Support Systems and Homelessness

2017-06-22T14:40:39Z

Gczahorsky:

=Support Systems and Homelessness=
by [[User:gczahorsky|Grant Zahorsky]] 

{{Infobox
|title = Support Systems and Homelessness
|bodystyle = width:25em
|image = [[File:Homeless SoHo Sleeping Blue Wall.jpg|x450px|alt=Milestone Image]]
|caption = Photo by Grant Zahorsky
}}

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=Abstract=
 
This article will serve as an assessment of legislation and organizations that relate to homelessness in modern Britain. Prior to this project, I had made an effort to help with different homelessness organizations, but I had not done much research into the legislation or seriousness of it in Britain. I have had experience with art at WPI, taking a course in animation, as well as experience as a freelance graphic designer, photographer, cinematographer, and visual effects producer and supervisor. After coming to London to research homelessness, it has become clear that more needs to be done by the government as well as people in the community to make a difference and to help homeless people get back on their feet.
 

=Introduction=
 
Homelessness has been an issue overlooked for decades upon decades. The media will cover hot topics such as unemployment and low-class living, but never breaches the subject of street homelessness. The amount of literature done on the subject of poverty is abundant, but only covered those same topics. Now, finally, the subject of homelessness is gaining attention from new and upcoming organizations and governments who devote their time to helping those in need. The United Kingdom is taking steps necessary to help street homeless people through organizations, and more importantly, legislation. This legislation has provided an incredible convenience for a major study of mental health issues that occupy the lives of different homeless populations in the country. Along with new legislation, organizations like, Accumulate, With One Voice, Depaul, and Cafe Art. These companies help raise awareness and money for street homeless people in need by displaying and creating art that feature those who are homeless. By having a major exhibition across Great Britain, like Accumulate, or by displaying art created by and for homeless people, these companies help get by standing citizens involved and wanting to help.

=Section 1: Background=
Unlike the United States, the homeless population is accommodated much differently. In America, charities and museums are created through philanthropy with very little funding from the government. This makes it difficult to start large-scale organizations to help those in need because in order to do so, one must be rich enough to sustain that large of an organization. In Britain, this model of support from the government is drastically different. The UK provides many different facets to earn funding from the government when starting an organization or museum. For instance, setting up an organization as a “charity” allows for copious amounts of funding which makes it much easier for people to get involved and help those in need. The Museum of Homelessness in London is an excellent example of what this funding can make possible. Though the museum is in its beginning stages, it has already had amazing impacts on the society. One of these impacts was their exhibition at Tate Modern in April of 2017 entitled “State of the Nation: Exchanges on Homelessness”. Not only was this a fantastic exhibit, but the museum also hosted many different speeches from those who have been homeless and those that study homelessness at the exhibition. Though, arguably one of the most important ways the British government helps people get involved to help homeless people, it is not the only way they aid those in need.
 
==Accommodations==
In the UK, single homeless people can live in a variety of types of shelters and hostels while people aged 16 to 25 can only live in specialist hostels with the government’s help <ref>Smith, Joan. (2005). ''Housing, Homelessness, and Mental Health in Great Britain.'' International Journal of Mental Health, 34(2), 24.</ref>. Legislation determines the living standards and accommodations for families and most of the time, they are placed in temporary or permanent social housing. In the US, homeless singles, adolescents, and families are all treated similarly and are placed in shelters for all ages and types of people. While the US still does what it can to support homeless people, most of that support comes from organizations and charities run by the citizens rather than the government because of its lack of legislation on the subject. In fact, much of the legislation in the US that is related to homeless people is directed towards getting them off of the streets any way possible. Rather than providing a shelter, they can be fined or prosecuted for being out in public. Steps have been taken to prevent homeless people from sleeping or staying outside businesses. Similarly to the UK, America also has “homeless spikes” on benches and other parts of property around the city. These spikes are to prevent a homeless person from sleeping on the ground or a bench of a property or the property itself. In 2015 and 2016, UK mother and estate agent Jennie Platt and her children covered these spikes with cushions, pillows, sandwiches, and even some of her own messages. In an interview with The Telegraph, Platt said, “The building owners are treating human beings like pigeons.” She took action to help when business owners preferred to oust homeless people.
 
