James Barry was an Irish painter, best remembered for his six-part series of paintings entitled The Progress of Human Culture in the Great Room of the Royal Society of Arts in London. Because of his determination to create art according to his own principles rather than those of his patrons, he is noted for being one of the earliest romantic painters working in Britain, though as an artist few rated him until the comprehensive 1983 exhibition at the Tate Gallery led to a reassessment of this "notoriously belligerent personality", who emerges as one of the most important Irish Neoclassical artists, he was a profound influence on William Blake. James Barry was born in Water Lane on the northside of Cork, Ireland on 11 October 1741, his father had been a builder, and, at one time of his life, a coasting trader between England and Ireland. Barry made several voyages as a boy, but convinced his father to let him study drawing and art, he first studied painting under local artist John Butts. At the schools in Cork to which he was sent he was regarded as a prodigy.
About the age of seventeen he first attempted oil painting, between that and the age of twenty-two, when he first went to Dublin, he produced several large pictures, which decorated his father's house, such as Aeneas escaping with his Family from the Flames of Troy and the Elders and Daniel in the Lions' Den". The painting that first brought him into public notice, gained him the acquaintance and patronage of Edmund Burke, was founded on an old tradition of the landing of St Patrick on the sea-coast of Cashel, of the conversion and Baptism of the King of Cashel It was exhibited in London in 1762 or 1763 and rediscovered in the 1980s, in unexhibitable condition. By the liberality of Burke and his other friends, Barry in the latter part of 1765 was enabled to go abroad, he went first to Paris to Rome, where he remained upwards of three years, from Rome to Florence and Bologna, thence home through Venice. His letters to the Burkes, giving an account of Raphael, Michelangelo and Leonardo da Vinci, show remarkable insight.
Barry painted two pictures while an Adam and Eve and a Philoctetes. Soon after his return to England in 1771 he produced his picture of Venus, compared to the Galatea of Raphael, the Venus of Titian and the Venus de Medici. In 1773 he exhibited Juno on Mount Ida, his Death of General Wolfe, in which the British and French soldiers are represented in primitive costumes, was considered as a falling-off from his great style of art. His fondness for Greek costume was assigned by his admirers as the cause of his reluctance to paint portraits, his failure to go on with a portrait of Edmund Burke which he had begun caused a misunderstanding with his early patron. The difference between them is said to have been widened by Burke's growing intimacy with Sir Joshua Reynolds, by Barry's jealousy of the fame and fortune of his rival “in a humbler walk of the art.” About the same time he painted a pair of classical subjects, Mercury inventing the lyre, Narcissus, the last suggested to him by Burke. He painted a historical picture of Chiron and Achilles, another of the story of Stratonice, for which last the duke of Richmond gave him a hundred guineas.
In 1773 it was proposed to decorate the interior of St Paul's with sacred subjects. Barry was upset by the failure, for he had in anticipation fixed the subject he intended to paint — the rejection of Christ by the Jews when Pilate proposes his release. In 1773 he published An Inquiry into the real and imaginary Obstructions to the Acquisition of the Arts in England, vindicating the capacity of the English for the fine arts and tracing their slow progress to the Reformation, to political and civil dissensions, lastly to the general direction of the public mind to mechanics and commerce. In 1774 a proposal was made through Valentine Green to Sir Joshua Reynolds, Benjamin West, Cipriani and other artists to ornament the Great Room of the Society for the encouragement of Arts and Commerce, in London's Adelphi, with historical and allegorical paintings; this proposal was at the time rejected by the artists. His offer was accepted, he finished the series of pictures after seven years to the satisfaction of the members of the society, who granted him two exhibitions, at subsequent periods voted him 50 guineas, a gold medal, a further 200 guineas.
Barry returned to the series for more than a decade, making changes and inserting new features. The series of six paintings—The progress of human knowledge and culture—has been described by critic Andrew Graham-Dixon as "Britain's late, great answer to the Sistine Chapel". Soon after his return from the continent Barry had been chosen a member of the Royal Academy of Arts. Among other things, he insisted on the necessity of purchasing a collection of pictures by the best masters as models for the students, proposed several of those in the Orleans collection; this recommendation was not relished, in 1799 Barry was expelled from the Academy soon after the appearance of his Letter to the Dilettanti Society, an eccentric publication, full of enthus
Robert Cameron Broomfield was a United States District Judge of the United States District Court for the District of Arizona. Born on June 18, 1933, in Detroit, Broomfield earned a Bachelor of Science degree from Pennsylvania State University in 1955, a Bachelor of Laws from James E. Rogers College of Law at the University of Arizona in 1961. From 1955 to 1958, Broomfield was a United States Air Force Lieutenant, an Air Force Reserve Captain from 1961 to 1972, he served as a clerk and bailiff to Judge Jack D. H. Hays of the Superior Court of Arizona from 1961 to 1962, he was in private practice in Phoenix, Arizona from 1962 to 1970. He was a Judge of the Superior Court of Arizona from 1971 to 1985, serving as Presiding Judge of the Juvenile Division from 1972 to 1974 and serving as Presiding Judge of the court from 1974 to 1985. Broomfield was nominated by President Ronald Reagan on May 15, 1985, to the United States District Court for the District of Arizona, to a new seat authorized by 71 Stat. 586.
He was confirmed by the United States Senate on July 10, 1985, received commission on July 11, 1985. He served as Chief Judge from 1994 to 1999, he assumed senior status on August 12, 1999. His service terminated on July 2014, due to death. Chief Justice William Rehnquist appointed Broomfield to the Foreign Intelligence Surveillance Court in May 2002, a position in which he served until 2009. Rehnquist appointed him to the Budget Committee in 1997, he served as a member until 2013. Broomfield died of cancer in a Phoenix hospice on July 10, 2014 29 years from the date he was commissioned as a federal judge. Broomfield was influential in obtaining approval for and funding of the Sandra Day O'Connor United States Courthouse in Phoenix, his former colleagues held a memorial service in his honor at the District Court of Arizona on July 23, 2014. Robert Cameron Broomfield at the Biographical Directory of Federal Judges, a public domain publication of the Federal Judicial Center
The John B. Ragland Mercantile Company Building known as Raglands, is a historic building at 201 E. Kleberg Ave. in Kingsville, Texas. It was designed by Jules Leffland and was built in 1909, it was listed on the National Register of Historic Places in 1993. Its design is Italianate but has other architectural elements including Gothic Revival and Mission Revival, its two public facades are limestone. National Register of Historic Places listings in Kleberg County, Texas Recorded Texas Historic Landmarks in Kleberg County