document_title: Abstract expressionism

question_text: who started the drip technique in art during abstract expressionism in the modern period

text: Abstract expressionism

text: Style[edit]

text: Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic, or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst, and David Alfaro Siqueiros. The newer research tends to put the exile-surrealist Wolfgang Paalen in the position of the artist and theoretician who fostered the theory of the viewer-dependent possibility space through his paintings and his magazine DYN. Paalen considered ideas of quantum mechanics, as well as idiosyncratic interpretations of the totemic vision and the spatial structure of native-Indian painting from British Columbia and prepared the ground for the new spatial vision of the young American abstracts. His long essay Totem Art (1943) had considerable influence on such artists as Martha Graham, Isamu Noguchi, Jackson Pollock, Mark Rothko and Barnett Newman.[3] Around 1944 Barnett Newman tried to explain America's newest art movement and included a list of "the men in the new movement." Paalen is mentioned twice; other artists mentioned are Gottlieb, Rothko, Pollock, Hofmann, Baziotes, Gorky and others. Motherwell is mentioned with a question mark.[4] Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all-over" look of Pollock's drip paintings.

text: The movement's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus, and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.[5] In practice, the term is applied to any number of artists working (mostly) in New York who had quite different styles, and even to work that is neither especially abstract nor expressionist. California Abstract Expressionist Jay Meuser, who typically painted in the non-objective style, wrote about his painting Mare Nostrum, "It is far better to capture the glorious spirit of the sea than to paint all of its tiny ripples." Pollock's energetic "action paintings", with their "busy" feel, are different, both technically and aesthetically, from the violent and grotesque Women series of Willem de Kooning's figurative paintings and the rectangles of color in Mark Rothko's Color Field paintings (which are not what would usually be called expressionist, and which Rothko denied were abstract). Yet all four artists are classified as abstract expressionists.

text: Abstract expressionism has many stylistic similarities to the Russian artists of the early 20th century such as Wassily Kandinsky. Although it is true that spontaneity or the impression of spontaneity characterized many of the abstract expressionists' works, most of these paintings involved careful planning, especially since their large size demanded it. With artists such as Paul Klee, Wassily Kandinsky, Emma Kunz, and later on Rothko, Barnett Newman, and Agnes Martin, abstract art clearly implied expression of ideas concerning the spiritual, the unconscious, and the mind.[6]

text: Why this style gained mainstream acceptance in the 1950s is a matter of debate. American social realism had been the mainstream in the 1930s. It had been influenced not only by the Great Depression, but also by the muralists of Mexico such as David Alfaro Siqueiros and Diego Rivera. The political climate after World War II did not long tolerate the social protests of these painters. Abstract expressionism arose during World War II and began to be showcased during the early forties at galleries in New York such as The Art of This Century Gallery. The McCarthy era after World War II was a time of artistic censorship in the United States, but if the subject matter were totally abstract then it would be seen as apolitical, and therefore safe. Or if the art was political, the message was largely for the insiders.[7]

text: While the movement is closely associated with painting, and painters such as Arshile Gorky, Franz Kline, Clyfford Still, Hans Hofmann, Willem de Kooning, Jackson Pollock, and others, collagist Anne Ryan and certain sculptors in particular were also integral to abstract expressionism.[8] David Smith, and his wife Dorothy Dehner, Herbert Ferber, Isamu Noguchi, Ibram Lassaw, Theodore Roszak, Phillip Pavia, Mary Callery, Richard Stankiewicz, Louise Bourgeois, and Louise Nevelson in particular were some of the sculptors considered as being important members of the movement. In addition, the artists David Hare, John Chamberlain, James Rosati, Mark di Suvero, and sculptors Richard Lippold, Raoul Hague, George Rickey, Reuben Nakian, and even Tony Smith, Seymour Lipton, Joseph Cornell, and several others[9] were integral parts of the Abstract expressionist movement. Many of the sculptors listed participated in the Ninth Street Show,[9] a famous exhibition curated by Leo Castelli on East Ninth Street in New York City in 1951. Besides the painters and sculptors of the period the New York School of Abstract expressionism also generated a number of supportive poets, including Frank O'Hara and photographers such as Aaron Siskind and Fred McDarrah, (whose book The Artist's World in Pictures documented the New York School during the 1950s), and filmmakers—notably Robert Frank—as well.

text: Although the abstract expressionist school spread quickly throughout the United States, the major centers of this style were New York City and the San Francisco Bay area of California.

text: Art critics of the post–World War II era[edit]

text: At a certain moment the canvas began to appear to one American painter after another as an arena in which to act. What was to go on the canvas was not a picture but an event.

text: In the 1940s there were not only few galleries (The Art of This Century, Pierre Matisse Gallery, Julien Levy Gallery and a few others) but also few critics who were willing to follow the work of the New York Vanguard. There were also a few artists with a literary background, among them Robert Motherwell and Barnett Newman, who functioned as critics as well.

text: While New York and the world were yet unfamiliar with the New York avant-garde by the late 1940s, most of the artists who have become household names today had their well-established patron critics: Clement Greenberg advocated Jackson Pollock and the color field painters like Clyfford Still, Mark Rothko, Barnett Newman, Adolph Gottlieb and Hans Hofmann; Harold Rosenberg seemed to prefer the action painters such as Willem de Kooning and Franz Kline, as well as the seminal paintings of Arshile Gorky; Thomas B. Hess, the managing editor of ARTnews, championed Willem de Kooning.

text: The new critics elevated their protégés by casting other artists as "followers"[11] or ignoring those who did not serve their promotional goal.

text: In 1958, Mark Tobey became the first American painter since Whistler (1895) to win top prize at the Venice Biennale.[12]

text: Barnett Newman, a late member of the Uptown Group, wrote catalogue forewords and reviews, and by the late 1940s became an exhibiting artist at Betty Parsons Gallery. His first solo show was in 1948. Soon after his first exhibition, Barnett Newman remarked in one of the Artists' Sessions at Studio 35: "We are in the process of making the world, to a certain extent, in our own image."[13] Utilizing his writing skills, Newman fought every step of the way to reinforce his newly established image as an artist and to promote his work. An example is his letter on April 9, 1955, "Letter to Sidney Janis: — it is true that Rothko talks the fighter. He fights, however, to submit to the philistine world. My struggle against bourgeois society has involved the total rejection of it."[14]

text: Strangely the person thought to have had most to do with the promotion of this style was a New York Trotskyist; Clement Greenberg. As long-time art critic for the Partisan Review and The Nation, he became an early and literate proponent of abstract expressionism. The well-heeled artist Robert Motherwell joined Greenberg in promoting a style that fit the political climate and the intellectual rebelliousness of the era.

text: Clement Greenberg proclaimed abstract expressionism and Jackson Pollock in particular as the epitome of aesthetic value. He supported Pollock's work on formalistic grounds as simply the best painting of its day and the culmination of an art tradition going back via Cubism and Cézanne to Monet, in which painting became ever-'purer' and more concentrated in what was 'essential' to it, the making of marks on a flat surface.[15]

text: Jackson Pollock's work has always polarised critics. Harold Rosenberg spoke of the transformation of painting into an existential drama in Pollock's work, in which "what was to go on the canvas was not a picture but an event". "The big moment came when it was decided to paint 'just to paint'. The gesture on the canvas was a gesture of liberation from value—political, aesthetic, moral."[16]

text: One of the most vocal critics of abstract expressionism at the time was New York Times art critic John Canaday. Meyer Schapiro and Leo Steinberg along with Clement Greenberg and Harold Rosenberg were important art historians of the post-war era who voiced support for abstract expressionism. During the early-to-mid-sixties younger art critics Michael Fried, Rosalind Krauss, and Robert Hughes added considerable insights into the critical dialectic that continues to grow around abstract expressionism.

text: History[edit]

text: World War II and the Post-War period[edit]

text: During the period leading up to and during World War II, modernist artists, writers, and poets, as well as important collectors and dealers, fled Europe and the onslaught of the Nazis for safe haven in the United States. Many of those who didn't flee perished. Among the artists and collectors who arrived in New York during the war (some with help from Varian Fry) were Hans Namuth, Yves Tanguy, Kay Sage, Max Ernst, Jimmy Ernst, Peggy Guggenheim, Leo Castelli, Marcel Duchamp, André Masson, Roberto Matta, André Breton, Marc Chagall, Jacques Lipchitz, Fernand Léger, and Piet Mondrian. A few artists, notably Pablo Picasso, Henri Matisse, and Pierre Bonnard remained in France and survived.

text: The post-war period left the capitals of Europe in upheaval, with an urgency to economically and physically rebuild and to politically regroup. In Paris, formerly the center of European culture and capital of the art world, the climate for art was a disaster, and New York replaced Paris as the new center of the art world. In Europe after the war there was the continuation of Surrealism, Cubism, Dada, and the works of Matisse. Also in Europe, Art brut,[17] and Lyrical Abstraction or Tachisme (the European equivalent to Abstract expressionism) took hold of the newest generation. Serge Poliakoff, Nicolas de Staël, Georges Mathieu, Vieira da Silva, Jean Dubuffet, Yves Klein, Pierre Soulages and Jean Messagier, among others are considered important figures in post-war European painting.[18] In the United States, a new generation of American artists began to emerge and to dominate the world stage, and they were called Abstract Expressionists.