==Healthcare==
Britain, unlike America, provides universal, free healthcare for all of its citizens throughout the National Health Service (NHS). In order to attain this free healthcare, one must simply register through a local general practitioner. They must then use this general practitioner for all other health-related services. According to a survey done in 1997 by the North-West Thames Health Services, of those people living in a bed and breakfast accommodation, 92 percent of them were registered with a doctor. According to other surveys, this number ranged anywhere from 60 to 90 percent that were registered with a doctor. Since 1997, the response to poverty and health has grown immensely while under the Labour governments. Now, policies and legislation are being made to directly affect the amount of homelessness and rough sleeping in attempts to diminish the numbers. These policies include creating more accommodations for people in need and making it easier for them to get shelter. Unfortunately, this hasn't been too effective. According to “Homeless Link: Homelessness in Numbers (2015)”, rough sleeping (street homelessness) has risen 55 percent from 2010 while the number of families with children in temporary accommodation has risen 36 percent. Due to the changes in the political environment, many homeless people have resorted to migrating and leaving the country in which they were born. This presents more problems because some of this migration and emigration is illegal. Without an updated passport, many of these people cannot leave and are trapped in a country in which the majority of people ignore them.
 
==Legislation==
People become homeless for a variety of reasons: abuse, economy, and drugs are some of the most common. In the UK, homelessness is defined as being at risk of losing or without secure and solid accommodations for the following 28 days. In 1997, this definition was revised to include those who have been forced out of their homes due to domestic violence. In 2002, it was broadened to include those who have had to leave due to racial or neighborhood violence. The reason this definition was created by The Housing (Homeless Persons) Act of 1977 was simply to create legislative support for those in need. This support showed that the government cared and was trying to help through the creation of different accommodations and funding of charities. After The Housing Act was made, unfortunately, the housing market saw a drastic decline in availability. From 1977 to 1991, the housing stock available for permanent resettlement dropped from one third to one fifth <ref>Credland, S. (2003) ''Local authority progress and practice and the Homelessness Act 2002 six months on.'' London: SHELTER. </ref>. This decline created an environment where more and more homeless people were placed in hostels and temporary accommodations.
 
This new legislation created support for people of all ages, especially children. Families with children and pregnant women made up four out of every five homeless households <ref>.Greve,J., & Currie, E. (1990) ''Homelessness.'' York, UK: Joseph Rowntree Foundation. </ref>. In a homeless family, the mother has the statutory right to apply for housing and accommodations and to cite the cause of their homelessness whether that be violence, poverty, or a breakdown of a relationship and by 1991, 45 percent of single mothers occupied such social housing. Only 28 percent of single fathers had occupied accommodations by that time <ref> Woods, R. (1996) Women and housing. In C. Hallett (Ed.), Women and social policy. London: Prentice Hall. </ref>.
 
==Homelessness In Photography==
 

=Section 2: Deliverable=
 
In the previous article, an analysis and comparison was done of the different legislations and organizations that help homeless people around the United Kingdom, specifically London. Although much has been done to create accommodations for homeless people legally, actual improvement has yet to be seen in the grand scheme of things. Street homelessness can be seen everywhere: walking by Trafalgar Square, walking down New Oxford Street and through Soho, and even just randomly throughout other, smaller parts of the city. My project, entitled ''Rough Sleeping'', intends to show the brutal truth that more needs to be done to help people in need around London. ''Rough Sleeping'' is a short collection of photographs that were taken by me in the short time I stayed in London. They expose the some of true emotions that are usually hidden by homeless people to appear "nicer" and "cleaner" so that they can earn money any way possible.
 
