text: Beijing

text: Beijing

text: Chinese history

text: National People's Congress

text: oil paint

text: Christie's

text: Central Academy of Fine Arts

text: Fine Arts

text: oil painting

text: Ai Weiwei

text: Mao Zedong

text: Tiananmen Square

text: contemporary China

text: Sino-Japanese War

text: Spoleto Festival USA

text: Pace Gallery

text: impasto

text: Pékin Fine Arts

text: Saatchi Gallery

text: Galerie Meile

paragraph: Li Songsong

paragraph: Li Songsong (李松松; born 1973 in Beijing) is a painter working in Beijing.

paragraph: His paintings recreate public resource images of modern Chinese history, such as the National People's Congress. Li works on large scale canvases with oil paint. Li Songsong's painting "The Decameron" sold for $273,600 US Dollars at Christie's auction house in 2006.

paragraph: Section::::Biography.

paragraph: Li graduated from the Subsidiary School of the Central Academy of Fine Arts (CAFA) located in Beijing in 1996 and received his Bachelor of Fine Arts degree in oil painting from the Central Academy of Fine Arts. He was one of the first Chinese artists to establish a studio in the 798 Arts District of Beijing in 2002. Li is known as a history painter because he bases his work on a wide range of Chinese history, with an emphasis on modern Chinese history He uses images primarily from newspapers, magazines, the internet, book, and film stills. Despite this heavy use of political images, Li does not consider himself a political artist. His deconstruction of the images removes bias and invites interpretation. His favorite artist, however, is politically outspoken Ai Weiwei. He has been called a member of China's "in-between" generation. This is because Li, born into a well-placed military family, was too young to have experienced life under Mao Zedong but old enough to remember the Tiananmen Square uprising, which occurred while he was attending China's CAFA-affiliated high school.

paragraph: "He's a member of China's 'in-between' generation — too young to have directly witnessed life under Mao, but old enough to remember the Tiananmen Square uprising — which sets him apart both from his older peers who lived through the Cultural Revolution and from younger colleagues who have known only relative openness and growing international awareness of China's experimental art scene."

paragraph: In an article in Art in America author Richard Vine said, "He does not choose images to make a point; he reacts to images that trigger his strongest and most intuitive artistic responses"

paragraph: Section::::Artsistic style.

paragraph: Li's work is characterized by the contrast between his removed portrayal of events and expressive emotional technique. His painting style is unique in that he warps and reconstructs his images with layers of paint often section by section in an array of colors, giving the final work an abstract and ambiguous message that is left up to the interpretation of the viewer. The sections are completed methodically from top left to bottom right, giving the finished pieces a collage-like appearance. The details of the original photograph are erased while the figures are emphasized, allowing the painting to appear as either emerging or disappearing. Li uses strictly brushes to create his artwork, though many of his paintings display a variety of textures and techniques almost bursting off the surface. His medium is oil paint applied to canvas and aluminum panels. He often listens to music while working in his studio, claiming that it is indispensable to him. Li is aware of the jarring and psychological effect his paintings can have, explaining that "there's a little cognitive dissonance going on." When describing his view of his artwork, Li says, "It's like telling a story packed with violence and gore with a huge smile on your face. It's how the stories are told that attracts you, and that's the art of it. Everyone knows the story. The important thing is that way that you tell it." Li says that every stage of his artwork is important. He starts with a simple idea and his goal is to bring different people and ideas together.

paragraph: "Li Songsong is concerned with the intrinsic humanity that underpins all the images he appropriates and the memories they have the potential to bring to mind in his audience."

paragraph: Section::::Influences.

paragraph: Chinese conceptual photography became a major trend in contemporary Chinese art around the mid-90s. The interrelationship between photography and painting is a fundamental issue in contemporary Chinese art. This is because art during the post-Cultural Revolution era was dramatically affected by this interrelationship in many different ways, making it nearly impossible for photographers and oil painters to ignore. Other artists who were affected by this interrelationship and integrated it into their work included Chen Danqing, Hong Lei, Liu Zheng, Shi Chong, and Han Lei.

paragraph: Li was also heavily influenced by a book series known as the "old photo craze" (lao zhaopian re) published during contemporary China. The books were published by Shandong Pictorial Press, founded in 1994, and the first three issues became instant blockbusters in the mass book market. A total of three hundred thousand copies were printed of each of the three issues, and two hundred and forty thousand copies were printed for the fourth and final issue. These four issues were published within a single year from December 1996 to October 1997 and sold more than 1.2 million copies altogether. This made the series one of the most popular publications in post-Cultural Revolution China. This caused many artists, including Li, to become interested in representing history and memory during the post-Cultural Revolution era.

paragraph: The use of photographs in artwork began in the early 80s with stressed and damaged photos from the Communist Revolution era. Then, during the mid to late 90s, artists used images to represent the Sino-Japanese War. After this, experimental artists began using family photos to create "private histories." This led to the use of contemporary art forms such as installation, video, and multi-media art. Since the 90's, there has been an effort to demonstrate photography's role in forging "memory links" between past and present. Some artists and photographers have gone from this to focusing more on the impermanence of the history and memory of the events displayed in the photographs.

paragraph: These historic photos are familiar to millions of Chinese people. By incorporating photographs into artwork, artists are able to trigger the viewer's memory of the event being portrayed while simultaneously demonstrating their artistic talent and providing a new perspective.

paragraph: A documentary image can become "a visual symbol, with a meaning extending far beyond the photograph's specific content."

paragraph: Section::::Recent work.

paragraph: Li designed the poster for this year's (2012) Spoleto Festival USA. The festival involves musical and theatrical offerings. The poster, titled "Beast", was inspired by a photograph but was altered with Li's style of multiple layers of paint and sections. The work invites interpretation and was a unique choice for the show because the posters chosen in the past have traditionally been bold and brightly colored. The two abstract figures in the poster can be interpreted to be connected with the subject of the festival, as one of the opera productions "Feng Yi Ting" by Chinese composer Guo Wenging. The opera involves seduction and murder that ultimately saves an empire.

paragraph: Section::::Exhibitions.

paragraph: Li's most recent exhibition was a solo exhibition at Pace Gallery in New York. It was Li's first U.S. solo show and included 11 large scale impasto oil paintings.

paragraph: "Great Performances"

paragraph: This exhibition provided a new perspective of contemporary Chinese art. Through various forms of art, including video, photography, installation, painting, etc., artists represented the uncertainty in the minds of the Chinese people over the rapid advancement and development of Chinese society. "Role playing", or the use of body language in art, became popular as the idea of self-identity began to develop further in China. Self-identity began to emerge in the 1990s. This is where the idea of performance art comes into play. Curator Leng Lin says, "in such a compressed age, our 'performances' have been irrefutably passionate. 'Real' and 'surreal', it is a great performance."

paragraph: This exhibition included his famous "Pig Years" painting (2010). This painting is 12 feet high completed with a variety of colors. It spans four separate panels, each with overlapping smaller panels, which are attached together by aluminum plates. The painting appears abstract up close, but comes together to reveal a pile of pigs when viewed from a distance.

paragraph: "Abstract"

paragraph: This was a solo exhibition at Pace Beijing. It included 16 paintings executed with Li's characteristic patchwork style and depicting dangerous situations involving planes. These include "Peach Garden" (2008), named after the Taipei Taoyuan (literally "Peach Garden"), showing a group of people crowded around an empty plane of a pilot who defected to Taiwan around the 1980s. A related piece, "Betrayer" (2008), depicts a pilot raising his hands in victory after landing. Finally, two other works, "Oxygen Mask" (2009) and "Life Raft" (2009), are both based on images taken from an airline safety brochure. These works collectively express the hidden dangers that come with the freedom of flight. "Six Men" (2008), depicting Japanese Kamikaze pilots, and "Public Enemy" (2008), loosely based on a newspaper photo of Yang Jia who allegedly killed several police officers after being accused and tortured over stealing a bicycle, were two other pieces included in the exhibit.

paragraph: "Red Storm", Rijksmuseum Twenthe Museum voor oudeen moderne kunst, Enschede, Holland

paragraph: "Christian Dior & Chinese Artists", Ullens Center for Contemporary Art, Beijing, China

paragraph: "The Revolution Continues", Saatchi Gallery, London, UK

paragraph: "Encounters", Pace Beijing, Beijing, China

paragraph: "New World Order" – Contemporary Installation Art and Photography from China, Groningen Museum, Groningen, Holland

paragraph: "2D/3D Negotiating Visual Languages", PKM Gallery, Beijing, China

paragraph: "Half-Life of a Dream", Contemporary Chinese Art from the Logan Collection, San Francisco Museum of Modern Art, San Francisco, USA

paragraph: "Mahjong: Contemporary Chinese Art from the Sigg Collection", The University of California, Berkeley Art Museum, Pacific Film Archive, Berkeley, USA

paragraph: "Altered, Stitched & Gathered", P.S.1 Contemporary Art Center, New York

paragraph: "Mahjong - Chinesische Gegenwartskunst aus der Sammlung Sigg", Museum der Moderne, Salzburg, Austria

paragraph: "Through the Painting", 2nd Moscow Biennale, Moscow, Russia

paragraph: "Time Different - New Works from the Frank Cohen Collection", Initial Access, Wolverhampton, Great Britain

paragraph: "Art from China - Collection Uli Sigg", Centro Cultural Banco do Brazil, Rio de Janeiro, Brazil

paragraph: "Hypnogenesis", Galerie Urs Meile, Lucerne, Switzerland

paragraph: "Hypnogenesis", Galerie Urs Meile, Beijing, China

paragraph: "CHINA NOW - Faszination einer Weltveränderung", Sammlung Essl, Klosterneuburg / Vienna, Austria

paragraph: "Mahjong - Chinesische Gegenwartskunst aus der Sammlung Sigg", Hamburger Kunsthalle, Germany

paragraph: "PICTORIAL DNA made in China", Galerie Urs Meile, Lucerne, Switzerland

paragraph: "Mahjong - Chinesische Gegenwartskunst aus der Sammlung Sigg", Kunstmuseum Bern Switzerland

paragraph: "CHINA: as seen BY CONTEMPORARY CHINESE ARTISTS", Spazio Oberdan, Milano, Italy

paragraph: Received an honorable mention at the 4th China Contemporary Art Awards

paragraph: "China's Photographic Painting", China Art Season Gallery, Beijing

paragraph: "China und was mich sonst bewegt", Galerie 99, Aschaffenburg

paragraph: "Solo exhibition", Belgische Botschaft Beijing

paragraph: "Left Hand, Right Hand", Deutsch-Chinesische Gemeinschaftsausstellung zeitgenössischer Kunst, 798 Space, Beijing

paragraph: "fade in", Fotografie Ausstellung, 798 Art Space, Beijing

paragraph: "China Contempo", Art Seasons Gallery, Singapore

paragraph: "Face to Face", Chinese and Indian Contemporary Art, Shen Gallery, Singapore

paragraph: Section::::See also.

paragraph: BULLET::::- Pékin Fine Arts

paragraph: Section::::References.

paragraph: Images, texts, biography and further information at the Saatchi Gallery

paragraph: Section::::External links.

paragraph: BULLET::::- Li Songsong at 88MoCCA - The Museum of Chinese contemporary art on the web

paragraph: Images of Li Songsong's work, biography and interview from Galerie Meile

alias:
Songsong Li
Li SongSong

description: Chinese painter

wikidata_label: Li Songsong

wikipedia_title: Li Songsong


text:
Himyarite
king
Aksum
Arabia
Sassanid Empire
Khosrau I
Wahriz
Masruq ibn Abraha
the battle
advanced to conquer San'a
reconquered Yemen
Sīrat Sayf ibn Dhī-Yazan
jinn

categories: Rulers of Yemen,Pre-Islamic Arabia,Abyssinian–Persian wars,One Thousand and One Nights characters,6th-century monarchs in the Middle East

paragraph: Sayf ibn Dhi-Yazan

paragraph: Abū Murra Sayf bin Dhī-Yazan () was a Himyarite king of Yemen who lived between 516 and 578 CE, known for ending Aksumite rule over Southern Arabia with the help of the Sassanid Empire. .