text: Gorky, Hofmann, and Graham[edit]

text: The 1940s in New York City heralded the triumph of American Abstract expressionism, a modernist movement that combined lessons learned from Henri Matisse, Pablo Picasso, Surrealism, Joan Miró, Cubism, Fauvism, and early Modernism via great teachers in America such as Hans Hofmann from Germany and John D. Graham from Ukraine. Graham's influence on American art during the early 1940s was particularly visible in the work of Arshile Gorky, Willem de Kooning, Jackson Pollock, and Richard Pousette-Dart among others. Gorky's contributions to American and world art are difficult to overestimate. His work as lyrical abstraction[20][21][22][23][24] was a "new language.[20] He "lit the way for two generations of American artists".[20] The painterly spontaneity of mature works such as "The Liver is the Cock's Comb", "The Betrothal II", and "One Year the Milkweed" immediately prefigured Abstract expressionism, and leaders in the New York School have acknowledged Gorky's considerable influence. The early work of Hyman Bloom was also influential.[25] American artists also benefited from the presence of Piet Mondrian, Fernand Léger, Max Ernst, and the André Breton group, Pierre Matisse's gallery, and Peggy Guggenheim's gallery The Art of This Century, as well as other factors. Hans Hofmann in particular as teacher, mentor, and artist was both important and influential to the development and success of abstract expressionism in the United States. Among Hofmann's protégés was Clement Greenberg, who became an enormously influential voice for American painting, and among his students was Lee Krasner, who introduced her teacher, Hofmann, to her husband, Jackson Pollock.

text: Pollock and Abstract influences[edit]

text: During the late 1940s, Jackson Pollock's radical approach to painting revolutionized the potential for all Contemporary art that followed him. To some extent, Pollock realized that the journey toward making a work of art was as important as the work of art itself. Like Pablo Picasso's innovative reinventions of painting and sculpture near the turn of the century via Cubism and constructed sculpture, with influences as disparate as Navaho sand paintings, surrealism, Jungian analysis, and Mexican mural art,[26] Pollock redefined what it was to produce art. His move away from easel painting and conventionality was a liberating signal to the artists of his era and to all that came after. Artists realized that Jackson Pollock's process—the placing of unstretched raw canvas on the floor where it could be attacked from all four sides using artist materials and industrial materials; linear skeins of paint dripped and thrown; drawing, staining, brushing; imagery and non-imagery—essentially took art-making beyond any prior boundary. Abstract expressionism in general expanded and developed the definitions and possibilities that artists had available for the creation of new works of art.

text: The other Abstract expressionists followed Pollock's breakthrough with new breakthroughs of their own. In a sense the innovations of Jackson Pollock, Willem de Kooning, Franz Kline, Mark Rothko, Philip Guston, Hans Hofmann, Clyfford Still, Barnett Newman, Ad Reinhardt, Richard Pousette-Dart, Robert Motherwell, Peter Voulkos, and others opened the floodgates to the diversity and scope of all the art that followed them. The new art movements of the 1960s essentially followed the lead of abstract expressionism and in particular the innovations of Pollock, De Kooning, Rothko, Hofmann, Reinhardt, and Newman. The radical Anti-Formalist movements of the 1960s and 1970s including Fluxus, Neo-Dada, Conceptual art, and the feminist art movement can be traced to the innovations of abstract expressionism. Rereadings into abstract art, done by art historians such as Linda Nochlin,[27] Griselda Pollock[28] and Catherine de Zegher[29] critically shows, however, that pioneer women artists who have produced major innovations in modern art had been ignored by the official accounts of its history, but finally began to achieve long overdue recognition in the wake of the abstract expressionist movement of the 1940s and 1950s. Abstract expressionism emerged as a major art movement in New York City during the 1950s and thereafter several leading art galleries began to include the abstract expressionists in exhibitions and as regulars in their rosters. Some of those prominent 'uptown' galleries included: the Charles Egan Gallery,[30] the Sidney Janis Gallery,[31] the Betty Parsons Gallery,[32] the Kootz Gallery,[33] the Tibor de Nagy Gallery, the Stable Gallery, the Leo Castelli Gallery as well as others; and several downtown galleries known at the time as the Tenth Street galleries exhibited many emerging younger artists working in the abstract expressionist vein.

text: Action painting[edit]

text: Action painting was a style widespread from the 1940s until the early 1960s, and is closely associated with abstract expressionism (some critics have used the terms action painting and abstract expressionism interchangeably). A comparison is often drawn between the American action painting and the French tachisme.

text: The term was coined by the American critic Harold Rosenberg in 1952[34] and signaled a major shift in the aesthetic perspective of New York School painters and critics. According to Rosenberg the canvas was "an arena in which to act". While abstract expressionists such as Jackson Pollock, Franz Kline and Willem de Kooning had long been outspoken in their view of a painting as an arena within which to come to terms with the act of creation, earlier critics sympathetic to their cause, like Clement Greenberg, focused on their works' "objectness." To Greenberg, it was the physicality of the paintings' clotted and oil-caked surfaces that was the key to understanding them as documents of the artists' existential struggle.

text: Rosenberg's critique shifted the emphasis from the object to the struggle itself, with the finished painting being only the physical manifestation, a kind of residue, of the actual work of art, which was in the act or process of the painting's creation. This spontaneous activity was the "action" of the painter, through arm and wrist movement, painterly gestures, brushstrokes, thrown paint, splashed, stained, scumbled and dripped. The painter would sometimes let the paint drip onto the canvas, while rhythmically dancing, or even standing in the canvas, sometimes letting the paint fall according to the subconscious mind, thus letting the unconscious part of the psyche assert and express itself. All this, however, is difficult to explain or interpret because it is a supposed unconscious manifestation of the act of pure creation.[35]

text: In practice, the term abstract expressionism is applied to any number of artists working (mostly) in New York who had quite different styles, and even applied to work which is not especially abstract nor expressionist. Pollock's energetic action paintings, with their "busy" feel, are different both technically and aesthetically, to the violent and grotesque Women series of Willem de Kooning. (As seen above) Woman V is one of a series of six paintings made by de Kooning between 1950 and 1953 that depict a three-quarter-length female figure. He began the first of these paintings, Woman I, collection: The Museum of Modern Art, New York City, in June 1950, repeatedly changing and painting out the image until January or February 1952, when the painting was abandoned unfinished. The art historian Meyer Schapiro saw the painting in de Kooning's studio soon afterwards and encouraged the artist to persist. De Kooning's response was to begin three other paintings on the same theme; Woman II, collection: The Museum of Modern Art, New York City, Woman III, Tehran Museum of Contemporary Art, Woman IV, Nelson-Atkins Museum of Art, Kansas City, Missouri. During the summer of 1952, spent at East Hampton, de Kooning further explored the theme through drawings and pastels. He may have finished work on Woman I by the end of June, or possibly as late as November 1952, and probably the other three women pictures were concluded at much the same time.[36] The Woman series are decidedly figurative paintings.

text: Another important artist is Franz Kline, as demonstrated by his painting Number 2 (1954) (see above). As with Jackson Pollock and other abstract expressionists, Kline was labelled an "action painter because of his seemingly spontaneous and intense style, focusing less, or not at all, on figures or imagery, but on the actual brush strokes and use of canvas. Automatic writing was an important vehicle for action painters Franz Kline (in his black and white paintings), Jackson Pollock, Mark Tobey and Cy Twombly, who used gesture, surface, and line to create calligraphic, linear symbols and skeins that resemble language, and resonate as powerful manifestations from the collective unconscious.[37] Robert Motherwell in his Elegy to the Spanish Republic series also painted powerful black and white paintings using gesture, surface and symbol evoking powerful emotional charges.

text: Meanwhile, other action painters, notably Willem de Kooning, Arshile Gorky, Norman Bluhm, Joan Mitchell, and James Brooks, (see gallery) used imagery via either abstract landscape or as expressionistic visions of the figure to articulate their highly personal and powerful evocations. James Brooks' paintings were particularly poetic and highly prescient in relationship to Lyrical Abstraction that became prominent in the late 1960s and the 1970s.[38]

text: Color field[edit]

text: Clyfford Still, Barnett Newman, Adolph Gottlieb and the serenely shimmering blocks of color in Mark Rothko's work (which is not what would usually be called expressionist and which Rothko denied was abstract), are classified as abstract expressionists, albeit from what Clement Greenberg termed the Color field direction of abstract expressionism. Both Hans Hofmann (see gallery) and Robert Motherwell (gallery) can be comfortably described as practitioners of action painting and Color field painting. In the 1940s Richard Pousette-Dart's tightly constructed imagery often depended upon themes of mythology and mysticism; as did the paintings of Adolph Gottlieb, and Jackson Pollock in that decade as well.

text: Color Field painting initially referred to a particular type of abstract expressionism, especially the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, Adolph Gottlieb, Ad Reinhardt and several series of paintings by Joan Miró. Art critic Clement Greenberg perceived Color Field painting as related to but different from Action painting. The Color Field painters sought to rid their art of superfluous rhetoric. Artists like Robert Motherwell, Clyfford Still, Mark Rothko, Adolph Gottlieb, Hans Hofmann, Helen Frankenthaler, Sam Francis, Mark Tobey, and especially Ad Reinhardt and Barnett Newman, whose masterpiece Vir heroicus sublimis is in the collection of MoMA, used greatly reduced references to nature, and they painted with a highly articulated and psychological use of color. In general these artists eliminated recognizable imagery, in the case of Rothko and Gottlieb sometimes using symbol and sign as replacement of imagery.[39] Certain artists quoted references to past or present art, but in general color field painting presents abstraction as an end in itself. In pursuing this direction of modern art, artists wanted to present each painting as one unified, cohesive, monolithic image.

text: In distinction to the emotional energy and gestural surface marks of abstract expressionists such as Jackson Pollock and Willem de Kooning, the Color Field painters initially appeared to be cool and austere, effacing the individual mark in favor of large, flat areas of color, which these artists considered to be the essential nature of visual abstraction, along with the actual shape of the canvas, which later in the 1960s Frank Stella in particular achieved in unusual ways with combinations of curved and straight edges. However Color Field painting has proven to be both sensual and deeply expressive albeit in a different way from gestural Abstract expressionism.