==''Rough Sleeping'' by Grant Zahorsky==
 

<gallery mode="packed">
File:Crying_Homeless_Man.jpg|''Broken Down''
File:Homeless_and_Phone.jpg|''Ignored''
File:Homeless_Bath_Smoking.jpg|''Tough''
File:Homeless_Man_Sign_Sitting.jpg|''Escape''
File:Homeless_SoHo_Sleeping_Blue_Wall.jpg|''Blue''
File:Homeless_Umbrella_Thinking.jpg|''Veteran''
File:Homeless_Stairs-1080px.jpg|''Camouflaged''
File:Sad_Homeless_Man_London.jpg|''Desperation''
File:Sad_Homeless_Umbrella_Lady.jpg|''Hiding''
File:Sad_Homeless_Woman_2.jpg|''Bustling''
File:Sad_Homeless_Woman_London_Crosswalk.jpg|''Contemplation''
</gallery>
 

=Conclusion=
 
Improving and providing housing has been one of the foremost thoughts in the minds of British leaders over the past 150 years. These improvements also helped advance physical and mental help of many different populations across the country <ref> Standing Conference on Public Health (1994) ''Housing, homelessness and health.'' London: Nuffield Provincial Hospitals Trust </ref>. Recently, it has become obvious that the current housing situation is not enough and more needs to be done to help people. This issue was the reason behind the creation of Supporting People, the government initiative that, along with the merging of Homelessness Directorate with the Housing Care and Support Unit in 2004, has helped a myriad of people. This merging of divisions created the Homelessness and Housing Support Directorate that is currently attached to Neighbourhood Renewal, a fund created to help those in need in deprived areas. Although there still is not enough housing to accommodate every citizen of the UK, this article has proved that actions are being taken to help as many people as the government and other organizations can. These actions have helped up to half of those resettled who previously suffered from different types of neuroses such as anxiety, depression, etc.. These people can now report that their symptoms have gone down and/or disappeared <ref>Smith, Joan. (2005). Housing, Homelessness, and Mental Health in Great Britain. International Journal of Mental Health, 34(2), 24.</ref>. This advancement proves that more must be done to provide for those who are legally homeless and more accommodations need to be made for permanent housing. For the first time in 2004, a majority of households accepted as a priority need and homeless were placed in temporary accommodations (<ref> ''Financial Times.'' December 14. 2004. </ref>) compared to only 17 percent in the first year of the Act <ref>Standing Conference on Public Health (1994) ''Housing, homelessness and health''. London: Nuffield Provincial Hospitals Trust.</ref><ref> Diaz, R. (2002) ''Who says there's no housing problem.'' London</ref>. Britain has come a long way recently in terms of the help they provide for those in need. More laws and acts have been passed, more organizations created, and more housing and accommodations provided, but what of those people who cannot resettle due to illness or simply because it is too challenging? This is the area that the government needs to focus on next if they plan on fixing this issue of homelessness because these are the people that make up the majority of those who are street homeless. While organizations, like the Salvation Army, are doing what they can to provide shelter and food, it simply will not be enough until the government intervenes.
 

=References=
 
<references />

[[Category:Art Projects]]
[[Category:History Projects]]
[[Category:2017]]

2017-06-22T13:06:47Z

Gczahorsky:

=The Unknown Monet of London=
by [[User:Gczahorsky|Grant Zahorsky]] 

{{Infobox
|title = Claude Monet
|bodystyle = width:25em
|image = [[File:Claude_Monet_1899_Nadar_crop.jpg|x450px|]]
|caption = Claude Monet, photo by Nadar, 1899.
}}

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=Abstract=
This article will serve as an analyzation of impressionism and Oscar-Claude Monet's time spent in London creating the 'London Series', a collection of 94 surviving oil paintings. It will also provide a brief comparison of photography to impressionism and prove that photography and Impressionism influenced each other and by playing with the light, angles, and perspective, images can be painted or photographed that change the mood of a single subject dramatically. . Prior to this project, I have spent time researching Monet as he is one of my favorite artists. I have travelled all across the United States visiting different art museums and galleries to study his work. I have had experience with art at WPI, taking a course in animation, as well as experience as a freelance graphic designer, photographer, cinematographer, and visual effects producer and supervisor. After coming to London to research Monet, I learned much more about the life of Monet and his ''London Series''.
 