paragraph: To reconquer Yemen, Sayf asked Khosrau I king of the Sasanian Empire to help him fight the Askem. Khosrau agreed and sent 800 men with Wahriz as their leader. Masruq ibn Abraha, king of Yemen, confronted the army but lost in the battle. The Sasanians advanced to conquer San'a, however, Sayf was instated as King on the understanding that he would send taxes to Khosrau. He was later stabbed by Ethiopian servants, and the Sassanians reconquered Yemen and Vahriz was instated as Governor of Yemen, alongside Sayf's son.

paragraph: Section::::Popular culture.

paragraph: Sayf entered Arab folklore by means of his widely known "biography" "Sīrat Sayf ibn Dhī-Yazan" that accounts his conquests of the human and mythical jinn realm, blending historical facts with arab folklore and mythology. Yazan has become a popular boy name in contemporary Arab culture.

description: King of Yemen

wikidata_label: Sayf ibn Dhi Yazan

wikipedia_title: Sayf ibn Dhi Yazan

wikipedia_title: Sayf ibn Dhi-Yazan


text: United States Army

text: Medal of Honor

text: Vietnam War

text: Kinder, Louisiana

text: McNeese State University

text: Lake Charles, Louisiana

text: New Orleans, Louisiana

text: Officer Candidate School

text: Fort Benning

text: first lieutenant

text: 7th Cavalry Regiment

text: 1st Cavalry Division

text: A Shau Valley

text: Republic of Vietnam

text: Claymore mine

text: Bronze Star

text: Kinder, Louisiana

text: Interstate 210

text: Abbeville

text: sniper

text: Cemetery Memorial

categories: 1943 births,United States Army officers,United States Army Medal of Honor recipients,People from Lake Charles, Louisiana,American military personnel killed in the Vietnam War,1968 deaths,McNeese State University alumni

paragraph: Douglas B. Fournet

paragraph: Douglas Bernard Fournet (May 7, 1943 – May 4, 1968) was a United States Army officer and a recipient of the United States military's highest decoration—the Medal of Honor—for his actions in the Vietnam War.

paragraph: Section::::Biography.

paragraph: Born on May 7, 1943, in Kinder, Louisiana, Fournet attended McNeese State University in Lake Charles, Louisiana.

paragraph: Fournet joined the Army from New Orleans, Louisiana in 1966, and went through Officer Candidate School at Fort Benning. By May 4, 1968, was serving as a first lieutenant in Company B, 1st Battalion, 7th Cavalry Regiment, 1st Cavalry Division (Airmobile). During a firefight on that day, in the A Shau Valley of the Republic of Vietnam, Fournet was killed while attempting to disable an enemy Claymore mine. He shielded his fellow soldiers from the blast with his body, preventing serious wounds to everyone but himself. His squadron leader, Bill Krahl, recovered his body, for which Krahl was awarded a Bronze Star.

paragraph: Killed three days before his 25th birthday, Fournet was buried in the Kinder McRill Cemetery in Kinder, Louisiana. He was survived by his wife Marilyn Grissett, who later remarried, and a son, Bill Fournet, who was born after his father's death.

paragraph: A portion of Interstate 210 which loops around Lake Charles was named the "Douglas Fournet Expressway" in the fall of 2001. On July 3, 2010, he and four other Medal of Honor recipients with ties to Louisiana were inducted into the Louisiana Military Hall of Fame and Museum in Abbeville.

paragraph: Section::::Medal of Honor citation.

paragraph: First Lieutenant Fournet's official Medal of Honor citation reads:

paragraph: For conspicuous gallantry and intrepidity in action at the risk of his life above and beyond the call of duty. 1st Lt. Fournet, Infantry, distinguished himself in action while serving as rifle platoon leader of the 2d Platoon, Company B. While advancing uphill against fortified enemy positions in the A Shau Valley, the platoon encountered intense sniper fire, making movement very difficult. The right flank man suddenly discovered an enemy claymore mine covering the route of advance and shouted a warning to his comrades. Realizing that the enemy would also be alerted, 1st Lt. Fournet ordered his men to take cover and ran uphill toward the mine, drawing a sheath knife as he approached it. With complete disregard for his safety and realizing the imminent danger to members of his command, he used his body as a shield in front of the mine as he attempted to slash the control wires leading from the enemy positions to the mine. As he reached for the wire the mine was detonated, killing him instantly. Five men nearest the mine were slightly wounded, but 1st Lt. Fournet's heroic and unselfish act spared his men of serious injury or death. His gallantry and willing self-sacrifice are in keeping with the highest traditions of the military service and reflect great credit upon himself, his unit, and the U.S. Army.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Medal of Honor recipients for the Vietnam War

paragraph: BULLET::::- Cemetery Memorial by La-Cemeteries

wikidata_label: Douglas B. Fournet

wikipedia_title: Douglas B. Fournet


text:
Canadian
Mayor of Toronto
Brompton, London
King's College School
London
Barbados
accountant
Grenada
Upper Canada
called to the bar
bencher
Law Society of Upper Canada
Legislative Assembly of Ontario
City of Toronto

categories: Canadian accountants,Canadian lawyers,Canadian civil servants,1892 deaths,1819 births,Mayors of Toronto

paragraph: Samuel Bickerton Harman

paragraph: Samuel Bickerton Harman (20 December 1819 – 26 March 1892) was a Canadian lawyer, accountant, politician, civil servant, and Mayor of Toronto from 1869–1870.

paragraph: Section::::Early life.

paragraph: Harman was born in Brompton, London, England, to Samuel Harman, West Indian planter and office holder, and Dorothy Bruce Murray. After graduating from King's College School in London, he became a clerk with the Colonial Bank at its Barbados branch in 1840, and in 1843 became accountant and later manager of its Grenada branch. He married Georgiana Huson, the daughter of a Barbadian planter, in Toronto in 1842.

paragraph: He returned to England in 1847 and moved to Upper Canada the following year in order to tend to some investments of his wife's family. By the early 1850s, he was reading law, and was called to the bar in 1855. He would serve as a bencher of the Law Society of Upper Canada from 1869 to 1871.

paragraph: Harman was involved in many significant activities concerning Toronto's upper class:

paragraph: When the Institute of Accountants and Adjusters of Ontario failed to secure an Act of incorporation from the Legislative Assembly of Ontario, Harman was named as its president. His political skills and stage-managing of the Toronto business élite enabled its incorporation as the Institute of Chartered Accountants of Ontario in 1883.

paragraph: Section::::Political career.

paragraph: Harman held many elected and appointed positions with the City of Toronto:

description: Canadian politician

wikidata_label: Samuel Bickerton Harman

wikipedia_title: Samuel Bickerton Harman


text: United States Army

text: Medal of Honor

text: Vietnam War

text: Richmond, Virginia

text: Corporal

text: 3rd Infantry Regiment

text: 199th Infantry Brigade

text: Republic of Vietnam

text: hand grenade

text: Glendale National Cemetery

text: List of Medal of Honor recipients for the Vietnam War

categories: 1949 births,Military personnel from Richmond, Virginia,1969 deaths,United States Army Medal of Honor recipients,American military personnel killed in the Vietnam War,United States Army soldiers

paragraph: Michael Fleming Folland

paragraph: Michael Fleming Folland (April 15, 1949 – July 3, 1969) was a United States Army soldier and a recipient of the United States military's highest decoration—the Medal of Honor—for his actions in the Vietnam War.

paragraph: Section::::Biography.

paragraph: Folland joined the Army from his birth city of Richmond, Virginia in 1968, and by July 3, 1969 was serving as a Corporal in Company D, 2d Battalion, 3rd Infantry Regiment, 199th Infantry Brigade. During a firefight on that day, in Long Khanh Province, Republic of Vietnam, Folland smothered the blast of an enemy-thrown hand grenade with his body, sacrificing his life to protect those around him.

paragraph: Folland, aged 20 at his death, was buried at Glendale National Cemetery in his hometown of Richmond, Virginia.

paragraph: Section::::Medal of Honor citation.

paragraph: Corporal Folland's Medal of Honor citation reads:

paragraph: For conspicuous gallantry and intrepidity in action at the risk of his life above and beyond the call of duty. Cpl. Folland distinguished himself while serving as an ammunition bearer with the weapons platoon of Company D, during a reconnaissance patrol mission. As the patrol was moving through a dense jungle area, it was caught in an intense crossfire from heavily fortified and concealed enemy ambush positions. As the patrol reacted to neutralize the ambush, it became evident that the heavy weapons could not be used in the cramped fighting area. Cpl. Folland dropped his recoilless rifle ammunition, and ran forward to join his commander in an assault on the enemy bunkers. The assaulting force moved forward until it was pinned down directly in front of the heavily fortified bunkers by machine gun fire. Cpl. Folland stood up to draw enemy fire on himself and to place suppressive fire on the enemy positions while his commander attempted to destroy the machine gun positions with grenades. Before the officer could throw a grenade, an enemy grenade landed in the position. Cpl. Folland alerted his comrades and his commander hurled the grenade from the position. When a second enemy grenade landed in the position, Cpl. Folland again shouted a warning to his fellow soldiers. Seeing that no one could reach the grenade and realizing that it was about to explode, Cpl. Folland, with complete disregard for his safety, threw himself on the grenade. By his dauntless courage, Cpl. Folland saved the lives of his comrades although he was mortally wounded by the explosion. Cpl. Folland's extraordinary heroism, at the cost of his life, was in keeping with the highest traditions of the military service and reflects great credit upon himself, his unit, and the U.S. Army.

paragraph: Section::::See also.

wikidata_label: Michael Fleming Folland

wikipedia_title: Michael Fleming Folland


text: German

text: philologist

text: University of Minnesota

text: Beowulf

text: Beetzendorf

text: Kingdom of Prussia

text: University of Berlin

text: University of Minnesota

text: World War II

text: Bad Kösen

text: Soviet occupation zone

text: Finnesburg Fragment

text: Anglia

text: Beowulf

text: Grendel's mother

text: Transcription of Klaeber's edition

text: Fordham University

categories: German literary critics,University of Minnesota faculty,Translators from Old English,American academics of English literature,Anglo-Saxon studies scholars,German male non-fiction writers,German medievalists,1954 deaths,1863 births

paragraph: Frederick Klaeber

paragraph: Frederick J. Klaeber (born Friedrich J. Klaeber) (1 October 1863 – 4 October 1954) was a German philologist who was Professor of Old and Middle English at the University of Minnesota. His edition of the poem "Beowulf", published as "Beowulf and the Fight at Finnsburg," is considered a classic work of "Beowulf" scholarship; it has been in print continuously since 1922 and is now in its fourth edition.

paragraph: Section::::Biography.

paragraph: Klaeber was born in Beetzendorf, Kingdom of Prussia to Hermann and Luise Klaeber. He received his doctorate from the University of Berlin (Philosophy) in 1892. He was invited to join the University of Minnesota as an Assistant Professor of English Philology. He was Professor of English and Comparative Philology from 1898 to 1931. In 1902 he married Charlotte Wahn.

paragraph: Klaeber retired from Minnesota in 1931 and returned to Berlin, where he continued to work on what would become the 1936 third edition of "Beowulf and the Fight at Finnsburg". During World War II, his house in Berlin was destroyed, including his books, articles, and notes; he and his wife fled to her house in Bad Kösen, where he continued work on what would be published as the second supplement to the third edition of "Beowulf and the Fight at Finnsburg" (1950). During this time, because he no longer had his library and paper was scarce (Bad Kösen was in the Soviet occupation zone), he depended greatly on colleagues and friends in the US. Toward the end of his life, Klaeber was bedridden, impoverished, and partially paralyzed but continued his scholarly work nevertheless. He died in 1954.

paragraph: Section::::Beowulf and the Fight at Finnsburg.