text: Although Abstract expressionism spread quickly throughout the United States, the major centers of this style were New York City and California, especially in the New York School, and the San Francisco Bay area. Abstract expressionist paintings share certain characteristics, including the use of large canvases, an "all-over" approach, in which the whole canvas is treated with equal importance (as opposed to the center being of more interest than the edges). The canvas as the arena became a credo of Action painting, while the integrity of the picture plane became a credo of the Color field painters. Younger artists began exhibiting their abstract expressionist related paintings during the 1950s as well including Alfred Leslie, Sam Francis, Joan Mitchell, Helen Frankenthaler, Cy Twombly, Milton Resnick, Michael Goldberg, Norman Bluhm, Grace Hartigan, Friedel Dzubas, and Robert Goodnough among others.

text: Although Pollock is closely associated with Action Painting because of his style, technique, and his painterly touch and his physical application of paint, art critics have likened Pollock to both Action painting and color field painting. Another critical view advanced by Clement Greenberg connects Pollock's allover canvasses to the large-scale Water Lilies of Claude Monet done during the 1920s. Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works – his drip paintings – read as vast fields of built-up linear elements often reading as vast complexes of similar valued paint skeins that read as all over fields of color and drawing, and are related to the mural-sized late Monets that are constructed of many passages of close valued brushed and scumbled marks that also read as close valued fields of color and drawing that Monet used in building his picture surfaces. Pollock's use of all-over composition lend a philosophical and a physical connection to the way the color field painters like Newman, Rothko and Still construct their unbroken and in Still's case broken surfaces. In several paintings that Pollock painted after his classic drip painting period of 1947–1950, he used the technique of staining fluid oil paint and house paint into raw canvas. During 1951 he produced a series of semi-figurative black stain paintings, and in 1952 he produced stain paintings using color. In his November 1952 exhibition at the Sidney Janis Gallery in New York City Pollock showed Number 12, 1952, a large, masterful stain painting that resembles a brightly colored stained landscape (with an overlay of broadly dripped dark paint); the painting was acquired from the exhibition by Nelson Rockefeller for his personal collection. In 1960 the painting was severely damaged by fire in the Governors Mansion in Albany that also severely damaged an Arshile Gorky painting and several other works in the Rockefeller collection. However, by 1999 it had been restored and was installed in Albany Mall.[40][41]

text: While Arshile Gorky is considered to be one of the founding fathers of abstract expressionism and a surrealist, he was also one of the first painters of the New York School who used the technique of staining. Gorky created broad fields of vivid, open, unbroken color that he used in many of his paintings as grounds. In Gorky's most effective and accomplished paintings between the years 1941–1948, he consistently used intense stained fields of color, often letting the paint run and drip, under and around his familiar lexicon of organic and biomorphic shapes and delicate lines. Another abstract expressionist whose works in the 1940s call to mind the stain paintings of the 1960s and the 1970s is James Brooks. Brooks regularly used stain as a technique in his paintings from the late 1940s. Brooks began diluting his oil paint in order to have fluid colors with which to pour and drip and stain into the mostly raw canvas that he used. These works often combined calligraphy and abstract shapes. During the final three decades of his career, Sam Francis' style of large-scale bright Abstract expressionism was closely associated with Color field painting. His paintings straddled both camps within the abstract expressionist rubric, Action painting and Color Field painting.

text: Having seen Jackson Pollock's 1951 paintings of thinned black oil paint stained into raw canvas, Helen Frankenthaler began to produce stain paintings in varied oil colors on raw canvas in 1952. Her most famous painting from that period is Mountains and Sea(as seen below). She is one of the originators of the Color Field movement that emerged in the late 1950s.[43] Frankenthaler also studied with Hans Hofmann. Hofmann's paintings are a symphony of color as seen in The Gate, 1959–1960. Hofmann was renowned not only as an artist but also as a teacher of art, both in his native Germany and later in the U.S. Hans Hofmann, who came to the United States from Germany in the early 1930s, brought with him the legacy of Modernism. Hofmann was a young artist working in Paris who painted there before World War I. Hofmann worked in Paris with Robert Delaunay, and he knew firsthand the innovative work of both Pablo Picasso and Henri Matisse. Matisse's work had an enormous influence on him, and on his understanding of the expressive language of color and the potentiality of abstraction. Hofmann was one of the first theorists of color field painting, and his theories were influential to artists and to critics, particularly to Clement Greenberg, as well as to others during the 1930s and 1940s. In 1953 Morris Louis and Kenneth Noland were both profoundly influenced by Helen Frankenthaler's stain paintings after visiting her studio in New York City. Returning to Washington, DC., they began to produce the major works that created the color field movement in the late 1950s.[44]

text: In 1972 then Metropolitan Museum of Art curator Henry Geldzahler said:

text: Clement Greenberg included the work of both Morris Louis and Kenneth Noland in a show that he did at the Kootz Gallery in the early 1950s. Clem was the first to see their potential. He invited them up to New York in 1953, I think it was, to Helen's studio to see a painting that she had just done called Mountains and Sea, a very, very beautiful painting, which was in a sense, out of Pollock and out of Gorky. It also was one of the first stain pictures, one of the first large field pictures in which the stain technique was used, perhaps the first one. Louis and Noland saw the picture unrolled on the floor of her studio and went back to Washington, DC., and worked together for a while, working at the implications of this kind of painting.[45][46]

text: In the 1960s after abstract expressionism[edit]

text: In abstract painting during the 1950s and 1960s, several new directions, like the Hard-edge painting exemplified by John McLaughlin, emerged. Meanwhile, as a reaction against the subjectivism of Abstract expressionism, other forms of Geometric abstraction began to appear in artist studios and in radical avant-garde circles. Clement Greenberg became the voice of Post-painterly abstraction; by curating an influential exhibition of new painting that toured important art museums throughout the United States in 1964. Color field painting, Hard-edge painting and Lyrical Abstraction[47] emerged as radical new directions.

text: Abstract expressionism and the Cold War[edit]

text: Since the mid-1970s it has been argued by revisionist historians that the style attracted the attention, in the early 1950s, of the CIA, who saw it as representative of the USA as a haven of free thought and free markets, as well as a challenge to both the socialist realist styles prevalent in communist nations and the dominance of the European art markets.[48] The book by Frances Stonor Saunders,[49] The Cultural Cold War—The CIA and the World of Arts and Letters,[50] (published in the UK as Who Paid the Piper?: CIA and the Cultural Cold War) details how the CIA financed and organized the promotion of American abstract expressionists as part of cultural imperialism via the Congress for Cultural Freedom from 1950 to 1967. Notably Robert Motherwell's series Elegy to the Spanish Republic addressed some of those political issues. Tom Braden, founding chief of the CIA's International Organizations Division (IOD) and ex-executive secretary of the Museum of Modern Art said in an interview, "I think it was the most important division that the agency had, and I think that it played an enormous role in the Cold War."[51]

text: Against this revisionist tradition, an essay by Michael Kimmelman, chief art critic of The New York Times, called Revisiting the Revisionists: The Modern, Its Critics and the Cold War, argues that much of this information (as well as the revisionists' interpretation of it) concerning what was happening on the American art scene during the 1940s and 50s is flatly false, or at best (contrary to the revisionists' avowed historiographic principles) decontextualized.[52] Other books on the subject include Art in the Cold War by Christine Lindey, which also describes the art of the Soviet Union at the same time; and Pollock and After edited by Francis Frascina, which reprinted the Kimmelman article.

text: Consequences[edit]

text: Canadian painter Jean-Paul Riopelle (1923–2002), a member of the Montreal-based surrealist-inspired group Les Automatistes, helped introduce a related style of abstract impressionism to the Parisian art world from 1949. Michel Tapié's groundbreaking book, Un Art Autre (1952), was also enormously influential in this regard. Tapié was also a curator and exhibition organizer who promoted the works of Pollock and Hans Hofmann in Europe. By the 1960s, the movement's initial affect had been assimilated, yet its methods and proponents remained highly influential in art, affecting profoundly the work of many artists who followed. Abstract expressionism preceded Tachisme, Color Field painting, Lyrical Abstraction, Fluxus, Pop Art, Minimalism, Postminimalism, Neo-expressionism, and the other movements of the sixties and seventies and it influenced all those later movements that evolved. Movements which were direct responses to, and rebellions against abstract expressionism began with Hard-edge painting (Frank Stella, Robert Indiana and others) and Pop artists, notably Andy Warhol, Claes Oldenburg and Roy Lichtenstein who achieved prominence in the US, accompanied by Richard Hamilton in Britain. Robert Rauschenberg and Jasper Johns in the US formed a bridge between abstract expressionism and Pop art. Minimalism was exemplified by artists such as Donald Judd, Robert Mangold and Agnes Martin.

text: However, many painters, such as Jules Olitski, Joan Mitchell and Antoni Tàpies continued to work in the abstract expressionist style for many years, extending and expanding its visual and philosophical implications, as many abstract artists continue to do today, in styles described as Lyrical Abstraction, Neo-expressionist and others.

text: In the years after World War II, a group of New York artists started one of the first true schools of artists in America, bringing about a new era in American artwork: abstract expressionism. This led to the American art boom that brought about styles such as Pop Art. This also helped to make New York into a cultural and artistic hub.[53]

text: Abstract expressionist value expression over perfection, vitality over finish, fluctuation over repose, the unknown over the known, the veiled over the clear, the individual over society and the inner over the outer.

text: Major sculpture[edit]

text:
Richard Stankiewicz, Detail of Figure; 1956; steel, iron, and concrete; in the collection of the Hirshhorn Museum and Sculpture Garden

Alexander Calder, Red Mobile, 1956, Painted sheet metal and metal rods, Montreal Museum of Fine Arts

John Chamberlain, S, 1959, Hirshhorn Museum and Sculpture Garden, Washington, DC.