=Introduction=
 
The following article will serve as an analyzation of Oscar-Claude Monet's life and time in London as he created his remarkable ''London Series''. The ''London Series'' is one of his most notable works, consisting of 94 surviving oil paintings of the Houses of Parliament, the Charing Cross Bridge, and the Waterloo Bridge.
 

=Section 1: Background=
 
==Monet's Life==
Oscar-Claude Monet was born in Paris on November 14, 1840 to Claude Adolphe Monet and Louise Justine Aubrée Monet. At the age of 5, Money and his family moved to Le Havre in Normandy where his father wanted him to go into the family business of ship-chandling and grocery business, but Money had other ideas. <ref>'The New Encyclopaedia Britannica.' Encyclopaedia Britannica. 1974-01-01. p. 347. ISBN 9780852292907.</ref> He was striving to be an artist rather than a shop owner and his mother, being a singer, supported his career in art. On the first of April, 1851, Monet entered the Le Havre secondary school of the arts and began to fulfill his dream. Locals at the time knew him well as he would sell his charcoal caricatures for ten to twenty francs. He took his first drawing lessons from Jacques-François Ochard and met Eugène Boudin on the beaches of Normandy in 1856. This is when Boudin taught him how to use oil paints and the techniques involved in “en plein air” paintings. <ref>'Biography for Claude Monet Guggenheim Collection'. Retrieved 6 January 2007.</ref> His mother died on January 28th, 1857 and at the age of sixteen, Monet left school to live with his widowed and childless aunt, Marie-Jeanne Lecadre. It was then that Monet visited the Louvre and painted his first works of art. <ref>Tinterow, Gary (1994). 'Origins of Impressionism'. Metropolitan Museum of Art. ISBN 9780870997174.</ref> After being drafted into the First Regiment of African Light Cavalry in Algeria in 1861, Monet contracted typhoid fever and went absent without leave. It was then that his aunt intervened to get him out of the army so long as Monet agreed to a complete one course in an art school. He was hesitant because of his disappointment in the traditional curriculum taught in art school and instead became a student of Charles Gleyre in 1862 in Paris. This was the moment the first true forms of Impressionism were created. Monet, along with Pierre-Auguste Renoir, Frédéric Bazille and Alfred Sisley shared their different approaches to art and experimented with the effects of light outdoors through rapid and seemingly random brush strokes in conjunction with broken color schemes. He took these techniques with him across Europe painting different landscapes, buildings and environments and took his first trip to London in 1870-1. <ref>Khan, S., Thornes, J. E., Baker, J., Olson, D. W., & Doescher, R. L. (2010). 'Monet at the Savoy.' Area, 42(2), 208-216. doi:10.1111/j.1475-4762.2009.00913.x</ref>
 

==Monet in London==
{{Infobox
|title = Savoy Pigeons
|bodystyle = width:25em
|image = [[File:SavoyPigeons.jpg|x450px|alt=Milestone Image]]
|caption = Lithograph of James McNeil Whistler
}}
The moment in arrive in London for the first time in 1870, Monet instantly fell in love with the atmospheric effects of the fog and the city itself. As soon as he left the city, he knew he wanted to come back and paint the city in all of its glory. Unfortunately, due to financial troubles at the time, he wasn't able to come back until 1899 when he could afford to stay at the Savoy Hotel, one of the world’s most luxurious hotels at the time. <ref>Taylor, J. R. (1995). 'Claude Monet impressions of France': from Le Havre to Giverny. London: Collins and Brown.</ref> It was there, on the sixth and fifth floor, that Monet created the London Series, a collection of 94 surviving oil paintings and many more that were never finished from 1899-1905. The current existing works consist of 19 paintings of Parliament, 41 of the Waterloo Bridge, and 34 of the Charing Cross Bridge. Monet would typically begin his day by painting the Waterloo and Charing Cross bridges and then paint the Houses of Parliament in the afternoon and evening at the St. Thomas Hospital. <ref>'Monet’s ‘London Series’ and the Cultural Climate of London at the Turn of the Twentieth Century'. (n.d.). Weather, Climate, Culture. doi:10.5040/9781474215947.ch-008</ref>
 