paragraph: Klaeber was fluent in a number of languages (Greek, Latin, French, Germanic, Old, Middle, and Modern English) and was thus asked by the University of Minnesota to create an English language edition of "Beowulf" in 1893. Klaeber spent three decades on the project, finally publishing the first edition, "Beowulf and the Fight at Finnsburg", in 1922. The Finnesburg Fragment which he included is all that remains of another poem about an event alluded to in "Beowulf". The second edition was published in 1928. The third edition was published in 1936; it was republished with a supplement in 1941, and then republished again with a second supplement in 1950. All of Klaeber's editions have included a substantial Introduction, discussing a range of different topics related to the poem, and a comprehensive Commentary section on particular aspects of the text, as well as an extensive glossary.

paragraph: For many years, Klaeber was considered one of the world's leading "Beowulf" researchers, and his great work, "Beowulf and the Fight at Finnsburg", became enormously important and influential on scholars and students of those poems. As Josephine Bloomfield observes:

paragraph: In 2008, a new version prepared by an editorial team consisting of Robert Dennis Fulk, Robert E. Bjork, and John D. Niles was published as the "fourth edition"; it retains much of Klaeber's third edition design and text, but also substantial alterations intended to update the work by taking into account scholarship on "Beowulf" published since 1950.

paragraph: Section::::Selected publications.

paragraph: BULLET::::- 1903: „Notes on Old English Prose Text", in: "Modern Language Notes"; 18.8; pp. 241–247

paragraph: BULLET::::- 1912: „Die christlichen Elemente im Beowulf", in: "Anglia"; 35; pp. 111–136 (in German)

paragraph: BULLET::::- 1929: "Studies in English Philology: a miscellany in honor of Frederick Klaeber". Ed. Kemp Malone and Martin B. Ruud. Minneapolis: University of Minnesota Press (includes: "A bibliography of the works of Frederick Klaeber"; [by] Stefán Einarsson, pp. 477–85)

paragraph: Section::::See also.

paragraph: BULLET::::- Beowulf

paragraph: BULLET::::- Grendel's mother

paragraph: Section::::External links.

paragraph: BULLET::::- Beowulf and the Fight at Finnsburg (first edition, 1922) - Google Books

paragraph: BULLET::::- "Transcription of Klaeber's edition". - Fordham University

description: German academic

wikidata_label: Frederick Klaeber

wikipedia_title: Frederick Klaeber


text: Middlesbrough

text: Yorkshire

text: cricket

text: Tests

text: ODI

text: Yorkshire

text: Warwickshire

text: 1981 Ashes series

text: Headingley

text: Durham

text: Alan

text: Lincolnshire

text: first-class cricket

text: Yorkshire

text: Edgbaston

text: Walter Lawrence Trophy

text: Ray Illingworth

text: Warwickshire

text: Northern Transvaal

text: South Africa

text: Northumberland

text: Durham

text: Chester-le-Street

text: India

text: Calcutta

text: Sunil Gavaskar

text: Derek Underwood

text: Test Match

text: Pakistan

text: Edgbaston

text: no-ball

text: Wasim Raja

text: wicket-keeper

text: Bob Taylor

text: Wasim Bari

text: Iqbal Qasim

text: Sikander Bakht

text: Graham Roope

text: Maurice Allom

text: Lancaster Park

text: Christchurch

text: Wasim Akram

text: Ian Botham

text: Headingley

text: Ashes

text: Allan Border

text: duck

text: Centenary Test

text: Melbourne

text: Lord's

text: Greg Chappell

text: Dennis Lillee

text: Rodney Marsh

text: Australia

text: Tony Greig

text: Kerry Packer

text: World Series Cricket

text: benefit season

text: South African Breweries

text: English touring side

text: South Africa

text: Derek Randall

text: Trent Bridge

text: Mike Brearley

text: Ian Botham

text: bowling machine

text: Lord's

text: India

text: Pakistan

text: Praa Sands

text: Cornwall

text: Sainsbury's

text: Falmouth

text: Alan Old

text: England

text: rugby union

text: Warwickshire

text: Cambridge University

text: Durham

categories: Yorkshire cricketers,1948 births,D. H. Robins' XI cricketers,Warwickshire cricketers,England One Day International cricketers,Cricketers at the 1979 Cricket World Cup,Marylebone Cricket Club cricketers,Northerns cricketers,Northumberland cricketers,English cricketers of 1969 to 2000,England Test cricketers,Living people,Yorkshire cricket captains,D. B. Close's XI cricketers,English cricketers,International Cavaliers cricketers,Cricketers at the 1975 Cricket World Cup,Sportspeople from Middlesbrough,Wisden Cricketers of the Year

paragraph: Chris Old

paragraph: Chris Old (born Christopher Middleton Old, 22 December 1948, Middlesbrough, Yorkshire) is a former English cricketer, who played 46 Tests and 32 ODIs from 1972 to 1981. A right-arm fast-medium bowler and lower order left-handed batsman, Old was a key feature of the Yorkshire side between 1969 and 1983, before finishing his career at Warwickshire in 1985. As a Test bowler for England he took 143 wickets, and scored useful runs in the famous 1981 Ashes series' Headingley victory.

paragraph: Section::::Early life.

paragraph: The youngest of three brothers, Chris Old first made his mark in school cricket as a left handed batsman playing for Middlesbrough, Durham and England Schools. In 1962 he was recommended to Yorkshire, thus following in the footsteps of his older brothers Alan and Malcolm, who had already preceded him. He made his debut, aged 15, for Yorkshire 2nd XI against Lincolnshire at Grimsby in August 1964 as a batsman, scoring 26 in the first innings and 8 not out in the second, but he was subsequently encouraged by resident coach Arthur Mitchell to develop his bowling. He was still predominantly a batsman when he made his debut for the Yorkshire first team as a 17-year-old against Hampshire in 1966, scoring 3 runs and conceding 8 runs from 3 overs without taking a wicket. That was the start of a first-class cricket career lasting 20 years from 1966 to 1986.

paragraph: Section::::First-class career.

paragraph: He was mentored by the resident Yorkshire opening bowlers, Fred Trueman and Tony Nicholson, who took over 2800 wickets between them for the county and following Fred Truemans retirement in 1968 he became Nicholsons opening new ball bowling partner. He won his Yorkshire cap in 1969, and was named as the Cricket Writer's Club Young Cricketer of the Year in 1970. Old hit the 3rd fastest century of all time at Edgbaston in 1977, with 100 runs from 72 balls in 37 minutes, with the second 50 taking just 9 minutes. This feat won him the Walter Lawrence Trophy for the fastest century of the year. He was also nominated as one of the five Wisden Cricketers of 1979.

paragraph: 'Chilly' (so known because he appeared on the scorecard as "C.Old") subsequently took the Yorkshire captaincy in 1981, but it was not a happy period. The next season, suffering from personal problems, he was ousted from the role to allow the 50-year-old, Ray Illingworth, to take charge on the field. He then moved on to Warwickshire for three seasons (1983 - 1985) and he also appeared for Northern Transvaal in South Africa between 1981 and 1983. His valedictory first-class cricket appearance was for a Brian Close XI against the touring New Zealand side at Scarborough in September 1986. In 379 first-class matches he took 1,070 first-class wickets at the average of 23.48 and scored 7,756 first-class runs with six centuries. He finished off his domestic cricket career with a season of minor counties cricket, playing 8 matches for Northumberland in 1987, with the highlight being 6 - 98 against Durham at Chester-le-Street in July.

paragraph: Section::::Test cricketer.

paragraph: He made his Test debut in the Second Test against India at Calcutta in December 1972. His first victim was the great Sunil Gavaskar whom he caught off the bowling of Derek Underwood as the first Indian wicket to fall. He produced a notable all-round performance scoring 33 and 17 not out and taking 2 for 72 and 4 for 43 but still finished on the losing side as India won by 28 runs. Over the next 9 years he played in 46 Test matches taking 143 wickets and scoring 845 runs.

paragraph: One of his most notable performances was taking four wickets in five balls on the opening day of the Test Match against Pakistan at Edgbaston in June 1978, the wicketless third ball being a no-ball. Bowling at pace from the City End, the second ball of his nineteenth over was top-edged by Wasim Raja to wicket-keeper Bob Taylor before his third ball nipped back though the gate to remove Wasim Bari's off stump. Old's fourth ball, the no-ball, was edged by Iqbal Qasim into the ground but Qasim nicked a late outswinger to the keeper off the next legitimate delivery, before Sikander Bakht found the safe hands of Graham Roope at second slip. Old thus equalled the record of four wickets in five balls set by Maurice Allom on his Test debut at Lancaster Park, Christchurch in 1929-30, a feat which has since been repeated by Pakistan's Wasim Akram.

paragraph: When India under A. Wadekar toured England in 1974, England swept the series 3-0. In the 2nd test, England batted first and made 629, India were then bowled out for 302 and followed on, and in the Indian second innings Chris Old took 5-21 and Arnold took 4-19 and together they bowled India out for 42, their lowest ever test score.

paragraph: However, he is probably best remembered for one of the key second innings batting partnerships with Ian Botham during the famous Headingley Ashes game of 1981, where they put on 67 crucial runs for the 9th wicket. He followed this up by taking the key wicket of Allan Border who he clean bowled for a duck in the Australian second innings. He was the only England cricketer to play in both Centenary Test Matches against Australia in 1977 at Melbourne and 1980 at Lord's, alongside Greg Chappell, Dennis Lillee and Rodney Marsh for Australia. Old turned down an invitation from Tony Greig to play in Kerry Packer's rebel World Series Cricket, fearing the withdrawal of the traditional benefit season offered by Yorkshire. He subsequently joined the rebel South African Breweries English touring side in South Africa during 1982 effectively ending his Test career with the resulting 3-year ban from international cricket.

paragraph: He subsequently went to Australia to play in a veterans three-match series, Old Australia XI v Old England XI in 1988, and five years later made a final appearance for an England XI v an Australian XI in a 36 over per side game for Derek Randall’s Testimonial at Trent Bridge in June 1993. None of these later matches had first-class status.

paragraph: Section::::Injury problems.

paragraph: There is little doubt that he would have played more Test cricket had he not been so prone to injuries. He already had surgery on both of his knees during 1970 and 1971 before making his England debut in 1972. He became a regular member of the England squad for almost a decade. A skilful and accurate right arm swing bowler and powerful late order left-handed hitter, he was once described by his England captain Mike Brearley as a talent to rival Ian Botham. Despite being a fine natural athlete, and possessing a natural sideways on action, he was continually hampered by regular injury problems and had a tendency to fall prey to 'niggles' in his back and legs, to such an extent that the first bowling machine installed at Lord's was nicknamed Chris Old, due to a propensity for breaking down so often. His departure from the field later in his career to the physiotherapist's table became part of cricket folklore. He never completed any of the ten series that he played abroad, and his only ever-present home series was against India and Pakistan in 1974, when in six Tests he took twenty five wickets at twenty two apiece, just emphasising what might have been under different circumstances.

paragraph: Section::::Post cricket.

paragraph: After struggling to cope with retirement for several years, Old acquired and managed his 'Clipper Fish Restaurant' in Praa Sands, Cornwall, with his second wife Letitia, in 2002. Subsequently, he sold the restaurant amid the economic recession in 2009 and it was revealed in the press, during 2012, that he was working at Sainsbury's. He still coaches a local cricket club in Falmouth and tutors cricket coaching courses.

paragraph: His brother, Alan Old, is a former England rugby union international, who played one first-class match for Warwickshire against Cambridge University in 1969, and also played Minor Counties cricket for Durham in the 1970s.

description: Cricket player of England.

wikidata_label: Chris Old

wikipedia_title: Chris Old


text:
pharaoh
Twenty-ninth Dynasty of Egypt
epitome
Manetho
Aegyptiaca
Africanus
Eusebius
Armenian
Demotic Chronicle
Hakor
Egyptologist
John D. Ray
Nepherites I
hellenized
Apis
Peret
Serapeum of Saqqara
Akhmim
Theban
Karnak
Muthis

categories: 5th-century BC births,4th-century BC Pharaohs,Pharaohs of the Twenty-ninth Dynasty of Egypt

paragraph: Psammuthes

paragraph: Psammuthes or Psammuthis, was a pharaoh of the Twenty-ninth Dynasty of Egypt during 392/1 BC.