Isamu Noguchi, The Cry, 1959, Kröller-Müller Museum Sculpture Park, Otterlo, Netherlands

Louise Bourgeois, Maman, 1999, outside Museo Guggenheim

text: List of abstract expressionists[edit]

text: Major artists[edit]

text:
Albert Alcalay
Charles Alston
Alice Baber
William Baziotes
Norman Bluhm
Louise Bourgeois
Ernest Briggs
James Brooks
Fritz Bultman
Hans Burkhardt
Jack Bush
Alexander Calder
Nicolas Carone
Giorgio Cavallon
John Chamberlain
Joseph Cornell
Dorothy Dehner
Jean Dubuffet
Elaine de Kooning
Willem de Kooning
Beauford Delaney
Robert De Niro, Sr.
Richard Diebenkorn
Mark di Suvero
James Budd Dixon
Enrico Donati
Edward Dugmore
Friedel Dzubas
Jimmy Ernst
Herbert Ferber
John Ferren
Perle Fine
Sam Francis
Jane Frank
Helen Frankenthaler
Sonia Gechtoff
Michael Goldberg
Robert Goodnough
Arshile Gorky
Joseph Goto
Adolph Gottlieb
Morris Graves
Cleve Gray
Philip Guston
Raoul Hague
David Hare
Grace Hartigan
Hans Hofmann
John Hultberg
Paul Jenkins
James Kelly
Earl Kerkam
Franz Kline
Albert Kotin
Lee Krasner
Walter Kuhlman
Ibram Lassaw
Alfred Leslie
John Harrison Levee
Norman Lewis
Richard Lippold
Seymour Lipton
Frank Lobdell
Morris Louis
Conrad Marca-Relli
Nicholas Marsicano
Mercedes Matter
Joan Mitchell
Robert Motherwell
Louise Nevelson
Barnett Newman
Isamu Noguchi
Kenzo Okada
John Opper
Stephen Pace
Ray Parker
Phillip Pavia
Jackson Pollock
Fuller Potter
Richard Pousette-Dart
Ad Reinhardt
Milton Resnick
Robert Richenburg
George Rickey
Jean-Paul Riopelle
William Ronald
James Rosati
Theodore Roszak
Mark Rothko
Anne Ryan
Louis Schanker
Jon Schueler
Charles Seliger
Harold Shapinsky
Thomas Sills
David Smith
Theodoros Stamos
Richard Stankiewicz
Joe Stefanelli
Hedda Sterne
Clyfford Still
George Stillman
Alma Thomas
Mark Tobey
Bradley Walker Tomlin
Cy Twombly
Jack Tworkov
Esteban Vicente
Peter Voulkos
Corinne Michelle West
John von Wicht
Hale Woodruff
Emerson Woelffer
Taro Yamamoto
Manouchehr Yektai

text: Other artists[edit]

text:
Karel Appel
Rosemarie Beck
William Brice
Alexander Bogen
Charles Ragland Bunnell
Gretna Campbell
Mary Callery
Edward Clark
Alfred L. Copley (aka L. Alcopley)
Edward Corbett
Sari Dienes
Lynne Mapp Drexler
Lucio Fontana
Herbert Gentry[54]
Sam Gilliam
Joseph Glasco
John D. Graham
Stephen Greene
Elaine Hamilton
Hans Hartung
Al Held
Raymond Hendler
Gino Hollander
John Hoyland
William Ivey
Jasper Johns
Karl Kasten
Frances Kornbluth
André Lanskoy
John Levee
Michael Loew
Knox Martin
Georges Mathieu
Herbert Matter
George McNeil
Jean Messagier
Jay Meuser
Seong Moy
Jan Müller
Robert Natkin
Frank Okada
Jules Olitski
Pat Passlof
Irene Rice-Pereira
Earle M. Pilgrim
Robert Rauschenberg
Larry Rivers
Jack Roth
Jon Schueler
Pablo Serrano
Sarai Sherman
Vieira da Silva
Aaron Siskind
Tony Smith
Pierre Soulages
Nicolas de Staël
Frank Stella
Ary Stillman
Kumi Sugaï (fr)
Stuart Sutcliffe
Augustus Vincent Tack
Antoni Tàpies
Tony Tuckson
Nína Tryggvadóttir
Bram van Velde
Don Van Vliet
Cora Kelley Ward
Ulfert Wilke
Wols
Zao Wou Ki


document_title: Endoplasmic reticulum

question_text: where is the rough er located in a cell

question_tokens: where is the rough er located in a cell

root

text: Endoplasmic reticulum

text: History[edit]

text: The lacy membranes of the endoplasmic reticulum were first seen in 1945 by Keith R. Porter, Albert Claude, Brody Meskers and Ernest F. Fullam, using electron microscopy.[2] The word reticulum, which means "network", was applied to describe this fabric of membranes.

tag: p

text: Structure[edit]

text: The general structure of the endoplasmic reticulum is a network of membranes called cisternae. These sac-like structures are held together by the cytoskeleton. The phospholipid membrane encloses the cisternal space (or lumen), which is continuous with the perinuclear space but separate from the cytosol. The functions of the endoplasmic reticulum can be summarized as the synthesis and export of proteins and membrane lipids, but varies between ER and cell type and cell function. The quantity of both rough and smooth endoplasmic reticulum in a cell can slowly interchange from one type to the other, depending on the changing metabolic activities of the cell. Transformation can include embedding of new proteins in membrane as well as structural changes. Changes in protein content may occur without noticeable structural changes.[3][4][citation needed]

text: Rough endoplasmic reticulum[edit]

text: The surface of the rough endoplasmic reticulum (often abbreviated RER or Rough ER) (also called granular endoplasmic reticulum) is studded with protein-manufacturing ribosomes giving it a "rough" appearance (hence its name).[5] The binding site of the ribosome on the rough endoplasmic reticulum is the translocon.[6] However, the ribosomes are not a stable part of this organelle's structure as they are constantly being bound and released from the membrane. A ribosome only binds to the RER once a specific protein-nucleic acid complex forms in the cytosol. This special complex forms when a free ribosome begins translating the mRNA of a protein destined for the secretory pathway.[7] The first 5–30 amino acids polymerized encode a signal peptide, a molecular message that is recognized and bound by a signal recognition particle (SRP). Translation pauses and the ribosome complex binds to the RER translocon where translation continues with the nascent (new) protein forming into the RER lumen and/or membrane. The protein is processed in the ER lumen by an enzyme (a signal peptidase), which removes the signal peptide. Ribosomes at this point may be released back into the cytosol; however, non-translating ribosomes are also known to stay associated with translocons.[8]

text: The membrane of the rough endoplasmic reticulum forms large double membrane sheets that are located near, and continuous with, the outer layer of the nuclear envelope.[9] The double membrane sheets are stacked and connected through several right or left-handed helical ramps, the so-called Terasaki ramps, giving rise to a structure resembling a multi-storey car park.[10][11] Although there is no continuous membrane between the endoplasmic reticulum and the Golgi apparatus, membrane-bound transport vesicles shuttle proteins between these two compartments.[12] Vesicles are surrounded by coating proteins called COPI and COPII. COPII targets vesicles to the Golgi apparatus and COPI marks them to be brought back to the rough endoplasmic reticulum. The rough endoplasmic reticulum works in concert with the Golgi complex to target new proteins to their proper destinations. A second method of transport out of the endoplasmic reticulum involves areas called membrane contact sites, where the membranes of the endoplasmic reticulum and other organelles are held closely together, allowing the transfer of lipids and other small molecules.[13][14]

text: The rough endoplasmic reticulum is key in multiple functions:

text:
Manufacture of lysosomal enzymes with a mannose-6-phosphate marker added in the cis-Golgi network.[citation needed]
Manufacture of secreted proteins, either secreted constitutively with no tag or secreted in a regulatory manner involving clathrin and paired basic amino acids in the signal peptide.
Integral membrane proteins that stay embedded in the membrane as vesicles exit and bind to new membranes. Rab proteins are key in targeting the membrane; SNAP and SNARE proteins are key in the fusion event.
Initial glycosylation as assembly continues. This is N-linked (O-linking occurs in the Golgi).

N-linked glycosylation: If the protein is properly folded, Oligosaccharyltransferase recognizes the AA sequence NXS or NXT (with the S/T residue phosphorylated) and adds a 14-sugar backbone (2-N-acetylglucosamine, 9-branching mannose, and 3-glucose at the end) to the side-chain nitrogen of Asn.

tag: ul

text: Smooth endoplasmic reticulum[edit]

text: In most cells the smooth endoplasmic reticulum (abbreviated SER) is scarce. Instead there are areas where the ER is partly smooth and partly rough, this area is called the transitional ER. The transitional ER gets its name because it contains ER exit sites. These are areas where the transport vesicles that contain lipids and proteins made in the ER, detach from the ER and start moving to the Golgi apparatus. Specialized cells can have a lot of smooth endoplasmic reticulum and in these cells the smooth ER has many functions.[15] It synthesizes lipids, phospholipids, and steroids. Cells which secrete these products, such as those in the testes, ovaries, and sebaceous glands have an abundance of smooth endoplasmic reticulum.[16] It also carries out the metabolism of carbohydrates, detoxification of natural metabolism products and of alcohol and drugs, attachment of receptors on cell membrane proteins, and steroid metabolism.[17] In muscle cells, it regulates calcium ion concentration. Smooth endoplasmic reticulum is found in a variety of cell types (both animal and plant), and it serves different functions in each. The smooth endoplasmic reticulum also contains the enzyme glucose-6-phosphatase, which converts glucose-6-phosphate to glucose, a step in gluconeogenesis. It is connected to the nuclear envelope and consists of tubules that are located near the cell periphery. These tubes sometimes branch forming a network that is reticular in appearance.[9] In some cells, there are dilated areas like the sacs of rough endoplasmic reticulum. The network of smooth endoplasmic reticulum allows for an increased surface area to be devoted to the action or storage of key enzymes and the products of these enzymes.