During the 18 month period surrounding Monet’s stay in London, he spent approximately 6 of those months in London painting the bridges. Monet chose the Savoy Hotel because of its remarkable view of all three landmarks displayed in his London Series and during his first stay from mid-September to the end of Octobeblr/early November in 1899, Monet lived in and painted from the sixth floor. When he returned from 9 February to 5 April in 1900, he noticed that the entirety of the sixth floor was being used for injured soldiers from the Boer War, as per Princess Louise’s request. <ref>Seiberling, G., & Monet, C. (1988). 'Monet in London.' Atlanta: High Museum of Art.</ref> Because of this, Monet worked from a suite on the fifth floor during his second and again on his third stay from 25 January until the end of March in 1901. In the days of Monet, a suite would have consisted of a bedroom and a sitting room, and at the Savoy, a balcony. This hotel and the specific rooms were recommended to him by fellow artist and friend James McNeill Whistler.
 
It can be established that during his first stay at the Savoy, Monet most likely worked from a corner suite on the sixth floor that Whistler had previously occupied and recommended because of the view from the balcony.<ref>Patin, S., & Monet, C. (1994). 'Claude Monet in Great Britain.' Paris: Hazan.</ref><ref>Shanes, E. (1998). Impressionist London. New York: Abbeville P.</ref> Whistler’s room and viewing position can be discovered by analyzing his lithographs 'Savoy Pigeons’ and ‘Evening - Little Waterloo Bridge’. These lithographs were produced in 1896 while he stayed at the Savoy for several weeks comforting his wife, Trixie, who was terminally ill with cancer. In the corner of ‘Savoy Pigeons’, the birds can be seen on the corner balcony to the left. Exploring this image more closely, one can also see that there are no pillars in the image. This is because the pillars of the Savoy Hotel are only present to and including the fifth floor. It can then be concluded that Whistler was painting from the corner suite on the sixth floor of the hotel.
 
After being captivated by London and the London Fog, Monet set out to create the 'London Series', one of his most remarkable collections. In these urban paintings, people and their carriages, trains, and boats all gave way to the fog and the light peaking through. The natural light and mist provided a new way of demonstrating different moods and effects of the environment on architectural giants. From the Savoy Hotel, he could see the Waterloo Bridge on his left and the Charing Cross Bridge on his right and from St. Thomas hospital, he painted the magnificent House of Parliament series. It was not the light or the architecture that enthralled Monet so much, but the London Fog, which "dematerialized" the look of the River Thames, the bridges, and Parliament. Monet demonstrated this look and feel in his paintings by showing even less concern for detail than in his previous series of the Poplars. In the 'Houses of Parliament' series, soft and subtle tones of blues and pinks were used to signify the changing of light on the fog and on the city. <ref>Interpretive Resource. (n.d.). Retrieved June 21, 2017, from http://www.artic.edu/aic/resources/resource/383</ref> In 'Charing Cross Bridge, London', Monet used the fog to show how sunlight can be dispersed over a large area by using blues and pinks that slowly transformed backdrops of vivid yellow tones. Contrastingly, Monet reversed lights and darks in his 'Waterloo Bridge' series. This was done to create a new perspective on the city and its energy. By making the bridge a bright band of light and the people and their carriages small bursts of light, the energy of the city is intensified greatly. <ref>Interpretive Resource. (n.d.). Retrieved June 21, 2017, from http://www.artic.edu/aic/resources/resource/383</ref> As with all of his paintings, Monet put his genius imagination and memory to use to create a collection of masterpieces that will never be forgotten.
 