paragraph: Section::::Biography.

paragraph: The place of this king in the dynasty is a matter of debate. Although he is mentioned in three different epitomes of Manetho's "Aegyptiaca" (Africanus, Eusebius and the Armenian version of the latter) and in the "Demotic Chronicle", the sequence of kings is different among these sources and it is unclear if Psammuthes succeeded Hakor, or vice versa.

paragraph: According to a hypothesis of the Egyptologist John D. Ray, upon the death of Nepherites I in 393 BC, the throne passed to his son and successor, which is likely to had been Hakor. However, it seems that in his Year 2 a usurper, Psammuthes (a hellenized form of the Egyptian name Pasherienmut), seized power and deposed Hakor, while proclaiming himself pharaoh.

paragraph: Both Manetho and the "Demotic Chronicle" give to Psammuthes a reign length of a year, agreeing with the highest date given by archaeological records, a Mother of Apis stele recording his "Year 1, fourth month of "Peret"".

paragraph: Before the year 2 of Psammuthes, and thus before the "official" year 3 of Hakor, the latter in some way resumed power, and then continued to date his monuments since his first coronation date, simply pretending that the usurper never existed.

paragraph: Nevertheless, some archaeological records mentioning Psammuthes have survived: the Mother of Apis stele from the Serapeum of Saqqara, a block from Akhmim, and some other findings all from the Theban region. Psammuthes is generally credited to have ordered the construction of a chapel in Karnak, which was later usurped and finished by Hakor. It is also possible, however, that the chapel was started by Hakor before his deposition and further restored by him during his second reign.

paragraph: Section::::See also.

paragraph: BULLET::::- Muthis, a presumed "claimant" to the throne during his reign

description: Egyptian pharaoh

wikidata_label: Psammuthes

wikipedia_title: Psammuthes


text:
hellenized
ancient Egypt
pharaoh
29th Dynasty
Nepherites I
Psammuthes
Muthis
Eusebius
Manetho
usurper
John D. Ray
Egyptologist
Toby Wilkinson
Nectanebo I
Karnak
Amun-Ra
Saqqara
Nectanebo II
Upper Egypt
Luxor
Medinet Habu
El-Kab
El-Tod
Medamud
Elephantine
Temple of Hibis
Kharga Oasis
Middle Egypt
Aristophanes
Plutus
Evagoras I of Cyprus
Achaemenids
Theopompus
Pisidians
peace of Antalcidas
Cyprus
Artaxerxes II
Orosius
trireme
Egyptian admiral, Tamos
Cyrus the Younger
Chabrias
Pharnabazus II
Nepherites II
Sebennytos

categories: 4th-century BC Pharaohs,Pharaohs of the Twenty-ninth Dynasty of Egypt,Year of birth unknown

paragraph: Hakor

paragraph: Hakor or Hagar, also known by the hellenized forms Achoris or Hakoris, was an ancient Egyptian pharaoh of the 29th Dynasty. His reign marks the apex of this feeble and short-lived dynasty, having ruled for 13 years – more than half of its entire duration.

paragraph: Section::::Reign.

paragraph: Section::::Reign.:Struggle for the accession.

paragraph: Hakor's accession and relationships with his predecessor Nepherites I were long debated. After Nepherites' death a dynastic struggle did seem to have occurred, and the throne was claimed by two or maybe three pretenders: Hakor, Psammuthes, and possibly a phantom figure called Muthis who was only mentioned in Eusebius' epitome of Manetho's "Aegyptiaca". As a result, Hakor was alternately considered Nepherites' legitimate successor or an unrelated usurper.

paragraph: In 1986 John D. Ray suggested that Hakor was Nepherites' heir, who ruled undisturbed until his Year 2 when he was deposed by Psammuthes. After another year, Hakor managed to retake his legitimate throne by overthrowing the usurper, and continued to date his reign since his first coronation date, simply pretending that this gap never occurred. The third pretender, Muthis, could be inserted within this struggle, but his role – assuming that he really did exist – is unknown. Ray's hypothesis is accepted by other Egyptologists such as Alan B. Lloyd and Toby Wilkinson.

paragraph: Shortly after his death, Hakor was called an usurper by the founder of the subsequent dynasty, Nectanebo I. However, it has been suggested that Hakor and Nectanebo might have been relatives in some way, possibly both related to Nepherites I but rivals to each other.

paragraph: Section::::Reign.:Activities in Egypt.

paragraph: Once re-established, Hakor made considerable exertions to affirm his legitimacy, putting emphasis on his – real or fictional – descent from Nepherites. His building activity was remarkable and he also extensively restored many monuments of his royal predecessors.

paragraph: In Karnak, Hakor finished the chapel for the sacred barque of Amun-Ra near the first pylon which was started by Psammuthes or possibly by Nepherites I; he also possibly began a temple complex in northern Saqqara which was later further developed under Nectanebo II. His building activity is well attested in various places in Upper Egypt (Luxor, Medinet Habu, El-Kab, El-Tod, Medamud, Elephantine), in the Temple of Hibis of Kharga Oasis, as well as other locations in Middle Egypt.

paragraph: Section::::Reign.:Foreign relations.

paragraph: Hakor apparently reprised Nepherites' foreign policy. In Aristophanes' comedy "Plutus", which was performed in 388 BCE, an alliance between the Athenians and the Egyptians is mentioned, though it was more likely intended to refer to the Athenian support for the rebellion of Evagoras I of Cyprus – himself allied with Hakor – against the Achaemenids. Theopompus also reported an alliance between Hakor and the Pisidians. The peace of Antalcidas between the Persians and Greeks (387 BCE) was a turning point: after that, Egypt and Cyprus remained the only opponents of Artaxerxes II as reported by Theopompus and Orosius. The following years are quite obscure, but it seems that the Persians first attacked Egypt in 385 BCE and, after three years of war, the Egyptians managed to defeat the invaders.

paragraph: In 381 BCE Hakor sent aid, money and 50 triremes (apparently without crew, though) to Evagoras in order to contribute to his resistance against the Great King who, after the unsuccessful campaign in Egypt, was now focusing on Cyprus. However, when, in 380 BCE, Evagoras travelled to Egypt to beg for further aid, Hakor saw no need to continue supporting him and sent him back to Cyprus with merely some more money. Evagoras surrendered to Artaxerxes soon after, but Hakor promptly joined a short-lived alliance with Sparta and with Glos, son of the Egyptian admiral, Tamos, who was a supporter of the pretender Cyrus the Younger against Artaxerxes II. Hakor managed to get the Athenian general Chabrias into his service, but the Persian general Pharnabazus II lobbied Athens seeking for them to repatriate him.

paragraph: Section::::Reign.:Death and succession.

paragraph: Hakor died in 379/8 BCE, leaving his throne to his son Nepherites II. However, the latter was able to keep it for just four months before being overthrown and replaced by an army general from Sebennytos, Nectanebo I.

description: Egyptian Pharaoh

wikidata_label: Hakor

wikipedia_title: Hakor


text:
German
fencing master
German fencing tradition
14th century
14th century
GNM Hs. 3227a
surname
Lichtenau im Mühlkreis
Upper Austria
Lichtenau in Franconia
Nuremberg
Lichtenau on the Rhine
Baden
Strasbourg
Lichtenau
Hesse
Lichtenau
Westphalia
Paderborn
Zettel
schedule
Cod. 44 A 8
Peter von Danzig zum Ingolstadt
Jud Lew
Sigmund Schining ein Ringeck
gloss
long sword
four guards
techniques
Kampffechten
wrestling
dagger
messer
small shield
Ott Jud
Andre Paurñfeyndt
Paulus Kal
fencing manual
MS 3227a
German school of swordsmanship
Historical European Martial Arts
The Chivalry Bookshelf
Paladin Press
Wiktenauer
Call to Arms: The German Longsword
Cod.HS.3227a

categories: Martial arts school founders,German historical fencers,Year of death unknown

paragraph: Johannes Liechtenauer

paragraph: Johannes Liechtenauer (also "Lichtnauer", "Hans Lichtenawer") was a German fencing master who had a great level of influence on the German fencing tradition in the 14th century.

paragraph: Section::::Biography.

paragraph: Liechtenauer seems to have been active during the mid-to-late 14th century.

paragraph: The only extant biographical note on Liechtenauer is found in GNM Hs. 3227a (dated c. 1400), which states that "Master Liechtenauer learnt and mastered [the art of the sword] in a thorough and rightful way, but he did not invent it or make it up himself, as it is stated before. Instead, he travelled across and visited many lands for the sake of this rightful and true art, as he wanted to study and know it."

paragraph: His surname indicates he was from a place called "Liechtenau" (modern "Lichtenau").

paragraph: There are several places with this name. Massmann (1844)

paragraph: mentions five candidate locations:

paragraph: Lichtenau im Mühlkreis in Upper Austria;

paragraph: Lichtenau in Franconia, Nuremberg;

paragraph: Lichtenau on the Rhine, Baden, near Strasbourg;

paragraph: Lichtenau in Hesse;

paragraph: and Lichtenau in Westphalia, near Paderborn.

paragraph: Of these he treats as the most likely Franconian Lichtenau, because Nuremberg was a center of later (Renaissance-era) fencing, and Lichtenau in Upper Austria, because of the geographical provenance suggested by the members of the "Society of Liechtenauer".

paragraph: Section::::The Zettel (epitome).

paragraph: Liechtenauer's students preserved his teaching in the form of a mnemonic poem (called the "Zettel", Early New High German "zedel", a German word corresponding to English "schedule", in the sense of "brief written summary"; translated "epitome" by Tobler 2010). Later in the 15th century, parts of these verses become widely known, and by the 16th century are incorporated into the general tradition of German fencing.

paragraph: The term "zedel" is used in the manuscripts associated with the "Society of Liechtenauer" in the mid-15th century. Its earliest known use found in Cod. 44 A 8 (dated 1452, fol. 9v):

paragraph: The "Zettel" were apparently intended as a list of mnemonic aids to help the student remember concepts he had been taught orally. They do not "explain" the technique in any detail. On the contrary, the verses are intentionally cryptic and are described as "secret and hidden words" by later masters, who assure us that their opaque wording was intended to prevent the uninitiated from discovering the techniques described therein.

paragraph: These verses were treated as the core of the art by Liechtenauer's followers, and the earliest fencing manuals of the Liechtenauer school, beginning with Hs. 3227a and followed by the treatises of Peter von Danzig zum Ingolstadt, Jud Lew, and Sigmund Schining ein Ringeck in the 15th century, are organized such that each couplet or quatrain is given first, followed by a gloss or detailed explanation of its intended meaning.

paragraph: The Zettel are organized as follows:

paragraph: BULLET::::- a general introduction to the art of fighting

paragraph: BULLET::::- a general introduction to fighting with the long sword (the sword held with both hands on the grip)

paragraph: BULLET::::- a division into seventeen parts or techniques (also known as Liechtenauer's "17 chief pieces" or "Hauptstücke") of fighting with the long sword.

paragraph: The general introduction is ethical as well as practical and begins as follows:

paragraph: Liechtenauer's seventeen "chief pieces" ("Hauptstücke") are:

paragraph: BULLET::::- five "master strikes" or "hidden strikes": 1. Zornhau, 2. Krumphau, 3. Zwerchhau, 4. Schielhau, 5. Scheitelhau

paragraph: BULLET::::- 6. the four guards ("Huten" or "Leger"), called "plough" ("Pflug"), "ox" ("Ochs"), "vom tag" and "the fool" ("Alber").

paragraph: BULLET::::- a list of techniques: 7. "Versetzen", 8. "Nachreisen", 9. "Überlaufen", 10. "Absetzen", 11. "Durchwechseln", 12. "Zucken", 13. "Durchlaufen" (grappling), 14. "Abschneiden", 15. "Händedrücken" 16. four "Hängen", 17. twenty-four "Winden".