text: Sarcoplasmic reticulum[edit]

text: The sarcoplasmic reticulum (SR), from the Greek σάρξ sarx ("flesh"), is smooth ER found in myocytes. The only structural difference between this organelle and the smooth endoplasmic reticulum is the medley of proteins they have, both bound to their membranes and drifting within the confines of their lumens. This fundamental difference is indicative of their functions: The endoplasmic reticulum synthesizes molecules, while the sarcoplasmic reticulum stores calcium ions and pumps them out into the sarcoplasm when the muscle fiber is stimulated.[18][19] After their release from the sarcoplasmic reticulum, calcium ions interact with contractile proteins that utilize ATP to shorten the muscle fiber. The sarcoplasmic reticulum plays a major role in excitation-contraction coupling.[20]

text: Functions[edit]

text: The endoplasmic reticulum serves many general functions, including the folding of protein molecules in sacs called cisternae and the transport of synthesized proteins in vesicles to the Golgi apparatus. Correct folding of newly made proteins is made possible by several endoplasmic reticulum chaperone proteins, including protein disulfide isomerase (PDI), ERp29, the Hsp70 family member BiP/Grp78, calnexin, calreticulin, and the peptidylpropyl isomerase family. Only properly folded proteins are transported from the rough ER to the Golgi apparatus – unfolded proteins cause an unfolded protein response as a stress response in the ER. Disturbances in redox regulation, calcium regulation, glucose deprivation, and viral infection[21] or the over-expression of proteins[22] can lead to endoplasmic reticulum stress response (ER stress), a state in which the folding of proteins slows, leading to an increase in unfolded proteins. This stress is emerging as a potential cause of damage in hypoxia/ischemia, insulin resistance, and other disorders.[23]

text: Protein transport[edit]

text: Secretory proteins, mostly glycoproteins, are moved across the endoplasmic reticulum membrane. Proteins that are transported by the endoplasmic reticulum throughout the cell are marked with an address tag called a signal sequence. The N-terminus (one end) of a polypeptide chain (i.e., a protein) contains a few amino acids that work as an address tag, which are removed when the polypeptide reaches its destination. Nascent peptides reach the ER via the translocon, a membrane-embedded multiprotein complex. Proteins that are destined for places outside the endoplasmic reticulum are packed into transport vesicles and moved along the cytoskeleton toward their destination. In human fibroblasts, the ER is always co-distributed with microtubules and the depolymerisation of the latter cause its co-aggregation with mitochondria, which are also associated with the ER.[24]

text: The endoplasmic reticulum is also part of a protein sorting pathway. It is, in essence, the transportation system of the eukaryotic cell. The majority of its resident proteins are retained within it through a retention motif. This motif is composed of four amino acids at the end of the protein sequence. The most common retention sequences are KDEL for lumen located proteins and KKXX for transmembrane protein.[25] However, variations of KDEL and KKXX do occur, and other sequences can also give rise to endoplasmic reticulum retention. It is not known whether such variation can lead to sub-ER localizations. There are three KDEL (1, 2 and 3) receptors in mammalian cells, and they have a very high degree of sequence identity. The functional differences between these receptors remain to be established.[26]

text: Clinical significance[edit]

text: Abnormalities in XBP1 lead to a heightened endoplasmic reticulum stress response and subsequently causes a higher susceptibility for inflammatory processes that may even contribute to Alzheimer's disease.[27] In the colon, XBP1 anomalies have been linked to the inflammatory bowel diseases including Crohn's disease.[28]

text: The unfolded protein response (UPR) is a cellular stress response related to the endoplasmic reticulum.[29] The UPR is activated in response to an accumulation of unfolded or misfolded proteins in the lumen of the endoplasmic reticulum. The UPR functions to restore normal function of the cell by halting protein translation, degrading misfolded proteins, and activating the signaling pathways that lead to increasing the production of molecular chaperones involved in protein folding. Sustained overactivation of the UPR has been implicated in prion diseases as well as several other neurodegenerative diseases and the inhibition of the UPR could become a treatment for those diseases.[30]


document_title: Roman mythology

question_text: who do the romans cite as their ancestors

text: Roman mythology

text: The nature of Roman myth[edit]

text: Because ritual played the central role in Roman religion that myth did for the Greeks, it is sometimes doubted that the Romans had much of a native mythology. This perception is a product of Romanticism and the classical scholarship of the 19th century, which valued Greek civilization as more "authentically creative."[5] From the Renaissance to the 18th century, however, Roman myths were an inspiration particularly for European painting.[6] The Roman tradition is rich in historical myths, or legends, concerning the foundation and rise of the city. These narratives focus on human actors, with only occasional intervention from deities but a pervasive sense of divinely ordered destiny. In Rome's earliest period, history and myth have a mutual and complementary relationship.[7] As T. P. Wiseman notes:

text: The Roman stories still matter, as they mattered to Dante in 1300 and Shakespeare in 1600 and the founding fathers of the United States in 1776. What does it take to be a free citizen? Can a superpower still be a republic? How does well-meaning authority turn into murderous tyranny?[6]

text: Major sources for Roman myth include the Aeneid of Vergil and the first few books of Livy's history as well as Dionysius' s Roman Antiquities. Other important sources are the Fasti of Ovid, a six-book poem structured by the Roman religious calendar, and the fourth book of elegies by Propertius. Scenes from Roman myth also appear in Roman wall painting, coins, and sculpture, particularly reliefs.

text: Founding myths[edit]

text: The Aeneid and Livy's early history are the best extant sources for Rome's founding myths. Material from Greek heroic legend was grafted onto this native stock at an early date. The Trojan prince Aeneas was cast as husband of Lavinia, daughter of King Latinus, patronymical ancestor of the Latini, and therefore through a convoluted revisionist genealogy as forebear of Romulus and Remus. By extension, the Trojans were adopted as the mythical ancestors of the Roman people.[8]

text: Other myths[edit]

text: The characteristic myths of Rome are often political or moral, that is, they deal with the development of Roman government in accordance with divine law, as expressed by Roman religion, and with demonstrations of the individual's adherence to moral expectations (mos maiorum) or failures to do so.

text:
Rape of the Sabine women, explaining the importance of the Sabines in the formation of Roman culture, and the growth of Rome through conflict and alliance.
Numa Pompilius, the Sabine second king of Rome who consorted with the nymph Egeria and established many of Rome's legal and religious institutions.
Servius Tullius, the sixth king of Rome, whose mysterious origins were freely mythologized and who was said to have been the lover of the goddess Fortuna.
The Tarpeian Rock, and why it was used for the execution of traitors.
Lucretia, whose self-sacrifice prompted the overthrow of the early Roman monarchy and led to the establishment of the Republic.
Cloelia, A Roman woman taken hostage by Lars Porsena. She escaped the Clusian camp with a group of Roman virgins.
Horatius at the bridge, on the importance of individual valor.
Mucius Scaevola, who thrust his right hand into the fire to prove his loyalty to Rome.
Caeculus and the founding of Praeneste.[9]
Manlius and the geese, about divine intervention at the Gallic siege of Rome.[10]
Stories pertaining to the Nonae Caprotinae and Poplifugia festivals.[11]
Coriolanus, a story of politics and morality.
The Etruscan city of Corythus as the "cradle" of Trojan and Italian civilization.[12]
The arrival of the Great Mother (Cybele) in Rome.[13]

text: Religion and myth[edit]

text: Divine narrative played a more important role in the system of Greek religious belief than among the Romans, for whom ritual and cult were primary. Although Roman religion was not based on scriptures and exegesis, priestly literature was one of the earliest written forms of Latin prose.[14] The books (libri) and commentaries (commentarii) of the College of Pontiffs and of the augurs contained religious procedures, prayers, and rulings and opinions on points of religious law.[15] Although at least some of this archived material was available for consultation by the Roman senate, it was often occultum genus litterarum,[16] an arcane form of literature to which by definition only priests had access.[17] Prophecies pertaining to world history and Rome's destiny turn up fortuitously at critical junctures in history, discovered suddenly in the nebulous Sibylline books, which according to legend were purchased by Tarquin the Proud in the late 6th century BC from the Cumaean Sibyl. Some aspects of archaic Roman religion were preserved by the lost theological works of the 1st-century BC scholar Varro, known through other classical and Christian authors.

text: At the head of the earliest pantheon were the so-called Archaic Triad of Jupiter, Mars, and Quirinus, whose flamens were of the highest order, and Janus and Vesta. According to tradition, the founder of Roman religion was Numa Pompilius, the Sabine second king of Rome, who was believed to have had as his consort and adviser a Roman goddess or nymph of fountains and prophecy, Egeria. The Etruscan-influenced Capitoline Triad of Jupiter, Juno and Minerva later became central to official religion, replacing the Archaic Triad — an unusual example within Indo-European religion of a supreme triad formed of two female deities and only one male. The cult of Diana was established on the Aventine Hill, but the most famous Roman manifestation of this goddess may be Diana Nemorensis, owing to the attention paid to her cult by J.G. Frazer in the mythographical classic The Golden Bough.

text: The gods represented distinctly the practical needs of daily life, and they were scrupulously accorded the rites and offerings considered proper. Early Roman divinities included a host of "specialist gods" whose names were invoked in the carrying out of various specific activities. Fragments of old ritual accompanying such acts as plowing or sowing reveal that at every stage of the operation a separate deity was invoked, the name of each deity being regularly derived from the verb for the operation. Tutelary deities were particularly important in ancient Rome.