==Towards the End==
{{Infobox
|title = 'Weeping Willow', 1918-1919, Columbus Museum of Art
|bodystyle = width:25em
|image = [[File:WeepingWillow.jpg|x450px|alt=Milestone Image]]
|caption = Claude Monet
}}
Monet began to develop cataracts after the death of his second wife, Alice, and his oldest son, Jean, in 1911 and 1914 respectively. <ref>Forge, Andrew, and Gordon, Robert, 'Monet', page 224. Harry N. Abrams, 1989.</ref> Before Jean's death, he had married Alice's daughter Blanche, Monet's favorite of the bunch. As Monet's sight began failing him and the cataracts worsened, Blanche moved to Giverny, France, where he lived, to take care of him. Monet's house in Giverny was the site of his famous garden and water lily pond. It was there that some of his most notable works were crafted into the masterpieces that we know today. It was also there that Monet paid homage to his younger son, Michel, his friend, Georges Clemenceau, and the other fallen French soldiers who had lost their lives in World War I through his paintings of the weeping willow trees. Due to Monet's cataracts, these paintings all had a reddish hue, a symptom common of many people who suffer from cataracts. It was not until 1923 that Monet had two operations done to remove his cataracts. After his operations, he began repainting older paintings with seemingly bluer water lilies than before. This may have been due to a possible lack in ability to see ultraviolet wavelengths of light that are normally excluded by the natural lens of the eye. <ref>'Let the light shine in', Guardian News, 30 May 2002. Retrieved 6 January 2007.</ref> On the 5th of December, 1926, Monet fell victim to lung cancer and passed away at the age of 86. He is currently buried in a family grave in the Giverny church cemetery in France. <ref>"Monet's Village". Giverny. 24 February 2009. Retrieved 5 June 2012.</ref> Only around fifty people came to the ceremony because Monet had always insisted that the occasion be small and simple. Today, tourists from all around the world can visit Monet's home and gardens which were given to French Academy of Fine Arts by his son, Michel, in 1966.
 

=Section 2: Deliverable=
==Impressionism vs. Modern Photography==
 
Painters and artists have been using photographical techniques for centuries. Dutch painters during the 16th and 17th centuries are believed to have used a camera obscura (a darkened box with a convex lens or aperture) to create their photorealistic paintings.<ref>Marder, L. (n.d.). The Impact of Photography on Painting. Retrieved June 22, 2017, from https://www.thoughtco.com/impressionism-and-photography-2578247</ref><ref>Camera Obscura. (n.d.). Retrieved June 22, 2017, from https://www.merriam-webster.com/dictionary/camera%20obscura</ref> Tim Jenison, an inventor and filmmaker from Texas, released a documentary entitled "Tim's Vermeer" in which he explored the photographical techniques and use of a camera obscura in the work of Johannes Vermeer, a Dutch painter that lived from 1632-1675. By using a camera obscura, Jenison was able to create an exact replica of some of Vermeer's most notable paintings, even as someone who had no experience painting. Though these techniques were used by early painters, the first permanent photograph was not taken until 1826 by Joseph Niepce and then made more widespread in 1840 when British inventor Fox Talbot created the positive-negative techniques many people use today when photographing through the use of film. Fellow artist and founder of Impressionism, Edgar Degas, used photography to influence many of his paintings, specifically his paintings centered around dancing, and later even turned to photography as an artistic pursuit. <ref>Trachtman, P. (2003, April 01). Degas and His Dancers. Retrieved June 22, 2017, from http://www.smithsonianmag.com/arts-culture/degas-and-his-dancers-79455990/</ref>. As the art of photography and Impressionism advanced in years, it also advanced technologically. Oscar-Claude Monet, and may others like him, incorporated photography into their works so that they could travel across the world, begin new paintings, and finish them at a later date, without having to be at the site of the subject of the painting. This provided more flexibility in their art and changed the way they used their time while painting. It also allowed for more creativity, and techniques as the art of photography advanced. Today, photography is incorporated into the life of almost every single person on the planet through smartphones, digital cameras, mirrorless cameras, DSLR's, pinhole cameras, and more. People use it to document their lives by photographing their families, trips, accomplishments, and even meals. Because of this versatility, photography has grown immensely and become a major art form by playing with light and angles to create emotional images that impact the viewer, similarly to Monet and Impressionism. Monet's remarkable ''London Series'' focused on the Houses of Parliament, the Charing Cross Bridge, and the Waterloo Bridge. In my version of the ''London Series,'' I take photographs of the Waterloo Bridge using different forms of light and different angles to demonstrate how, as Monet did, playing with light, angles, and perspective can change the mood of a single subject dramatically.
 
