare 12th through 15th-century Central Asian and North Indian silks, the most important group of Anatolian kilims outside Turkey, European tapestries, and contemporary fiber art.
The de Young has exhibited fashion since the 1930s and is known for its 20th-century couture, particularly from the post–World War II era, with pieces by Dior, Balenciaga, Madame Grès, Yves Saint Laurent, Chanel, Ralph Rucci, and Kaisik Wong. There are equally compelling collections of 18th and 19th-century European fans, an excellent lace collection, a spectacular group of European ecclesiastical vestments and furnishings, and a growing collection of contemporary wearable art. With holdings that span two and a half millennia and represent cultures from 125 countries, the textile arts collection enables the museums to draw connections across cultures and enrich other areas of the permanent collection.
Throughout the year, the Lonna and Marshall Wais and Diana Dollar Knowles and Gorham B. Knowles costume and textile arts gallery hosts several exhibitions featuring the diverse range of these collections as well as important traveling exhibitions. In addition to the larger rotating textiles presentations in the main gallery, the T.B Walker Family Education Gallery houses small, didactic displays and contains study drawers illustrating representative pieces from the entire collection accentuate different textile techniques.
In August 2017 The Summer of Love Experience: Art, Fashion, and Rock & Roll marked another highlight at the de Young. The exhibition celebrated the 50th anniversary of the Summer of Love[7] and featured fashion from the late sixties from the museum's permanent collection and on loan from Bay Area independent designers. Record breaking 270,000 visitors[8] from around the world came to the de Young to relieve the Summer of Love.
Africa, Pacific, and the Americas[edit]
More than 1,400 stellar examples from the eastern Sudan, the Guinea coast, west and central Africa, eastern and southern Africa, and elsewhere on the continent are included in the Fine Arts Museums’ African art collection[9] at the de Young. The African art collection is presented thematically rather than geographically, emphasizing the aesthetic and expressive qualities of the art.
The Oceanic collections[10] were charter collections of the de Young, their nucleus formed in 1894 at the California Midwinter International Exposition in Golden Gate Park. Additional Oceanic works of sculpture, basketry, tapa, ceramics, and lithics have since been acquired, bringing the holdings to more than 3,000. Highlights of the collection include a 10-foot (3.0 m) housepost from the Iatmul people of the Sepik River in Papua New Guinea, a group of brightly painted carvings used in malanggan ceremonials of New Ireland, a roll of feather money from Nindu Island of Santa Cruz, a fan from the Marquesas Islands of Polynesia, a rare navigation figure from the Caroline Islands of Micronesia, and a selection of powerful wood carvings from the Maori peoples of New Zealand.
The Art of the Americas collections[11] are of national significance to art history, anthropology, and world history, and they have helped establish the de Young as a primary source for cultural research and study. The extensive collection of ancient American and Native American art comprises nearly 2,000 works of art from Meso-America, Central and South America, and the West Coast of North America. Art from cultures indigenous to the American continents was a defining feature of the museum’s charter collection and continues to be an area of significant growth. Special galleries are devoted to ancient objects from Mexico, including an outstanding grouping of Teotihuacan murals.
Architecture[edit]
Museum, with Hamon Tower on the right
The current building was completed by architects Jacques Herzog, Pierre de Meuron and Fong + Chan and opened on October 15, 2005. Structural, civil and geotechnical engineering was provided by Rutherford & Chekene; Arup provided mechanical and electrical engineering. Herzog & de Meuron won the competition in January 1999 beating out other short-listed architects Tadao Ando and Antoine Predock. The terrain and seismic activity in San Francisco posed a challenge for the designers Herzog & de Meuron and principal architects Fong & Chan. To help withstand future earthquakes, “[the building] can move up to three feet (91 centimeters) due to a system of ball-bearing sliding plates and viscous fluid dampers that absorb kinetic energy and convert it to heat”.[12]
A new museum structure located in the middle of an urban park was initially controversial. San Francisco voters twice defeated bond measures that were to fund the new museum project. After the second defeat, the museum itself planned to relocate to a location in the financial district. However, an effort led by generous supporters arose and kept the museum in the Golden Gate Park.