text: Thus, Janus and Vesta guarded the door and hearth, the Lares protected the field and house, Pales the pasture, Saturn the sowing, Ceres the growth of the grain, Pomona the fruit, and Consus and Ops the harvest. Even the majestic Jupiter, the ruler of the gods, was honored for the aid his rains might give to the farms and vineyards. In his more encompassing character he was considered, through his weapon of lightning, the director of human activity and, by his widespread domain, the protector of the Romans in their military activities beyond the borders of their own community. Prominent in early times were the gods Mars and Quirinus, who were often identified with each other. Mars was a god of war; he was honored in March and October. Quirinus is thought by modern scholars to have been the patron of the armed community in time of peace.

text: The 19th-century scholar Georg Wissowa[18] thought that the Romans distinguished two classes of gods, the di indigetes and the di novensides or novensiles: the indigetes were the original gods of the Roman state, their names and nature indicated by the titles of the earliest priests and by the fixed festivals of the calendar, with 30 such gods honored by special festivals; the novensides were later divinities whose cults were introduced to the city in the historical period, usually at a known date and in response to a specific crisis or felt need. Arnaldo Momigliano and others, however, have argued that this distinction cannot be maintained.[19] During the war with Hannibal, any distinction between "indigenous" and "immigrant" gods begins to fade, and the Romans embraced diverse gods from various cultures as a sign of strength and universal divine favor.[20]

text: Foreign gods[edit]

text: The absorption of neighboring local gods took place as the Roman state conquered the surrounding territory. The Romans commonly granted the local gods of the conquered territory the same honors as the earlier gods of the Roman state religion. In addition to Castor and Pollux, the conquered settlements in Italy seem to have contributed to the Roman pantheon Diana, Minerva, Hercules, Venus, and deities of lesser rank, some of whom were Italic divinities, others originally derived from the Greek culture of Magna Graecia. In 203 BC, the cult object embodying Cybele was brought from Pessinus in Phrygia and welcomed with due ceremony to Rome, centuries before the territory was annexed formally. Both Lucretius and Catullus, poets contemporary in the mid-1st century BC, offer disapproving glimpses of her wildly ecstatic cult.

text: In some instances, deities of an enemy power were formally invited through the ritual of evocatio to take up their abode in new sanctuaries at Rome.

text: Communities of foreigners (peregrini) and former slaves (libertini) continued their own religious practices within the city. In this way Mithras came to Rome and his popularity within the Roman army spread his cult as far afield as Roman Britain. The important Roman deities were eventually identified with the more anthropomorphic Greek gods and goddesses, and assumed many of their attributes and myths.


document_title: List of The Late Late Show with James Corden episodes (2017)

question_text: when is the james corden show with bts airing

text: January[edit]

text:
No.

Original air date

Guest(s)

Musical/entertainment guest(s)
277January 3, 2017Milo Ventimiglia, Janelle MonáeJames Arthur
James Tribute To George Michael, Emoji News
278January 4, 2017Jim Parsons, America FerreraGlass Animals
Best New TV Shows In 2017, Dust In The Wind
279January 5, 2017Jamie Foxx, Kirsten Dunst, Zoe SaldanaN/A
Public Domain Songs
280January 9, 2017Neil Patrick Harris, Sienna Miller, Tom FordN/A
Admiring The Hot Turkish Butcher, Broadway Riff-Off
281January 10, 2017Mark Wahlberg, Jeremy Renner, Joel EdgertonGabriel Iglesias
Side Effects May Include
282January 11, 2017Khloé Kardashian, Pharrell Williams, Cameron DallasN/A
Tonight I Learned, Spill Your Guts/Fill Your Guts
283January 12, 2017Bryan Cranston, Giovanni Ribisi, Jessica BielJamie T
TV Roundup, Kanye West Soap Opera
284January 17, 2017Kate Hudson, Anders Holm, Aaron Taylor-JohnsonJim James
Honest Headlines, Toddlerography
285January 18, 2017Vin Diesel, Deepika PadukoneOK Go
Where's Reggie
286January 19, 2017Chris Hardwick, Nina DobrevFitz and the Tantrums
Magic Trick, Nuzzle Whaaa?
287January 30, 2017Drew Carey, Keke PalmerTake That
Post-Ban Trip To LAX, No Scrubs
288January 31, 2017Johnny Galecki, StingN/A
Side Effects May Include, Battle of the Singing Waiters

tag: table

text: February[edit]

text:
No.

Original air date

Guest(s)

Musical/entertainment guest(s)
289February 1, 2017Aaron Paul, Jermaine Fowler, Jenny SlateN/A
Tonight I Learned, Price Is Right Redemption
290February 2, 2017Mindy Kaling, Bill PaxtonQueen + Adam Lambert
Front Man Battle, Stage 56 Bar Tricks
291February 13, 2017Ice Cube, Ike BarinholtzSteve Aoki & Louis Tomlinson
Audience Q&A, Rooftop Basketball
292February 14, 2017Katherine Heigl, Lars Ulrich, Andrew RannellsLisa Hannigan
Emoji News
293February 15, 2017Laura Dern, Zach GalifianakisGlen Hansard
Like Us On, Visiting Super Bowl LI
294February 16, 2017Matt Damon, Will ArnettBibi Bourelly
Visiting The Grammy's
295February 21, 2017Trevor Noah, Laverne Cox, Luke WilsonNoah Cyrus
Seated Ballet
296February 22, 2017Bob Odenkirk, David OyelowoBebe Rexha
Side Effects May Include, The Zach Galifianakis Problem
297February 23, 2017Jordan Peele, Nick KrollRyan Adams
Remembering a Break-up Changes James's Mood, Thr33way
298February 27, 2017Chris O'Donnell, Sara BareillesLinkin Park featuring Kiiara
La La Land' Audition, Emoji News
299February 28, 2017Michelle Monaghan, Bradley WhitfordLondon Grammar
Honest Headlines, Hidden Talents

text: March[edit]

text:
No.

Original air date

Guest(s)

Musical/entertainment guest(s)
300March 1, 2017Hayden Panettiere, Shirley MacLaineMyq Kaplan
Celebrity Noses, Taller or Shorter
301March 2, 2017Idris Elba, Jessica Lange, Scott FoleyEarl St. Clair
Behind The Curtain
302March 6, 2017Patrick Stewart, Rupert Grint, Dan StevensNew Kids on the Block
Tonight I Learned
303March 7, 2017Alec Baldwin, Kerry WashingtonJosé González
White House Tourists Review Donald Trump's Appearance, None Of The Above
304March 8, 2017Samuel L. Jackson, January JonesSting
The Late Late Show Without Women, Samuel L. Jackson Role Call
305March 9, 2017John Goodman, Adam Pally, Jack HannaSpoon
Spot The Difference
306March 13, 2017Leighton Meester, Dominic Monaghan, Blake GriffinJudah & the Lion
Blake Griffin's New Life Coach
307March 14, 2017Gillian Jacobs, Jerrod CarmichaelLea Michele
Late Late Show Record Collection, Were You Paying Attention?
308March 15, 2017Reese Witherspoon, Tony GoldwynAndy Shauf
Trump's Tax Returns, Crosswalk The Musical, Wig Little Lies
309March 16, 2017Vanessa Hudgens, Thomas SadoskiLil Rel Howery
Corporate Acronyms, Emoji News
310March 20, 2017Abigail Spencer, Ben Platt, Tim MinchinBea Miller
Donald: The Musical
311March 21, 2017Allison Williams, Darren CrissThe Band Perry
Donald: The Musical Alternative Titles/Like Us On, Audience Q&A
312March 22, 2017Josh Gad, Judy GreerMaggie Rogers
Crashing The Late Late Show, James Discusses The Westminster Attack, Behind The Curtain
313March 23, 2017Terrence Howard, Jenna ElfmanNicole Scherzinger
Reggie's Birthday Cake, Honest Headlines, Fake Or Flop
314March 27, 2017J. J. Redick, Scott Bakula, Pete HolmesMisterWives
Tonight I Learned, Basketball Or Cake
315March 28, 2017Kristen Bell, Cheryl HinesLittle Mix
Side Effects May Include, Up Where We Belong
316March 29, 2017Victoria Beckham, Jessica Chastain, Lisa KudrowN/A
Love Triangle - Salt Bae Vs. Sax Bae, Flinch
317March 30, 2017Adam Scott, Michael PeñaBea Miller
Let Me Break It Down: March 2017, Mannequin

text: April[edit]

text:
No.

Original air date

Guest(s)

Musical/entertainment guest(s)
318April 3, 2017Stephen Curry, Chris Paul, Steve NashN/A
Basketball Rap & Mascot Party, Live at the NCAA Tournament Final, Dance & Kiss Cams, Stephen Curry Has a New Life Coach, Human Basketball Hoop
319April 4, 2017Claire Danes, Christine Baranski, Jack McBrayerZara Larsson featuring Ty Dolla $ign
Katy Perry Soap Opera
320April 5, 2017Demi Lovato, Charlie Hunnam, Rupert FriendN/A
Divas Riff-Off
321April 17, 2017Kumail Nanjiani, Riz AhmedSabrina Carpenter
Like Us On..., Drop the Mic
322April 18, 2017Shania Twain, Tyrese Gibson, Whitney CummingsSabrina Carpenter
Tonight I Learned, Behind The Curtain
323April 19, 2017Adam Sandler, Kevin JamesBastille
Side Effects May Include..., Youth Soccer Dad Battle w/ Kevin James and Adam Sandler
324April 20, 2017Anne Hathaway, Armie Hammer, Rob Delaney6LACK
Soundtrack to a Rom Com w/ Anne Hathaway
325April 24, 2017Jason Schwartzman, Nicole Richie, Geoffrey RushDepeche Mode
Celebrity Instagram
326April 25, 2017Amanda Peet, Kal Penn, Max MinghellaKaleo
Were You Paying Attention?
327April 26, 2017Ludacris, Elisabeth Moss, Eugenio DerbezThe Head and the Heart
FaceApp, Flinch
328April 27, 2017Kurt Russell, Thomas MiddleditchRussell Howard
Breaking Down April 2017, Escape From Kurt Russell

text: May[edit]

text:
No.