paragraph: Liechtenauer is also cited as the originator of similar teachings in other disciplines, including fighting on horseback armored dueling or "Kampffechten" and wrestling, besides fragmentary allusions to other material, such as fighting with the dagger, the messer and the small shield, in ms. 3227a. Liechtenauer's actual authorship of this material is however doubtful.

paragraph: It seems more likely that Liechtenauer's contribution is limited to the unarmoured fencing with the long sword, while other masters specialized in other disciplines; the verses on armoured and mounted combat are likely due to Andreas Liegnitzer, Martin Hundsfeld or Jud Lew, while the verses on wrestling are mostly attributed to Ott Jud.

paragraph: In addition to the "Zettel" on mounted fencing, several treatises in the Liechtenauer tradition include a group of twenty-six "figures"—single line abbreviations of select couplets and quatrains that seem to summarize them. A parallel set of teachings was recorded by Andre Paurñfeyndt in 1516 called the "Twelve Teachings for the Beginning Fencer"., These teachings are also generally abbreviations of longer passages from the long sword "Zettel", and are similarly repeated in many treatises throughout the 16th century. Thus, it may be that the figures are a mnemonic that represent the initial stage of mounted fencing instruction, and that the full verse was learned only afterward.

paragraph: Section::::Society of Liechtenauer.

paragraph: The Society of Liechtenauer ("Geselschaft Liechtenauers") is a list of seventeen masters found in the introduction to the three oldest copies of Paulus Kal's fencing manual. It is unclear if this was ever a formal organization or what its nature might have been; however, it is commonly speculated that the list is a memorial to deceased students and associates of the grand master. Of particular interest is the international nature of the list, including masters from present-day Austria, Czech Republic, Germany, and Poland, which parallels the statement in the MS 3227a that Liechtenauer himself traveled to many lands to learn the art. Several masters from this list are known to have written fencing treatises, but about half remain completely unknown.

paragraph: Paulus Kal lists the members of the Society as follows:

paragraph: Section::::See also.

paragraph: BULLET::::- German school of swordsmanship

paragraph: BULLET::::- Historical European Martial Arts

paragraph: Section::::Literature.

paragraph: BULLET::::- Hils, Hans-Peter. "Meister Johann Liechtenauers Kunst des langen Schwertes". P. Lang, 1985.

paragraph: BULLET::::- Tobler, Christian Henry. "In Saint George's Name: An Anthology of Medieval German Fighting Arts". Wheaton, IL: Freelance Academy Press, 2010.

paragraph: BULLET::::- Tobler, Christian Henry. "In Service of the Duke: The 15th Century Fighting Treatise of Paulus Kal". Highland Village, TX: The Chivalry Bookshelf, 2006.

paragraph: BULLET::::- Tobler, Christian Henry. "Secrets of German Medieval Swordsmanship". Highland Village, TX: The Chivalry Bookshelf, 2001.

paragraph: BULLET::::- Hull, Jeffrey, with Maziarz, Monika and Żabiński, Grzegorz. "Knightly Dueling: The Fighting Arts of German Chivalry". Boulder, CO: Paladin Press, 2007.

paragraph: BULLET::::- Wierschin, Martin (in German). "Meister Johann Liechtenauers Kunst des Fechtens". Munich: C. H. Beck, 1965.

paragraph: BULLET::::- Żabiński, Grzegorz. "The Longsword Teachings of Master Liechtenauer. The Early Sixteenth Century Swordsmanship Comments in the "Goliath" Manuscript." Poland: Adam Marshall, 2010.

paragraph: BULLET::::- Żabiński, Grzegorz. "Unarmored Longsword Combat by Master Liechtenauer via Priest Döbringer." "Masters of Medieval and Renaissance Martial Arts". Ed. Jeffrey Hull. Boulder, CO: Paladin Press, 2008.

paragraph: Section::::External links.

paragraph: BULLET::::- Wiktenauer - The complete works of Johannes Liechtenauer.

paragraph: BULLET::::- Call to Arms: The German Longsword by Bill Grandy

paragraph: BULLET::::- Cod.HS.3227a - Translation and transcription by David Lindholm and associates.

description: Founder and grand master of the German School of Swordsmanship

enwikiquote_title: Johannes Lichtenauer

wikidata_label: Johannes Liechtenauer

wikipedia_title: Johannes Liechtenauer


text: Pole

text: Australia

text: "Ocean"

text: Hobart

text: Poland

text: Potocki

text: Kosciuszko

text: Warsaw siege

text: Praga massacre

text: refugee

text: asylum seeker

text: Horsham, Sussex

text: Newhaven, Sussex

text: Australia

text: HMS Calcutta

text: David Collins

text: Portsmouth

text: Port Phillip Bay

text: Sorrento

text: Hobart

text: Risdon Cove

text: Sydney, New South Wales

text: prostitute

text: Lara

text: Victoria

text: Geelong, Victoria

text: Yumi Stynes

text: Denis Napthine

categories: Convicts transported to Australia,History of Tasmania,1764 births,Australian people of Polish descent,1824 deaths

paragraph: Joseph Potaski

paragraph: Joseph Potaski or John Potaskie (c. 1764 – 31 August 1824) was the first Pole to settle in Australia, and one of the first convicts to arrive in Van Diemen's Land on "Ocean". Joseph Potaski worked hard to establish himself as a successful farmer in colonial Hobart. This was however undone by the exploits of his family. Joseph Potaski reflects the attitudes of those convicts who never progressed beyond their criminal past. Potaski is seen as representing the auspicious beginning of the Polish community in Australia.

paragraph: His daughter, Catherine, was the first European born and baptised in the new colony of Van Diemens Land.

paragraph: Section::::Early life.

paragraph: It is estimated that Potaski was born in 1764, in Poland. Not much is known of Potaski's early life. It has been suggested that Potaski was born into the aristocratic family of Potocki. It is also known that Potaski was a member of Kosciuszko's army. During this time Potaski would have been involved in the Warsaw siege and the Praga massacre. After the war Joseph Potaski arrived in London, probably as a refugee or asylum seeker.

paragraph: Section::::Transportation.

paragraph: On 27 March 1802, Potaski was arraigned before the Sussex Spring Assizes at Horsham, Sussex. Along with a John O'Brien, he faced charges of stealing a woman's hair shawl from Mrs. Pollard's shop in Newhaven, Sussex. Potaski was sentenced to several years transportation to Australia. He was transported on the ship HMS Calcutta. His wife, Catherine and infant son, Joseph, also accompanied Potaski, as free settlers. Under the command of Lieutenant Colonel David Collins, the Calcutta left Portsmouth, and arrived at Port Phillip Bay on 9 October 1803. Collins was charged with establishing a new settlement, at present day Sorrento. However, he found the area to be unsuitable for settlement and departed on 20 January 1804 for Hobart. This time the Potaskis travelled on "Ocean", which anchored at Risdon Cove on 17 February 1804. It was at this time that Catherine Potaski gave birth to a daughter, Catherine Jnr., the first person of European descent to be born and baptised in Tasmania. Potaski's wife, Catherine was granted land at Clarence Plains, and Potaski himself received his freedom in 1810. By 1816 the Potaski family was supplying the colony with more corn than was needed for a whole year. The Potaskis also supplied the whole commissariat with wheat.

paragraph: Section::::Family.

paragraph: Joseph Potaski's, son Joseph jnr. was convicted in March 1821 at Sydney, New South Wales, for being a part of a party that burgled Mr. Thrupp's house. Potaski jnr. was hanged for the crime at Hobart on 28 April 1821. Joseph's sister, Catherine, had also been in trouble. In 1820, at the age of 16, Catherine had given birth to an illegitimate son, William. William died in 1823, at the age of three years. Catherine had also been accused of being a prostitute, and didn't enjoy the favour of Hobart's first Catholic chaplain, Father Connelly. However, Catherine was able to recover. She married on 29 June 1824, to Irishmen Edward McDonald, at St. Virgils church, Hobart, Tasmania. Catherine and Edward had a large family, and eventually migrated to Lara, Victoria. Catherine died in Geelong, Victoria on 30 January 1877.

paragraph: Section::::Legacy.

paragraph: In the years before his death Potaski was once again in trouble with the law, this time for cattle rustling. He died on 31 August 1824 at Hobart. After his death the Potaskis left their land and migrated to Victoria. Potaski's wife, Catherine, died in 1859 at Geelong, Victoria. Joseph Potaski is immortalised on a plaque in Hobart's St. David's memorial Park. On 9 October 2003, a concert was held in Hobart, to celebrate the 200th anniversary of Joseph Potaski arriving in Australia. Television presenter Yumi Stynes, and politician Denis Napthine are amongst the Potaski descendants.

paragraph: Section::::See also.

paragraph: BULLET::::- List of convicts transported to Australia

paragraph: Section::::Notes.

paragraph: 1.There is some conjecture about Potaski's specific year of birth, with different sources suggesting 1762, 1764 and 1774.

paragraph: 2. Some sources also suggest that Potaski also identified with the name John.

paragraph: Section::::References.

paragraph: BULLET::::- Paszkowski, Lech. Poles in Australia and Oceania, 1790–1940 (1987)

paragraph: BULLET::::- Cotter, R. (ed), John Pascoe Fawkner Sullivan Bay Reminiscences (2003)

paragraph: BULLET::::- Mullen, C. Victoria's first European settlement: Sullivan Bay 1803–1804 (2003)

paragraph: BULLET::::- Hobart town Gazette, 28 April 1821

paragraph: BULLET::::- Geelong Advertiser, 1 February 1877

paragraph: BULLET::::- Purcell, Marie, By Degrees: a story of the Potaski/McDonald family 1802–1987 (1987)

paragraph: BULLET::::- Purcell, Marie, By Degrees: a story of the Potaski/McDonald family 1802–1987 (1991)

description: Polish settler of Australia

wikidata_label: Joseph Potaski

wikipedia_title: Joseph Potaski


text:
Dutch Golden Age
The Hague
Jacob van der Does
Johan van Gool
Friesland
Caspar Netscher
Karel Dujardin
Gerard de Lairesse
Antwerp

categories: 1653 births,Dutch male painters,1710s deaths,People from Antwerp,Dutch Golden Age painters

paragraph: Simon van der Does

paragraph: Simon van der Does (1653 – after 1717) was a Dutch Golden Age landscape painter.

paragraph: Section::::Biography.

paragraph: Van der Does was born in The Hague, the son of Jacob van der Does by his second wife. He was taught to paint by his father and became in turn the teacher of the later art historian Johan van Gool. He painted Italianate landscapes in the manner of his father.

paragraph: According to Houbraken, who got his information from Johan van Gool first hand, Simon van der Does spent time in Friesland and one year in England in his youth, and could paint portraits in the style of Caspar Netscher. He married but was barely able to make ends meet, and after both his wife and father died he was so depressed that he could not paint and stayed in the Gasthuis of The Hague for three years, and afterwards moved to Brussels for a year and then moved to Antwerp, working for the cutthroats ("keelbeulen", or Houbraken's name for art dealers).

paragraph: A friend of his father, Karel Dujardin, became his guardian, and after his return from Italy set up a workshop in Amsterdam where he took on the sons of Jacob van der Does (Houbraken only mentions Simon and his half-brother Jacob II van der Does). After the death of Dujardin, he worked for Gerard de Lairesse in Amsterdam until he could support himself. He was on his way to visit Paris when he died at Antwerp.