The designers were sensitive to the appearance of the building in its natural setting. Walter Hood, a landscape architect based in Oakland, designed the museum's new gardens. The entire exterior is clad in 163,118 sq ft (15,154.2 m2) of copper, which is expected to eventually oxidize and take on a greenish tone and a distinct texture to echo the nearby eucalyptus trees. In order to further harmonize with the surroundings, shapes were cut into the top to reveal gardens and courtyards where 48 trees had been planted, the giant tree-ferns that form a backdrop for the museum entrance are particularly dramatic. 5.12 acres (20,700 square meters) of new landscaping were planted as well, with 344 transplanted trees and 69 historic boulders. The building is clad with variably perforated and dimpled copper plates, whose patina will slowly change through exposure to the elements. This exterior facade was developed and fabricated by engineers at Zahner.[13] A 144 ft. (44 m) observation tower allows visitors to see much of Golden Gate Park's Music Concourse (see below) and rises above the Park's treetops providing a view of the Golden Gate and Marin Headlands.
The twisting 144 foot (44 m) tall tower is a distinctive feature, and can be seen rising above the canopy of Golden Gate Park from many areas of San Francisco. The museum offers a two-floor museum store, free access to the lobby and tower, and a full-service cafe with outdoor seating in the Osher Sculpture Garden. The executive chef is Lance Holton.
Notes[edit]
Jump up ^ "Exhibition and museum attendance figures 2012" (PDF). London: The Art Newspaper. April 2013. Retrieved 6 March 2015.
Jump up ^ Jori Finkel (22 March 2016). "Fine Arts Museums in San Francisco Picks Max Hollein as Next Director". The New York Times. Retrieved 23 March 2016. In a surprising move, the Fine Arts Museums of San Francisco has gone beyond the United States for its next director, hiring Max Hollein away from the Städel Museum in Frankfurt.
Jump up ^ Amy Weaver Dorning "Museum Renovation: A Great Institution Gets Greater," American Heritage, Nov./Dec. 2006.
Jump up ^ "American Painting". de Young.
Jump up ^ "American Sculpture & Decorative Art". de Young.
Jump up ^ "Textile Arts". de Young.
Jump up ^ "The Summer of Love returns to San Francisco". Newsweek. 18 April 2017. Retrieved 22 May 2017.
Jump up ^ , Press Release by de Young Museum, accessed on 20 September 2017.
Jump up ^ "African Art". de Young.
Jump up ^ "Oceanic Art". de Young.
Jump up ^ "Art of the Americas". de Young.
Jump up ^ Ashmore
Jump up ^ Peter Hall. "Sheet Metal Magicians". Metropolis Magazine. Retrieved 2010-04-29.
References[edit]
This article includes a list of references, but its sources remain unclear because it has insufficient inline citations. Please help to improve this article by introducing more precise citations. (July 2010) (Learn how and when to remove this template message)
Ashmore, Lisa. “San Francisco's New de Young.” Architecture Week
Guthrie, Julian. “De Young's Rebirth.” San Francisco Chronicle, 15 October 2005.
King, John. “Into The Modern Age.” San Francisco Chronicle, 9 October 2005.
Sardar, Zahid. “Painting A New Landscape.” San Francisco Chronicle, 9 October 2005, retrieved 22 September 2006.
External links[edit]
Wikimedia Commons has media related to De Young Museum.
Official De Young Museum website
Critiquethis.us: Photographs of the Herzog & de Meuro building
Aplust.net: Architectural review by A+T architecture publishers
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Coordinates: 37°46′17″N 122°28′07″W / 37.771389°N 122.468611°W / 37.771389; -122.468611
Authority control
WorldCat Identities
BNE: XX5153321
BNF: cb14533099t (data)
GND: 610242-6
ISNI: 0000 0001 2178 0745
LCCN: n80051192
NKC: kn20111011004
NLA: 36545926
SUDOC: 118031368
ULAN: 500308558
VIAF: 202781784
Retrieved from "https://en.wikipedia.org/w/index.php?title=De_Young_Museum&oldid=838140289"
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