Original air date

Guest(s)

Musical/entertainment guest(s)
329May 1, 2017Joel McHale, Jake JohnsonLisa Hannigan
Honest Headlines, None Of The Above
330May 2, 2017Liev Schreiber, Kelly OsbourneOcean Park Standoff
Dogs In Sunglasses, Emoji News
331May 3, 2017Jane Fonda, Lily Tomlin, Taylor SchillingRyan Adams
Tonight I Learned, Mystery Door
332May 4, 2017Jennifer Lopez, Terry Crews, Justin TherouxGreen Day
Record Collection
333May 8, 2017Caitlyn Jenner, Michael WeatherlyLP
James Has Eyes For France's Emmanuel Macron, Audience Q&A
334May 9, 2017Eva Longoria, Sam Richardson, Paul FeigN/A
Side Effects May Include, Nuzzle Whaaa?
335May 10, 2017Betty White, Ben McKenzie, Amy BrennemanConor Oberst
Mom Face-Off
336May 11, 2017Goldie Hawn, Kevin BaconDreamcar
Magic Trick, Celebrity Noses
337May 15, 2017Harry Styles, Aaron Taylor-JohnsonHarry Styles
Flinch
338May 16, 2017Ice Cube, Jason DeruloHarry Styles
Side Effects May Include, James's New Girlfriend
339May 17, 2017Ewan McGregor, Billy CrudupHarry Styles
EXPLOSIVE Guest Lineup, Singing Problem
340May 18, 2017Benicio del Toro, Diane Lane, Michael FassbenderHarry Styles
Harry Styles Carpool Karaoke, Heineken Commercial Parody
SpecialMay 22, 2017N/AN/A
Best of Carpool Karaoke (primetime special). Toddlerography, Like Us On, Carpool Karaoke with Katy Perry
341May 22, 2017Lionel Richie, Jenna Dewan TatumN/A
Carpool Karaoke Replay with Katy Perry
342May 23, 2017Jim Carrey, Al Madrigal, Andrew SantinoErik Griffin
Dogs In Sunglasses
343May 24, 2017Ed Helms, Priyanka Chopra, Kaya ScodelarioParamore
Stuck On The Ceiling
344May 25, 2017Orlando Bloom, Zac Efron, Zach WoodsSigrid
The IT Guys

text: June[edit]

text:
No.

Original air date

Guest(s)

Musical/entertainment guest(s)
345June 5, 2017Gordon Ramsay, Michael StrahanN/A
Touring Central Hall #LateLateLondon Set, Drive To LAX, Flight To London
346June 6, 2017Nicole Kidman, Kit HaringtonEd Sheeran
Celebrating London, Crosswalk The Musical - Mary Poppins With Ben Kingsley, Carpool Karaoke with Ed Sheeran

Note: This episode was filmed in London, U.K.

347June 7, 2017Tom Cruise, Jennifer Hudson, Russell Brand, Anthony JoshuaKings of Leon
Tom's Cruise On The River Thames Corden, Drop The Mic

Note: This episode was filmed in London, U.K.

348June 8, 2017David Beckham, Emily BluntHarry Styles
The Phone Is For You, Soundtrack To Romeo & Juliet, The Next James Bond

Note: This episode was filmed in London, U.K.

349June 12, 2017Salma Hayek, Sofia CoppolaLinkin Park
Take A Break, 1860's Girls Gone Wild
350June 13, 2017Jane Krakowski, Kate Mara, Lily JamesIggy Azalea
Facetime With Kevin Durant, Flinch
351June 14, 2017Fred Armisen, Tituss Burgess, Edgar WrightGavin DeGraw
Emoji News
352June 15, 2017Jamie Foxx, Ansel ElgortBeth Ditto
Riff-Off
353June 19, 2017Ginnifer Goodwin, Eddie Izzard, Jillian BellJason Derulo
None Of The Above
354June 20, 2017Chelsea Handler, Dean NorrisKhalid
HIV/AIDS Council Participants Resigning, Were You Paying Attention?
355June 21, 2017Seth Rogen, Will Arnett, Alison BrieN/A
Record Collection
356June 22, 2017Dominic Cooper, Laura HaddockN/A
Like Us On, Mystery Pizza Box

text: July[edit]

text:
No.

Original air date

Guest(s)

Musical/entertainment guest(s)
357July 24, 2017Anna Faris, Mark Hamill, Jenny SlateFoster the People
Guest Lineup Too Good To Be True, I Am Your Father
358July 25, 2017Julie Chen, Edie FalcoMaz Jobrani
Usher Carpool Karaoke
359July 26, 2017Al Gore, Laura LinneyMr Eazi
L-G-B-T Musical, Honest Headlines, Celebrity Noses
360July 27, 2017Matt Bomer, Niecy NashJulia Michaels
Like Us On, Visit To Los Angeles School of Gymnastics
361July 31, 2017Chris Bosh, Mark Duplass, Jay DuplassN/A
Dogs in Sunglasses, Emoji News

text: August[edit]

text:
No.

Original air date

Guest(s)

Musical/entertainment guest(s)
362August 1, 2017Gordon Ramsay, Brendan GleesonMaggie Rogers
Tonight I Learned, MasterChef Junior Junior
363August 2, 2017Kate Beckinsale, Adam ScottPoppy
Behind The Curtain
364August 7, 2017Anthony Mackie, Lily CollinsBørns
Obsessed With Sharknado 5, & None Of The Above
365August 8, 2017John Boyega, Jeffrey TamborRag'n'Bone Man
Preview Of "Carpool Karaoke: The Series"
366August 9, 2017Elizabeth Olsen, Maya RudolphJames Blunt
Audience Q&A, 'The Boyega Is Mine' - Brandy/Monica Parody
367August 10, 2017Aubrey Plaza, Jeremy Renner, Chris O'DowdRuss
Side Effects May Include
368August 14, 2017Billy Eichner, Riley KeoughRoyal Blood
Drop the Mic
369August 15, 2017Lin-Manuel Miranda, Nikolaj Coster-WaldauN/A
Emoji News
370August 16, 2017Harry Connick Jr., Willem Dafoe, Emma BuntonDaniel Caesar
Floyd Mayweather's New Hype Man, Song Of The Summer About The Summer
371August 17, 2017Julia Louis-Dreyfus, Ray RomanoBilly Idol
James Corden's Message To Barcelona, Crosswalk The Musical

text: September[edit]

text:
No.

Original air date

Guest(s)

Musical/entertainment guest(s)
372September 5, 2017Kathy Bates, Ed HelmsJulian McCullough
Emoji News
373September 6, 2017Jim Gaffigan, James Van Der BeekLiam Payne
Boy Bands v. Solo Artists Riff-Off
374September 7, 2017Dana Carvey, Lake BellThe All-American Rejects
Tonight I Learned, Dogs In Sunglasses
375September 8, 2017Taron Egerton, Damian LillardN/A
Superfan Ruins Damian Lillard Interview, Reggie's Hobbies
376September 11, 2017Christian Slater, Adrianne PalickiCircus 1903
Gwyneth Paltrow Interrupts Monologue, Kick It Out/Bring It Back
377September 12, 2017Mindy Kaling, Olivia MunnFifth Harmony
Honest Headlines, Flinch
378September 13, 2017Michael Keaton, Dylan O'BrienSuperfruit
Celebrity Instagram, The "IT" Department
379September 14, 2017Andrea Riseborough, Jenna FischerJesus Trejo
Side Effects May Include With Stephen Colbert, Nick Jonas Is New Intern
380September 18, 2017Lonzo Ball, Sonequa Martin-Green, Robert WinstonN/A
Magic Trick, Taller Or Shorter
381September 19, 2017Alicia Vikander, Luke Wilson, Zach WoodsSir Sly
James Wants To Be Lara Croft
382September 20, 2017Mayim Bialik, Susan Kelechi WatsonBillie Eilish
Carpool Karaoke with Foo Fighters
383September 21, 2017Judi Dench, Kyle MacLachlanKasabian
'Twin Peaks' Red Room, Lawrence O'Donnell's Freak Out
384September 25, 2017Jeremy Piven, America Ferrera, Lior SuchardN/A
Tonight I Learned
385September 26, 2017Channing Tatum, Adam Scott, Diego LunaN/A
Emoji News
386September 27, 2017Billie Lourd, Maggie Gyllenhaal, Tim RothMacklemore
Magic Mike Live
387September 28, 2017Don Johnson, Minnie DriverBarns Courtney
Apple Watch Hidden Figures, Wheelin' N Dealin' - Spin for Cash!

text: October[edit]

text:
No.

Original air date

Guest(s)

Musical/entertainment guest(s)
388October 2, 2017Jeff Goldblum, Jay Pharoah, Elizabeth GilliesThe Shins
James acknowledges the 2017 Las Vegas shooting, None Of The Above
389October 3, 2017Julia Roberts, Ben SchwartzShania Twain
Take A Break
390October 4, 2017Cheryl Hines, Mark FeuersteinN/A
3 Minutes Of Christmas, Julia Roberts Role Call
391October 5, 2017Michael Fassbender, Ana de Armas, Jack HannaN/A
Like Us On, Audience Q&A
392October 9, 2017Jeff Bridges, David BoreanazLiam Gallagher
Jeopardy's Austin Rogers Is James Corden's New Bae, 'SEAL Team' for James' Billboard
393October 10, 2017Jennifer Connelly, Jason Alexander, Mark ConsuelosN/A
Miley Cyrus Carpool Karaoke
394October 11, 2017Josh Gad, Rachel Bloom, Michelle DockeryCharlie Puth
Spill Your Guts Or Fill Your Guts
395October 12, 2017Luke Evans, UsherLindsey Buckingham & Christine McVie
Riff Off, SWAT Team Fail
396October 23, 2017Gabrielle Union, Method ManSabrina Claudio
Method Man Is Over Rhyming, Emoji News
397October 24, 2017Cedric the Entertainer, Usain BoltJesus Trejo
Dogs In Sunglasses, James Challenges Usain Bolt To ALL The Games
398October 25, 2017Anna Wintour, Zac PosenEverything Everything
UNBELIEVABLE List Of Upcoming Guests, Spill Your Guts Or Fill Your Guts
399October 26, 2017Dustin Hoffman, Kenneth Branagh, Jordan SpiethN/A
Record Collection, Target Practice
400October 30, 2017Miles Teller, Whitney CummingsFergie
Drop The Mic
401October 31, 2017Allison Janney, Ludacris, Rep. Nancy PelosiIliza Shlesinger
Politics At The Pub, Reggie Always Keeps Scaring James

text: November[edit]

text:
No.