alias:
Simon Van Der Does
Simon Van der Doos
Simon Verdoes
Simon Vander Does
Simon Verdoes de Jonge
Simon Vander Doos
Simon Vanderdoes
Simon V. De Does
Vander Does
Z. van der Does
S. V. Der Does
Does
Vander Doos
de jonge Verdoes
S.V. der Does
Simon V. der Does
S. Vander Does
S. v. d. Does
S: van der Does
Simeon Vanderdoes
S. van der Does
S. Van Derdoes
Simon Van Derdoes
V. der Doos
S. Vander Dooes
S. Vanderdoos
Simon Vander-Does
Vanderdoes
s. van der does
S. Vanderdoes
V. Does
Simon van Der Does
Simon Vander-doos
S. Verdoes

description: Dutch painter

wikidata_label: Simon van der Does

wikipedia_title: Simon van der Does


text:
Kanmu
Heizei
Saga
Emperor Kanmu
Ministry of Justice
Heian-kyō
kugyō
sangi
Nanke
udaijin
Fujiwara no Tsuginawa
dainagon
Ki no Kosami
chūnagon
Fujiwara no Otsugu
Sugano no Mamichi
Ezo
Emperor Heizei
dainagon
udaijin
Kusuko Incident
sadaijin
daijō-daijin
Nihon Kōki
Four Heavenly Kings
Kannon
Fuyutsugu
Kōfuku-ji
Prince Osabe
Fujiwara no Matate
Emperor Kanmu
Sakanoue no Karitamaro
Fujiwara no Nagate
Emperor Saga

paragraph: Fujiwara no Uchimaro

paragraph: He served the emperors Kanmu, Heizei, and Saga, and was trusted and valued by each. He succeeded his uncle Nagate and his line as the head of the family. Unlike his father, whose secondary status in the family had prevented him from making "daijin", Uchimaro rose to "udaijin", and led the cabinet in Heizei's reign and the beginning of Saga's. He had many children, helping to lay the foundation for the later success of the Hokke.

paragraph: Section::::Life.

paragraph: On the ascension of Emperor Kanmu in 781, Uchimaro was promoted from to . He was consecutively promoted in 785, 786, and 787, culminating in the rank of . This came shortly after Uchimaro's first wife, Kudara no Nagatsugu, who had since become a court lady, bore the emperor a prince (). It has been theorized that this birth precipitated Uchimaro's rapid promotion, and even that he used Nagatsugu as collateral to deepen his relationship with the Emperor. During this period, he held various positions in the imperial guard and as a provincial governor.

paragraph: Later, Uchimaro held head directoral positions in a division of the imperial guard, the Ministry of Justice, and the , a body governing the finances of the imperial household. In 794, immediately after the move of the capital to Heian-kyō, Uchimaro joined the "kugyō" with a promotion to "sangi". At the age of 39, this made him the second youngest member of the cabinet after the 34-year-old of the Nanke. However, in the next few years, four high-ranking cabinet officials, including "udaijin" Fujiwara no Tsuginawa and "dainagon" Ki no Kosami, died or retired, and in 798, Uchimaro was promoted to and "chūnagon". He also obtained various other positions during this period, including general of the imperial guard. In 799 he was put in charge of the continued relocation to the capital. During the dispute between Fujiwara no Otsugu and Sugano no Mamichi (), in which Otsugu persuaded the Emperor to suspend his campaign in Ezo and the construction of Heian-kyō, Uchimaro waited on Kanmu by his side.

paragraph: When Emperor Heizei ascended to the throne in 806, Uchimaro was promoted to "dainagon". When died a month later, Uchimaro took over as head of the cabinet with a promotion to and "udaijin". In 809, he was promoted to . He emerged unscathed from the attempted coup of Prince Iyo and the Kusuko Incident.

paragraph: Uchimaro died on November 13, 812, at the age of 57. He was posthumously promoted to and "sadaijin", and days later again to "daijō-daijin".

paragraph: Section::::Personality.

paragraph: According to the Nihon Kōki, Uchimaro was mild-mannered and very popular, and people were happy to follow him. The emperors he served trusted him deeply, and while he did not flatter them, he did not remonstrate them when they disagreed. He served in important government positions for more than ten years without committing any blunders. He was noted to have an exceptionally ready wit.

paragraph: Uchimaro commissioned statues of the Four Heavenly Kings and a version of Kannon and let his son Fuyutsugu offer them to Kōfuku-ji.

paragraph: An anecdote in the Nihon Kōki states that when Prince Osabe was crown prince, he bore ill will toward Uchimaro and tried to injure him. There was a horse with a habit of kicking and biting, and the prince had Uchimaro mount this horse, but the horse kept its head down and did not try to move, and even when they whipped it, it simply turned around once.

paragraph: Section::::Genealogy.

paragraph: BULLET::::- Father: Fujiwara no Matate

paragraph: BULLET::::- Mother: daughter of

paragraph: BULLET::::- Wife: , daughter of , later a court lady of Emperor Kanmu

paragraph: BULLET::::- Son:

paragraph: BULLET::::- Son:

paragraph: BULLET::::- Wife: , second daughter of Sakanoue no Karitamaro

paragraph: BULLET::::- Son:

paragraph: BULLET::::- Son:

paragraph: BULLET::::- Son:

paragraph: BULLET::::- Son:

paragraph: BULLET::::- Daughter:

paragraph: BULLET::::- Wife: daughter of

paragraph: BULLET::::- Son:

paragraph: BULLET::::- Wife: daughter of Fujiwara no Nagate

paragraph: BULLET::::- Son:

paragraph: BULLET::::- Wife: (unknown)

paragraph: BULLET::::- Son:

paragraph: BULLET::::- Son:

paragraph: BULLET::::- Son:

paragraph: BULLET::::- Son:

paragraph: BULLET::::- Son:

paragraph: BULLET::::- Daughter: , wife of Emperor Saga

paragraph: BULLET::::- Daughter: Wife of

description: Japanese noble

wikidata_label: Fujiwara no Uchimaro

wikipedia_title: Fujiwara no Uchimaro


text:
Mistelbach
Hinterbrühl
constitutional law
Edmund Bernatzik
Landscape Painting
Academy of Fine Arts, Vienna
Eduard Peithner von Lichtenfels
Füger-Medal
Kunstakademie Düsseldorf
Paris
Léon Bonnat
Vienna Künstlerhaus
Heiligenkreuz Abbey
Gothic
1894 World Exhibition
Antwerp
Vienna Secession
Julius Meier-Graefe
Impressionist
Gustav Klimt
Hinterbrühl
Hinterbrühl
Galerie Miethke
Vienna
Lower Austria
en plein air
Impressionist
genre painting
Niederösterreiches Landesmuseum
Österreichische Galerie Belvedere

categories: Academy of Fine Arts Vienna alumni,Austrian male painters,Kunstakademie Düsseldorf alumni,People from Mistelbach,1853 births,Members of the Vienna Secession,Austrian Impressionist painters,20th-century Austrian painters,19th-century Austrian painters,1906 deaths

paragraph: Wilhelm Bernatzik

paragraph: Wilhelm Bernatzik (18 May 1853, Mistelbach – 25 or 26 November 1906, Hinterbrühl) was an Austrian painter.

paragraph: Section::::Life.

paragraph: Bernatik was the brother of the constitutional law teacher Edmund Bernatzik. Initially a law student at his father's request, he studied at the Special School for Landscape Painting at the Academy of Fine Arts, Vienna under Eduard Peithner von Lichtenfels from 1873 to 1875. In 1875, he received the Golden Füger-Medal and studied at the Kunstakademie Düsseldorf until 1878. Finally, he finished his training in Paris with Léon Bonnat. In 1880 he joined the Vienna Künstlerhaus. He painted "The Vision of St Bernhard" in 1882 in Heiligenkreuz Abbey, having been attracted by the mood of the Gothic place. At the 1894 World Exhibition in Antwerp, he won a medal (second class). In 1897 he was a founding member of the Vienna Secession, and served as the group's president in 1902-03. With the art critic Julius Meier-Graefe he organised a successful Impressionist exhibition in Vienna in 1903. Together with the group around Gustav Klimt, he left the Secession in 1905.

paragraph: He died in Hinterbrühl in his brother Marx's house. He was buried in Hinterbrühl cemetery. In 1907, the Galerie Miethke in Vienna held a retrospective exhibition on his life.

paragraph: Section::::Style.

paragraph: Bernatzik was primarily a landscape painter, taking motifs from Vienna and Lower Austria and preferring to paint "en plein air". During his time in Paris, he absorbed Impressionist tastes. However, he also created genre paintings, including processions in landscapes and symbolic images. He was one of the art's main representatives in Vienna at the turn of the century.

paragraph: Section::::Selected works.

paragraph: BULLET::::- "Corridor approaching Dürnstein", (St Pölten, Niederösterreiches Landesmuseum, inventory number KS-1838), 1881, oil on canvas, 73.2×129 cm

paragraph: BULLET::::- "The Vision of St Bernhard" (Vienna, Österreichische Galerie Belvedere, inventory number 2705), 1882, oil on canvas, 105×201 cm

paragraph: BULLET::::- "The Messenger of Salvation – Versehgang" (St Pölten, Niederösterreiches Landesmuseum, inventory number KS-6627), 1887, oil on canvas, 91.5×186 cm

paragraph: BULLET::::- "Winter" (Vienna, Österreichische Galerie Belvedere, inventory number 797), 1888, oil on canvas, 96×78 cm

paragraph: BULLET::::- "Bemused" (Brno, Moravskie Galerie Brno), 1898, oil on canvas

paragraph: BULLET::::- "Pond" (Vienna, Österreichische Galerie Belvedere, inventory number 6557), 1900, oil on canvas, 100×71 cm

description: Austrian painter

wikidata_label: Wilhelm Bernatzik

wikipedia_title: Wilhelm Bernatzik


text: First Fleet

text: New South Wales

text: Tolleshunt D'Arcy

text: Lady Penrhyn

text: British East India Company

text: National Library of Australia

text: British Library

text: State Library of New South Wales

text: digitised for online viewing

text: digitised for online viewing

text: Journals of the First Fleet

categories: People from Maldon District,British diarists,1788 in Australia,History of Australia (1788–1850),History of New South Wales,Maritime history of Australia,1750 births,1790 deaths,Immigration to Australia,Australian diarists

paragraph: Arthur Bowes Smyth

paragraph: Arthur Bowes Smyth (23 August 175031 March 1790) was a naval officer and surgeon on the First Fleet that established the colony of New South Wales. Smyth kept a diary and documented the natural history he encountered in Australia.

paragraph: Section::::Early life and medical career.

paragraph: Arthur Bowes Smyth was born on 23 August 1750 at Tolleshunt D'Arcy, Essex, England, and was buried there shortly after his return to England on 31 March 1790. Son of Surgeon Thomas Smyth and the seventh of ten children, Arthur Bowes Smyth followed in his father's footsteps practising medicine in his place of birth until appointed "Surgeon to the Ship's Company" aboard the "Lady Penrhyn" in 1787.

paragraph: Whilst Bowes Smyth practiced as a surgeon for a number of years before his appointment to the First Fleet, no evidence can be found of his medical qualifications. It has been surmised that "Surgeon" was an honorary title. He is known to have practiced midwifery in his local parish of Tolleshunt D'Arcy, Essex, an experience that served him well in his supervision of the women convicts on the "Lady Penrhyn".

paragraph: Section::::First Fleet Journal as Surgeon on the "Lady Penrhyn".

paragraph: Bowes Smyth boarded "Lady Penrhyn" on 22 March 1787 before the ship departed Portsmouth for New South Wales.

paragraph: Bowes Smyth took charge of the female prisoners on the Lady Penrhyn when the convicts' surgeon, John Turnpenny Altree, fell ill at Tenerife and, in Governor Arthur Phillip's opinion, had proved unequal to the task.

paragraph: Bowes, as he was known in the colony, kept a journal from 22 March 1787 to 12 August 1789. The journal is a detailed account of the voyage, recording weather observations, events on board, treatment of the sick and descriptions of ports of call en route—in particular, Rio de Janeiro and Cape Town. His journal is notable for its interest in natural history including descriptions of bird life at Port Jackson and Lord Howe Island on the "Lady Penrhyn"'s return voyage. The journal contains 25 drawings in watercolour and ink, including the earliest known surviving illustration of the emu by a European. These elements provide a unique account different from the other First Fleet Journals.

paragraph: Bowes Smyth's journal is one of the most detailed eyewitness accounts of the first weeks of European settlement of Australia. The journal entries for 18–26 January record first impressions on arrival including interactions with Aboriginal communities and descriptions of the vegetation, intense heat, and native wildlife.