===Excerpts from ''London Series'' by Oscar-Claude Monet===
<gallery mode="packed">
Image:Charing_Cross_Bridge,_Monet.jpg|''Charing Cross Bridge,'' 1899
Image:MonetCharingCrossBridge.jpg|''Charing Cross Bridge, London,'' 1899-1901
Image:Claude_Monet_-_Charing_Cross_Bridge,_Fog.jpg|''Charing Cross Bridge, Fog,'' 1902
Image:Waterloo-bridge-overcast-weather-2-1901.jpg!HalfHD-2.jpg|''Waterloo Bridge, Overcast Weather,'' 1899-1901
Image:Waterloo-bridge-sunlight-effect.jpg!HalfHD.jpg|''Waterloo Bridge, Sunlight Effect,'' 1902
Image:WaterlooGrey.jpg|''Waterloo Bridge, Grey Weather'' 1903
Image:Monet_Houses_of_Parliament,_Sunset.jpg|''Parlement, coucher du soleil (sunset),'' 1902
Image:Claude_Monet_-_The_Houses_of_Parliament,_Sunset.jpg|''The Houses of Parliament, Sunset,'' 1903
Image:Le_Parlement_de_Londres_Monet.jpg|''Houses of Parliament, stormy sky,'' 1904
Image:Claude_Monet_-_Le_Parlement,_coucher_de_soleil.jpg|''Houses of Parliament, London,'' ca. 1904
Image:Seagulls,_the_Thames_&_Houses_of_Parliament_by_Claude_Monet,_Pushkin_Museum.JPG|''Seagulls, the River Thames and the Houses of Parliament,'' 1904
</gallery>
 

===''London Series'' by Grant Zahorsky===
<gallery mode="packed">
Image:1_Daytime_Ride_2500.jpg|''Daytime Ride''
Image:2_Evening_Ride_2500.jpg|''Evening Ride''
Image:3_Sunset_Ride_2500.jpg|''Sunset Ride''
Image:4_Night_Ride_2500.jpg|''Night Ride''
Image:5_Evening_Bridge_2500.jpg|''Evening Bridge''
Image:6_Sunset_Bridge_2500.jpg|''Sunset Bridge''
Image:7_Sunset_Bridge_Top_View_2500.jpg|''Sunset Bridge -- Top View''
Image:8_Orange_Sunset_Bridge_2500.jpg|''Sunset Bridge -- Orange''
Image:9_Underpass_2500.jpg|''Underpass''
Image:10_Waterloo_St._Pauls_2500.jpg|''Waterloo St. Paul's''
</gallery>
 

=Conclusion=
 
In this section, provide a summary or recap of your work, as well as potential areas of further inquiry (for yourself, future students, or other researchers).
 
=References=
 
<references />

[[Category:Art Projects]]
[[Category:History Projects]]
[[Category:2017]]