Original air date

Guest(s)

Musical/entertainment guest(s)
402November 1, 2017Mila Kunis, Jim ParsonsN/A
Sam Smith Carpool Karaoke
403November 2, 2017Kristen Bell, Dianna AgronGary Clark Jr.
Thor: Ragnarok 4D
404November 6, 2017Matt LeBlanc, William H. Macy, Hailey BaldwinWeezer
James acknowledges the Sutherland Springs church shooting, Nuzzle Whaaa?
405November 7, 2017Rainn Wilson, Jack Whitehall, Novak DjokovicTy Dolla $ign
Celebrity Noses, Target Practice
406November 8, 2017Neil deGrasse Tyson, Saoirse Ronan, The Cast of Stranger ThingsBilly Corgan
The Upside Downs
407November 9, 2017Gael García Bernal, Jason MomoaSam Smith
Side Effects May Include, Animals Riding Animals
408November 13, 2017Jason Segel, Seth RogenJaden Smith
Famine In Yemen, Were You Paying Attention
409November 14, 2017Emmy Rossum, January JonesN/A
Pink Carpool Karaoke
410November 15, 2017Kim Kardashian West, LudacrisAmy Shark
Celebrity Instagram, Spill Your Guts Or Fill Your Guts
411November 16, 2017Debra Messing, Taran Killam, Sam RockwellBebe Rexha featuring Florida Georgia Line
None Of The Above
412November 20, 2017Kate Bosworth, Shemar MoorePortugal. The Man
Mystery Pizza Box
413November 21, 2017Chris Hardwick, Camila MendesRag'n'Bone Man
Face Your Father
414November 22, 2017Krysten Ritter, Josh HutchersonN/A
Late Late LIVE Tinder
415November 29, 2017Armie Hammer, Juno TempleCharlie Puth
Kelly Clarkson Carpool Karaoke
416November 30, 2017Bryan Cranston, Timothée ChalametBTS
Honest Headlines, Flinch

text: December[edit]

text:
No.

Original air date

Guest(s)

Musical/entertainment guest(s)
417December 4, 2017Denis Leary, Bob OdenkirkStereophonics
Bryan Cranston Is The Elf on the Shelf
418December 5, 2017Matthew Broderick, Gina Rodriguez, Christopher MeloniN/A
Omarosa's White House Job, Christmas Giveaway
419December 6, 2017Kristen Wiig, Seth MacFarlaneRomesh Ranganathan
Kristen Wiig Struggles with 'Hallelujah'
420December 7, 2017Morgan Freeman, Kobe Bryant, Glen KeaneN/A
Take A Break
421December 11, 2017James Franco, Dave FrancoHanson
Emoji News, Santa Claus Is Comin' To Town' Carpool Karaoke
422December 12, 2017Owen Wilson, Jane Krakowski, Joel EdgertonSeal
James Corden is out due to the birth of his newborn daughter, and is replaced by Harry Styles. Dogs In Sunglasses
423December 13, 2017Dwayne Johnson, Jack BlackTim Minchin
James Corden is still out due to the birth of his newborn daughter, and is replaced by Bryan Cranston. Side Effects May Include, Animals Riding Animals
424December 14, 2017Hugh Jackman, John CenaN/A
Crosswalk the Musical on Broadway


document_title: Do I Love You (Yes in Every Way)

question_text: who wrote the song do i love you

question_tokens: who wrote the song do i love you

text: Do I Love You (Yes in Every Way)

text:
"Do I Love You (Yes in Every Way)"Single by Donna Fargofrom the album Shame on MeB-side
"Dee Dee"Released
December 1977Recorded
1977Genre
CountryLabel
Warner Bros.Songwriter(s)
Paul Anka,  Alain Joseph Yves Le Govic, Maxime Piolot, Michel Albert Louis Pelay and Yves DesscaDonna Fargo singles chronology

"Shame on Me" (1977)

"Do I Love You (Yes in Every Way)" (1977)

"Raga Muffin Man" (1978)

"Shame on Me"(1977)

"Do I Love You (Yes in Every Way)""(1977)

"Raga Muffin Man"(1978)

text: "Do I Love You (Yes in Every Way)" is a song co-written by Paul Anka, and made most famous by American country music artist Donna Fargo. Released in December 1977, it was the second single from her album Shame on Me. The song peaked at number 2 on the Billboard Hot Country Singles chart.[1] It also reached number 1 on the RPM Country Tracks chart in Canada.[2]

text: Anka himself recorded a number of versions. Released as a single in 1971, "Do I Love You" reached number 14 on the Easy Listening Singles chart, and was a minor hit on the Hot 100 as well. In 2012, he re-recorded the song as a duet with Dolly Parton for his album Duets. Engelbert Humperdinck recorded it for his 1973 album "King Of Hearts". [3]

text: Chart performance[edit]

text:
Chart (1977–1978)

Peakposition

U.S. Billboard Hot Country Singles

2

U.S. Billboard Easy Listening

45

Canadian RPM Country Tracks

1


document_title: List of undefeated boxing world champions

question_text: who has the most undefeated record in boxing

text: This is a list of world champions in professional boxing who retired undefeated, either during or after a title reign(s). It excludes current titleholders. Each champion's record is shown in the following format: wins–losses–draws–no contests.

text:
Boxer
Record
Weight class
Title(s)
Championship years
Title defenses
Notes

 Jimmy Barry[1]

59–0–9 (2)

Bantamweight

World

1894–1899

6 (3 draws)

 Joe Calzaghe[2]

46–0–0 (0)

Super middleweight

WBO

1997–2008

21

Vacated title to move up to light heavyweight.

IBF

2006

1

Vacated title to fight Peter Manfredo Jr. instead of #1 contender Robert Stieglitz.

The Ring, lineal

2006–2008

3

Vacated titles to move up to light heavyweight.

WBA, WBC

2007–2008

0

Light heavyweight

The Ring

2008

1

Retired and vacated title.

 Kim Ji-won[3]

16–0–2 (0)

Super bantamweight

IBF

1985–1986

4

 Mihai Leu[4]

28–0–0 (0)

Welterweight

WBO

1997

1

Retired from boxing due to an injury.

 Ricardo López[3]

51–0–1 (0)

Minimumweight

WBC

1990–1998

22

Vacated title to move up to light flyweight.

WBO

1997–1998

0

Unified WBC and WBO titles. Stripped of WBO title for saying he wanted to give the belt to his father.[5]

WBA

1998

0

Vacated title to move up to junior flyweight.

Light flyweight

IBF

1999–2002

2

 Rocky Marciano[3][6]

49–0–0 (0)

Heavyweight

World

1952–1956

6

 Terry Marsh[3][4]

26–0–1 (0)

Light welterweight

IBF

1987

1

Retired from boxing due to epilepsy.

 Floyd Mayweather Jr.[7]

50–0–0 (0)

Super featherweight

WBC

1998–2002

8

Vacated title to move up to lightweight.

Lightweight

WBC

2002–2004

3

Vacated title to move up to light welterweight.

Light welterweight

WBC

2005–2006

0

Vacated title to move up to welterweight.

Welterweight

WBA, WBC

2006–2008, 2011–2015

8

Retired at 49–0 in 2015; returned in 2017 for non-title McGregor fight and then retired again.

Light middleweight

WBA, WBC

2007, 2012–2015, 2017

2

 Jack McAuliffe[8]

30–0–5 (1)

Lightweight

World

1886–1893

7–0–2 (0)

 Sven Ottke[3]

34–0–0 (0)

Super middleweight

IBF

1998–2004

21

WBA

2003–2004

4

Defended IBF title and defeated WBA champion to become WBA Super champion.

 Dmitry Pirog

20–0–0 (0)

Middleweight

WBO

2010–2012

3

Retired from boxing due to chronic back injuries.

 Harry Simon[9]

30–0–0 (0)

Light middleweight

WBO

1998–2001

4

Vacated title to move up to middleweight.

Middleweight

WBO

2002

0

Won WBO interim middleweight title in 2001 and the outright title in 2002. Stripped of title at 29–0 when he was unable to defend it due to injuries suffered in a car crash. Had one more non-title fight before retiring.

 Pichit Sitbangprachan[9]

24–0–0 (0)

Flyweight

IBF

1992–1994

5

Retired at 21–0 and then made a comeback.

 Edwin Valero[10]

27–0–0 (0)

Super featherweight

WBA

2006–2008

4

Vacated title to move up to lightweight.

Lightweight

WBC

2009–2010

2

Vacated title to move up to light welterweight. Committed suicide after allegedly killing his wife in 2010. All 27 fights were knockout wins.

 Andre Ward[11]

32–0–0 (0)

Super middleweight

WBA

2009–2015

6

Vacated titles in 2015 to move up to light heavyweight.

WBC, The Ring, lineal

2011–2015

1 (WBC), 2 (The Ring, lineal)

Light heavyweight

WBA, WBO, The Ring, lineal

2016–2017

1 (WBA, IBF, WBO), 0 (The Ring, lineal)