paragraph: The convicts and their children who disembarked the "Lady Penrhyn" at Port Jackson are listed. Bowes Smyth's first journal entry, dated 22 March 1787, records the full crew list and the women convicts, their name, age, trade, crime, and term of transportation. The list of children born on the voyage contains inaccuracies regarding the sex of the child and dates of birth and death. The "Lady Penrhyn", under charter to the British East India Company to continue her voyage to China for a cargo of tea, departed Port Jackson in early May. The journal continues, recording the return voyage via Lord Howe Island, Tahiti, China, St Helena, and finally England.

paragraph: The original journal is now in the collection of the National Library of Australia and has been digitised for online viewing. Manuscript 'fair copies' are held in the British Library and State Library of New South Wales. The 24 illustrations in the copy held by the State Library of New South Wales have been separated from the original journal and digitised for online viewing. The full text from the manuscript has also been digitised for online viewing. The Journal was first published in 1979 by the Australian Documents Library

paragraph: Section::::See also.

paragraph: BULLET::::- Journals of the First Fleet

paragraph: Section::::External links.

paragraph: BULLET::::- "A Journal of a Voyage from Portsmouth to New South Wales and China – in the Lady Penrhyn, Merchantman – William Cropton Sever, Commander" by Arthur Bowes, Smyth, Surgeon – 1787-1788-1789

paragraph: BULLET::::- "Arthur Bowes Smyth 1750-1790" Discover Collections. State Library of New South Wales

paragraph: BULLET::::- "Smyth, Arthur Bowes 1750-1790" Australian Dictionary of Biography. Australian National University

description: British colonist

wikidata_label: Arthur Bowes Smyth

wikipedia_title: Arthur Bowes Smyth


text:
Bolshoi Ballet
St Petersburg
Vaganova Academy
Royal Ballet School
Bolshoi
London Coliseum
Galina Ulanova
Daniel Auber
La Bayadère
Diamonds
The Pharaoh's Daughter
Swan Lake
Onegin
Semyon Chudin
Royal Opera House

categories: People from Saint Petersburg,Prima ballerinas,Russian ballerinas,Prix Benois de la Danse winners,1991 births,Living people

paragraph: Olga Smirnova (dancer)

paragraph: Olga Smirnova (born 1991) is a Russian ballet dancer who is currently a prima ballerina with the Bolshoi Ballet. She has danced at venues across Europe as well as appearing in Beijing and Japan.

paragraph: Section::::Biography.

paragraph: Born in St Petersburg, Smirnova comes from a family with no connections with ballet. Her mother encouraged her to take up the art at the Vaganova Academy where she studied under Lyudmila Kovaleva. The academy, which some consider as the source of modern ballet, is over 260 years old. She participated in the academy's tours across Europe and Japan, performing in the 2004 presentation arranged jointly with the Royal Ballet School. In 2011, immediately after her graduation, she was recruited by the Bolshoi and spent just one day in the corps de ballet before taking on solos. Having joined the company as a soloist, she was promoted to first soloist in her first season and to leading soloist at the end of her second season in 2013. In 2011, while still a student at the Vaganova academy she appeared in London at the London Coliseum to commemorate Galina Ulanova, who is said to be one of the greatest of ballerinas. For the commemoration routine, which was choreographed by A. Messerer and accompanied by Dvořák's "Melody", Smirnova danced with S. Strelkov. She also danced, in June of that year, at Diana Vishneva's benefit performance at the Mariinsky theatre. The following month she was in Beijing, partnered by the Bolshoi's principal dancer Semyon Chudin, performing "Grand Pas Classique" (choreography by V. Gsovsky) to music by the 19th century French composer Daniel Auber.

paragraph: In 2012 and 2013, she danced leading roles in "La Bayadère", "Diamonds", "The Pharaoh's Daughter" and "Swan Lake". In 2013 she performed the role of Tatiana at the Bolshoi's premiere of Cranko's "Onegin". She has created roles such as Bianca in Mailliot's Taming of the Shrew, Jorma Elmo's 'Dream of Dream', the Marquess in Pierre Lacotte's Marco Spada. Her repertoire also includes Aurora in the Sleeping Beauty, Anastasia in Ivan the Terrible, Terpischore in Balanchine's Apollo, Marguerite in John Neumeier's Lady of the Camellias.

paragraph: in 2014, she was invited to guest with the American Ballet Theatre as Nikiya in Natalia Makarova's production of La Bayadere. She also danced the principal part in Diamonds, a part which she premiered in 2012, in the Bolshoi's broadcast of Jewels.

paragraph: Section::::Assessment.

paragraph: Writing in "The Telegraph" in March 2013, Mark Monahan found her "a truly extraordinary talent". He described her physique as: "Long-limbed, with a swan-like neck, superbly pliant spine and ravishing, sway-back classical line, she also has the agility of a soubrette. Her arms ripple with an unmistakably Russian, lighter-than-air lyricism, yet her soaring, apparently preparation-free jump, which heightens the impression of buoyancy, also suggests great muscular strength." As for her dancing skills, he commented that "after barely 18 months, she is already a working definition of a star."

paragraph: Commenting on her performance in "Diamonds" (August 2013), Luke Jennings of "The Observer" characterizes her as "the physically perfect instrument of her art form", revealing his enthusiasm for her pas de deux with Semyon Chudin at the Royal Opera House. He also acclaimed her roles the same week of Odette-Odile in "Swan Lake".

paragraph: The enthusiasm was reflected by Clement Crisp of the "Financial Times" while Zoë Anderson of "The Independent" was impressed by her performance of Nikiya in "La Bayadère" in which she "carrie[d] the story with aplomb".

description: Russian ballet dancer

wikidata_label: Olga Smirnova

wikipedia_title: Olga Smirnova (dancer)


text: Antonio Canova

text: Bologna

text: Petronio Tadolini

text: Bologna

text: Giacomo De Maria

text: Antonio Canova

text: Scipione Tadolini

text: Tito Tadolini

text: Giulio Tadolini

text: Enrico Tadolini

text: Clotilde Tambroni

text: Certosa of Bologna

text: Ganymede

text: Chatsworth House

text: Alessandro Buttaoni

text: Hermitage, St. Petersburg

text: Pauline Borghese

text: St. Marinus

text: San Marino

text: St. Paul

text: St. Robert Bellarmine

text: St. Frances de Sales

text: St. Peter's Basilica

text: King Carlo Alberto

text: equestrian statue of Simón Bolívar

text: Plaza Bolívar

text: Lima, Peru

text: Plaza Bolívar

text: Caracas, Venezuela

text: Bologna Cathedral

categories: Artists from Rome,19th-century Italian sculptors,Italian male sculptors,1863 deaths,1788 births

paragraph: Adamo Tadolini

paragraph: Adamo Tadolini (21 December 1788 – 16 February 1863) was an Italian sculptor. One of a family of sculptors, he studied in Rome with the neo-classical sculptor Antonio Canova and is linked to him in style.

paragraph: Section::::Life.

paragraph: Adamo was born in Bologna into a family of sculptors, descending from his grandfather Petronio Tadolini (1727–1813).

paragraph: From 1808 to 1813 he attended the Accademia di Belle Arti in Bologna under the directorship of Giacomo De Maria (1762–1838). In 1813 Adamo won a prize for sculpture awarded by the Accademia Curlandese, with a terracotta relief showing Venus and Aeneas carrying weapons. He won a four-year scholarship to Rome. During his scholarship he created a plaster statue of Ajax cursing the Gods. He came to the attention of the famed Antonio Canova and was invited to work in his studio. He worked there until 1822 when Canova helped him set up his own studio at Via Del Babuino 150 in Rome which now exists as the Canova-Tadolini Museum and is a treasury of his, and his family's, huge range of work.

paragraph: His sons Scipione Tadolini (1822–1892) and Tito Tadolini (1828–1910) worked with him and Scipione took ownership of the studio on Adamo's death. The studio later passed to Giulio Tadolini (1849–1918 and finally Enrico Tadolini (1888–1967).

paragraph: Section::::Principal Works.

paragraph: BULLET::::- Venus and Cupid (1816)

paragraph: BULLET::::- Bust of Clotilde Tambroni on her grave in the Certosa of Bologna (1818)

paragraph: BULLET::::- Marble statue of Ganymede and the Eagle at Chatsworth House (1823)

paragraph: BULLET::::- Marble memorial to Monsignor Alessandro Buttaoni in the Church of S. Croce e Bonaventura dei Lucchesi in Rome (1826)

paragraph: BULLET::::- The "Bacchante Room" in the Galleria Borghese

paragraph: BULLET::::- The Rape of Ganymede in the Hermitage, St. Petersburg

paragraph: BULLET::::- Marble copy of Canova's statue of Pauline Borghese.

paragraph: BULLET::::- Statue of St. Marinus in the Basilica of San Marino (1830)

paragraph: BULLET::::- Marble Statue of St. Paul St. Peter's Square at the Vatican (1838) (probably the most public of his works)

paragraph: BULLET::::- Marble monument to Palmira Pulieri Petracchi and Enrico Pulieri in the church of Santissime Stimmate di San Francesco in Rome (1844)

paragraph: BULLET::::- Statue of King David in Piazza Mignanelli in Rome

paragraph: BULLET::::- Statue of St. Robert Bellarmine in the Church of the Gesu, Rome

paragraph: BULLET::::- Statue of St. Frances de Sales in St. Peter's Basilica, in the Vatican, Rome (1849) (commissioned by King Carlo Alberto)

paragraph: BULLET::::- Bronze equestrian statue of Simón Bolívar, liberator, in the Plaza Bolívar, Lima, Peru (1850s). (and the replica in the Plaza Bolívar, Caracas, Venezuela)

paragraph: BULLET::::- Bust of Cardinal Alessandro Lante Montefeltro della Rovere in Bologna Cathedral (1858)

paragraph: Section::::References.

paragraph: BULLET::::- Giulio Tadolino (Ed.): "Ricordi autobiografici di Adamo Tadolini scultore", Rome 1900 .

alias:
Adamo Tadolina
Adamo Tadolino

description: Italian sculptor

wikidata_label: Adamo Tadolini

wikipedia_title: Adamo Tadolini


text:
professional baseball
outfielder
Cleveland Indians
Chicago White Sox
New York Giants
New York Yankees
Boston Red Sox
Newark Bears
New York Yankees
minor league
batting average
runs
home runs
RBI
fielding percentage

categories: Chicago White Sox players,Boston Red Sox players,Cleveland Indians players,People from Montague County, Texas,New York Yankees players,1993 deaths,Baseball players from Texas,New York Giants (NL) players,Major League Baseball outfielders,1907 births

paragraph: Bob Seeds

paragraph: Ira Robert Seeds (February 24, 1907 – October 28, 1993) was an American professional baseball player who played outfielder in the Major Leagues from -. He would play for the Cleveland Indians, Chicago White Sox, New York Giants, New York Yankees, and Boston Red Sox. The well-traveled player was known by the nickname "Suitcase". (Another theory of the origin of the "suitcase" nickname states that he earned the moniker due to his large, "suitcase-like" feet).

paragraph: Seeds was a member of the 1937 Newark Bears, a farm team of the New York Yankees, known as one of the greatest seasons for a minor league team of all time. Seeds batted .303 with 20 home runs in 1937, and led the Bears with 112 runs batted in. During one weekend of the season, Seeds hit 7 home runs in 10 at-bats, while driving in 17 runs.

paragraph: In 615 games over 9 seasons in his major league career, Seeds posted a .277 batting average (537-for-1937) with 268 runs, 28 home runs and 233 RBI. He recorded a .974 fielding percentage.

