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Brian Roche (rugby union)

Brian Patrick Roche is an Irish former rugby union player and coach. From Togher, Roche grew up playing hurling for St. Finbarr's, before a clubman from Highfield suggested that he try rugby union. A promising start to his rugby career, combined with his hurling career, in which he had won selection for the Cork minors panel, meant Roche had to choose between the two sports, he chose rugby, joining Sundays Well in his early 20s. After one season with the club, at a time when rugby union was turning professional, Roche was approached to join English side Bath on trial, but he rejected the offer; when Bath returned with an offer of a professional contract, Roche accepted, moved across the Irish Sea to join the club, which included famous players such as Jeremy Guscott, Ieuan Evans and Mike Catt. As Welsh winger Evans was away on his honeymoon, Roche got a run in the Bath starting XV, featured prominently during the 1997–98 Heineken Cup pool stage, though he wasn't involved in the 1998 Heineken Cup Final, in which Bath defeated French club Brive 19–18.

Despite this, Roche was still presented with a winners medal by Bath, making him the first Irishman to win a Heineken Cup medal. He returned to Ireland and won selection for Munster, moving to Limerick and joining Shannon in the All-Ireland League, he remained with the province for the remainder of the 1998–99 season, but was dropped. After being dropped, Roche returned to his roots, playing intermediate football for St. Finbarr's, before returning to Highfield and captaining the side to a league championship in 2004, he went into coaching, earning a level two badge with the IRFU and a fitness qualification, going on to work with St. Finbarr's, University College Cork A. F. C. in the Munster Senior League, the Cork senior hurling team. Munster Profile Brian Roche at European Professional Club Rugby Bath Profile

The Wheat Field

The Wheat Field is a series of oil paintings executed by Vincent van Gogh in Saint-Rémy-de-Provence. All of them depict the view Van Gogh had from the window of his bedroom on the top floor of the asylum: a field enclosed by stone walls just beneath his window and excluded from normal life by the rear wall of the asylum grounds. From May 1889 to May 1890, Van Gogh recorded this view in changing settings: after a storm, with a reaper in the field, with fresh wheat raising in autumn and with flowers in the spring; this is one of Van Gogh's major series from Saint-Rémy, comprising wonderful works such as the Wheat Field at Sunrise in the Kröller-Müller Museum. Van Gogh included the Enclosed Field with Rising Sun made in December 1889 in his Display at Les XX 1890 in Brussels. Van Gogh worked on a group of paintings "The Wheat Field" that he could see from his cell at Saint-Paul Hospital. From the studio room he could see a field of wheat, enclosed by a wall. Beyond that were the mountains from Arles.

During his stay at the asylum he made about twelve paintings of the view of the enclosed wheat field and distant mountains. In May Van Gogh wrote to Theo, "Through the iron-barred window I see a square field of wheat in an enclosure, a perspective like Van Goyen, above which I see the morning sun rising in all its glory." The stone wall, like a picture frame, helped to display the changing colors of the wheat field. The Kröller-Müller Museum's Enclosed Wheat Field with Rising Sun was painted in May 1889. Van Gogh used the rising sun above fields of wheat to represent its life giving energy. Green Wheat Field was painted in June 1889. Van Gogh had a tender feeling about green wheat, likening it to that of a baby: "Young wheat has something inexpressibly pure and tender about it, which awakens the same emotion as the expression of a sleeping baby." Towards the end of his life he regarded his most delicate works, a young wheat field with the rising sun or a blooming orchard, as his "babies". Van Gogh describes Mountainous Landscape Behind Saint-Rémy made in June, as a view taken in the hills seen from his bedroom window: "In the foreground, a field of wheat ruined and hurled to the ground by a storm.

A boundary wall and beyond the grey foliage of a few olive trees, some huts and the hills. At the top of the canvas a great white and grey cloud floating in the azure." In late June Van Gogh painted Wheat Field with Reaper and Sun which he described as "a wheat field yellow and light the lightest canvas I have done". In July he painted Kröller-Müller Museum's Landscape with Wheat Sheaves and Rising Moon which he describes as "a moonrise over the same field as the sketch in Gauguin's letter, but in it some stacks take the place of the wheat, it is dull yellow-ochre and violet." Enclosed Field with Ploughman was made in August 1889, held in a private collection. The Wheat Field with a Reaper was started in the summer before a bout of illness and completed in September. Here Van Gogh depicts a reaper in a sun-drenched wheat field. Referring to a Biblical metaphor, Van Gogh wrote of the meaning of this painting, "In this reaper – a vague figure laboring like the devil in the terrible heat to finish his task – I saw an image of death, in the sense that the wheat being reaped represented mankind...

But there is nothing sad in this death, it takes place in broad daylight, under a sun that bathes everything in a fine, golden light."Enclosed Field with Peasant was painted over several days in October, working just outside the hospital. It reflects the topography of the walled wheat field with the peaks of the Alpilles in the background. Van Gogh's brushwork brings life to this picture of furrowed craggy mountains. At the center, a peasant carries a bundle of a symbol of the cycles of life. Van Gogh described this painting as a pendant to The Reaper, which resides at the Van Gogh Museum in Amsterdam, both in vivid complementary colors of yellow and blue-violet. Both he considers harsh studies, but instead of being entirely yellow like The Reaper, the "picture is entirely violet. Broken violet and neutral tints." In September Van Gogh worked on Wheat Field behind Saint-Paul Hospital with a Reaper. Intending to paint a pure sulfur yellow, he wrote to Émile Bernard that he had taken up the "devil of a question of yellow".

He explained to his brother Theo, "I see in this reaper – an undefined figure, struggling in the intense heat like the devil to finish his work – I see him as an image of death in the sense that the humans are the corn, being cut down. So it is, the opposite of the sowing that I tried earlier, but this death is not sad, it takes place in bright light with a sun that covers everything with a light like pure gold."Rain called Enclosed Wheat Field in the Rain is unique to Van Gogh's work in the South. He represented falling rain by diagonal lines of paint; the style is reminiscent of Japanese prints. In December Van Gogh made Wheat Field with a Rising Sun, held in a private collection; the work, started in late November, shows a sunrise above a field of young wheat in the complementary colors of yellow-green and purple. Deep furrows run towards the enclosed wall behind, a row of purple hills; the sun is surrounded by a large yellow halo. Van Gogh sough to "express calmness, great peace". Further, he expresses "without making direct reference to the actual Gethsemane... and there is no need to portray figures from the Sermon on the Mount in order to express a comforting and gentle motif."

It was one of the six canvases he selected for the exhibit at Les Vingt