description: American baseball player

wikidata_label: Bob Seeds

wikipedia_title: Bob Seeds


text:
professional baseball
first baseman
Major League Baseball
Cincinnati Reds
Cleveland Indians
Pittsburgh Pirates
Philadelphia Athletics
1920 World Series
Jimmy Johnston
Retrosheet

categories: Cleveland Indians players,Philadelphia Athletics players,Seattle Indians players,Chattanooga Lookouts players,Buffalo Bisons (minor league) players,Minor league baseball managers,Pittsburgh Pirates players,Major League Baseball infielders,Pensacola Pilots players,Little Rock Travelers players,Milwaukee Brewers (minor league) players,Birmingham Barons players,People from Cleveland, Tennessee,1961 deaths,Baseball players from Tennessee,New Orleans Pelicans (baseball) players,Atlanta Crackers players,1887 births

paragraph: Doc Johnston

paragraph: Wheeler Roger "Doc" Johnston (September 9, 1887 – February 17, 1961) was an American professional baseball first baseman. He played in Major League Baseball (MLB) from 1909 through 1922.

paragraph: During eleven seasons in the major leagues, Johnston played for the Cincinnati Reds, Cleveland Indians, Pittsburgh Pirates, and Philadelphia Athletics. He batted .263 (992-for-3774) with 14 home runs, 478 runs and 381 RBIs, and was a member of the Indians team that won the 1920 World Series. His brother Jimmy Johnston was also a major league player.

paragraph: Section::::External links.

paragraph: , or Retrosheet

description: American baseball player

wikidata_label: Doc Johnston

wikipedia_title: Doc Johnston


text:
Brooklyn, New York
Santa Monica, California
The Scales of Justice
Hearts in Exile
Trilby
His Brother's Wife
The Whip
Forever
A Stage Romance
Yolanda
The Moral Sinner
The Lone Wolf
For Woman's Favor
Manhandled
Beau Geste
The Winning of Barbara Worth
Sorrell and Son
She's a Sheik
Noah's Ark
The Case of Sergeant Grischa
Beau Ideal
Judge Priest
The Doctor Takes a Wife

categories: Male actors from New York City,1955 deaths,1875 births,American male film actors,20th-century American male actors

paragraph: Paul McAllister

paragraph: Paul McAllister (June 30, 1875 – July 8, 1955), was an American film actor. He appeared in 37 films between 1913 and 1940.

paragraph: He was born in Brooklyn, New York and died in Santa Monica, California.

paragraph: Section::::Partial filmography.

paragraph: BULLET::::- "The Scales of Justice" (1914)

paragraph: BULLET::::- "Hearts in Exile" (1915)

paragraph: BULLET::::- "Trilby" (1915)

paragraph: BULLET::::- "His Brother's Wife" (1916)

paragraph: BULLET::::- "The Whip" (1917)

paragraph: BULLET::::- "Forever" (1921)

paragraph: BULLET::::- "A Stage Romance" (1921)

paragraph: BULLET::::- "Yolanda" (1924)

paragraph: BULLET::::- "The Moral Sinner" (1924)

paragraph: BULLET::::- "The Lone Wolf" (1924)

paragraph: BULLET::::- "For Woman's Favor" (1924)

paragraph: BULLET::::- "Manhandled" (1924)

paragraph: BULLET::::- "Beau Geste" (1926)

paragraph: BULLET::::- "The Winning of Barbara Worth" (1926)

paragraph: BULLET::::- "Sorrell and Son" (1927)

paragraph: BULLET::::- "She's a Sheik" (1927)

paragraph: BULLET::::- "Noah's Ark" (1929)

paragraph: BULLET::::- "The Case of Sergeant Grischa" (1930)

paragraph: BULLET::::- "Beau Ideal" (1931)

paragraph: BULLET::::- "Judge Priest" (1934) (uncredited)

paragraph: BULLET::::- "The Doctor Takes a Wife" (1940)

description: actor

wikidata_label: Paul McAllister

wikipedia_title: Paul McAllister


text:
American
rock
musician
Detroit
Gwen Stefani
keyboardist
programmer
Katy Perry
Kesha
Demi Lovato
Adam Lambert
Børns
Rita Ora
Jane's Addiction
Kenna
Justincase
Liz Phair
Siouxsie Sioux
Nick Lachey
The Vandals
Smashing Pumpkins
Morrissey
Melissa Etheridge
Glee
The American Bible Challenge
American Horror Story
The Glee Project
The New Normal
Super Bowl XLIX
Smashing Pumpkins
bassist
Los Angeles
Jimmy Kimmel Live!
American Idol

wikipedia_title:
Americans
Rock music
Musician
Detroit
Gwen Stefani
Keyboardist
Programmer
Katy Perry
Kesha
Demi Lovato
Adam Lambert
Børns
Rita Ora
Jane's Addiction
Kenna
Justincase
Liz Phair
Siouxsie Sioux
Nick Lachey
The Vandals
The Smashing Pumpkins
Morrissey
Melissa Etheridge
Glee (TV series)
The American Bible Challenge
American Horror Story
The Glee Project
The New Normal (TV series)
Super Bowl XLIX
The Smashing Pumpkins
Bassist
Los Angeles
Jimmy Kimmel Live!
American Idol

categories: 1976 births,21st-century American keyboardists,Musicians from Detroit,American rock keyboardists,Living people

paragraph: Kristopher Pooley

paragraph: Kristopher Michael Pooley (born October 30, 1976) is an American rock musician from Detroit. He toured with Gwen Stefani as her keyboardist, programmer, and musical director. He is also the music director for Katy Perry, Kesha, Demi Lovato, Adam Lambert, Børns, Rita Ora and has toured with Jane's Addiction, Kenna, Justincase, Liz Phair, Siouxsie Sioux, Nick Lachey, The Vandals, Smashing Pumpkins, Morrissey, and Melissa Etheridge. Also a TV music producer, he has produced music for "Glee", "The American Bible Challenge", "American Horror Story", "The Glee Project", and "The New Normal". On February 1, 2015 he was the music director for Super Bowl XLIX halftime featuring Katy Perry.

paragraph: He married Smashing Pumpkins bassist Ginger Reyes in Los Angeles on June 22, 2008. He played with the Smashing Pumpkins during their fall 2008 tour including their performance on "Jimmy Kimmel Live!" and The Scream Awards on G4.

paragraph: It was announced on January 2018 that Kris Pooley is the new music director for American Idol on ABC.

description: American musician

wikidata_label: Kristopher Pooley

wikipedia_title: Kristopher Pooley


text:
Saint Petersburg
Imperial Theatre School
Enrico Cecchetti
Michel Fokine
Mariinsky Ballet
Sergei Diaghilev
Ballets Russes
Carnaval
Petrushka
Scheherazade
Nijinsky
Jeux
World War I
Red Cross
St. George medal
Teatro Colón
Argentina
principal dancer
Ida Rubenstein
New York City
School of American Ballet
Washington
Washington School of Ballet
San Francisco Ballet School
Marshall Hale Memorial Hospital
San Francisco

categories: 1978 deaths,1888 births,Ballet teachers,Russian ballerinas

paragraph: Ludmilla Schollar

paragraph: Ludmilla Schollar (March 15, 1888 – July 10, 1978) was a Russian-born dancer and educator.

paragraph: Section::::Biography.

paragraph: Born Lyudmila Frantzevna Shollar in Saint Petersburg, Schollar attended the Imperial Theatre School there. She studied with Enrico Cecchetti and Michel Fokine. Upon graduation in 1906, she joined the Mariinsky Ballet. She performed with the ballet until 1914 and then again from 1917 to 1921. Schollar was a member of Sergei Diaghilev's Ballets Russes from 1909 to 1914 and from 1921 to 1925.

paragraph: She appeared in leading roles in ballets by Fokine such as "Carnaval", "Petrushka" and "Scheherazade". She also performed in Nijinsky's "Jeux" and Diaghilev's "The Sleeping Princess".

paragraph: During World War I, she served as a nurse with the Red Cross; she was wounded and received the St. George medal.

paragraph: Schollar married the dancer . In 1925, Schollar and Vilzak left the Ballets Russes and joined the Teatro Colón in Argentina. In 1928, she became principal dancer in Ida Rubenstein's company.

paragraph: She taught ballet in New York City from 1935 to 1963, notably at the School of American Ballet and at her own school. Scholler and her husband subsequently moved to Washington, where they taught at the Washington School of Ballet. In 1965, they began teaching at the San Francisco Ballet School; she retired from the school's faculty in 1977.

paragraph: Schollar died at the age of 90 at the Marshall Hale Memorial Hospital in San Francisco.

description: ballet dancer (Mariinsky, Ballets Russes) and teacher (USA)

wikidata_label: Ludmilla Schollar

wikipedia_title: Ludmilla Schollar


text:
Miami
Florida
Fat Nick
YouTube
The Cool Kids
Sir Michael Rocks
Bone Thugs-N-Harmony
Denzel Curry
Fat Nick
Germ
SuicideBoys
Billboard 200
progressive metalcore
Volumes
Different Animals
Juicy J
Ghostemane
Cuban
Persian

categories: American rappers,People from Miami,American people of Cuban descent,American people of Iranian descent,1994 births,Living people

paragraph: Pouya (rapper)

paragraph: Kevin Pouya, known professionally as Pouya, is an American rapper from Miami, Florida.

paragraph: Section::::Musical career.

paragraph: Pouya started rapping seriously in 2011. Pouya dropped out of high school before graduating. For a year after leaving school, he bussed tables at a restaurant to make end's meet. He met Fat Nick and the two created Buffet Boys, a group that later became their record label. When they were still young, the two had a comedy show on YouTube called "The Nick and Pouya Show". Pouya released his first mixtape titled "Fuck It" in 2012. He first got noticed after he released the song "Get Buck" in 2013. On November 20, 2013, Pouya released a collaboration EP with The Cool Kids' Sir Michael Rocks titled "Gookin"'. The two connected after Rocks had moved to Miami.

paragraph: His fifth solo mixtape "Stunna", would be released on May 5, 2014. "Elevator Magazine" would describe the mixtape as Bone Thugs-N-Harmony influenced, saying "he does a great job of molding their style into his own version with a twist of his own style thrown in there." His next mixtape would be released on March 25, 2015, entitled "South Side Slugs". The mixtape would contain guest appearances from Sir Michael Rocks, Denzel Curry, SDotBraddy, Alex Wiley, Fat Nick, Germ and Mikey The Magician. Pouya collaborated with SuicideBoys on an EP, "$outh$ide$uicide", that was released on September 1, 2015.

paragraph: In 2016, he released his debut studio album "Underground Underdog" under the Buffet Boys label. The album peaked at #156 on the Billboard 200. In 2017, he was a featured artist in the song "On Her Mind" by progressive metalcore band Volumes on their album Different Animals. That same year, he released a collaboration mixtape with Fat Nick titled "Drop Out of School". In 2018 he released his second studio album, titled "Five Five". On June 30 Pouya released his third studio album titled, "The South Got Something to Say." The album included guest appearances from Juicy J and Ghostemane.

paragraph: Section::::Personal life.

paragraph: Pouya is of Cuban and Persian heritage.

paragraph: Section::::Discography.

paragraph: Section::::Discography.:Studio albums.

paragraph: BULLET::::- "Underground Underdog" (2016)

paragraph: BULLET::::- "Five Five" (2018)

paragraph: BULLET::::- "The South Got Something to Say " (2019)

paragraph: Section::::Discography.:Extended Plays.

paragraph: BULLET::::- "Baby Bone" (2013)

paragraph: BULLET::::- "Gookin"' (2013)

paragraph: BULLET::::- "South Side Suicide" (2015)

paragraph: Section::::Discography.:Mixtapes.

paragraph: BULLET::::- "Fuck It" (2012)

paragraph: BULLET::::- "Don't Sleep on Me Hoe" (2012)

paragraph: BULLET::::- "Warbucks" (2013)

paragraph: BULLET::::- "Stunna" (2014)

paragraph: BULLET::::- "South Side Slugs" (2015)

paragraph: BULLET::::- "Drop Out of School" (2017)

paragraph: BULLET::::- "Pouya & Boobie Lootaveli: Greatest Hits, Vol. 3" (2019)

description: American rapper

wikidata_label: Pouya (rapper)

wikipedia_title: Pouya (rapper)