text: shortstop

text: right-handed

text: Champaign, Illinois

text: Canada

text: United States

text: Major Leagues

text: 1992 film

text: A League of Their Own

text: Penny Marshall

text: Geena Davis

text: Tom Hanks

text: Madonna

text: Lori Petty

text: Rosie O'Donnell

text: German

text: Sadorus, Illinois

text: managed

text: fastpitch softball

text: Chicago Tribune

text: Sportsman's Park

text: St. Louis

text: Wrigley Field

text: Chicago

text: South Bend Blue Sox

text: Kenosha Comets

text: Fort Wayne Daisies

text: Kalamazoo Lassies

text: fielding average

text: stolen base

text: batting average

text: underhand pitch

text: dead-ball-era

text: hits

text: runs

text: walks

text: home run

text: AAGPBL All-Star Team

text: Jean Faut

text: runs batted in

text: June Peppas

text: first base

text: Nancy Mudge

text: second

text: Fern Shollenberger

text: third

text: Chris Ballingall

text: Carol Habben

text: home run

text: double

text: games played

text: at-bats

text: outs

text: assists

text: Bill Allington

text: station wagon

text: Ford Country Sedan

text: Joan Berger

text: Gloria Cordes

text: Jeanie Descombes

text: Gertrude Dunn

text: Betty Foss

text: Mary Froning

text: Jean Geissinger

text: Katie Horstman

text: Maxine Kline

text: Dolores Lee

text: Magdalen Redman

text: Ruth Richard

text: Jean Smith

text: Dolly Vanderlip

text: Joanne Weaver

text: Cooperstown, New York

text: brain aneurysm

text: Parade Magazine

text: Jim Sargent

text: AAGPBL Official Site

text: AAGPBL Records

categories: All-American Girls Professional Baseball League players,Baseball players from Illinois,1928 births,1996 deaths

paragraph: Dorothy Schroeder

paragraph: Dorothy Schroeder, nicknamed Dottie, (April 11, 1928 – December 8, 1996) was a shortstop who played from through in the All-American Girls Professional Baseball League. Listed at , 150 lb., Schroeder batted and threw right-handed. She was born in Champaign, Illinois.

paragraph: Section::::Career.

paragraph: At age fifteen, Schroeder became the youngest founding member of the All-American Girls Professional Baseball League, thus having the distinction of being the only girl to play in the league for its twelve full seasons. A three-time All-Star and ranked in the Top-10 in several offensive categories, she was arguably the top shortstop in league history. After the league folded in 1954, she played four more years on a touring team of 11 All-Americans piloted by Bill Allington across Canada and United States. When the lack of finances caused the tour to end after four summers, Schroeder had played a record 15 seasons of professional baseball.

paragraph: The AAGBL flourished in the 1940s when the Major Leagues went on hold as men went to war. Women have been playing professional baseball since the late 1930s, yet it was not really a well known fact until the 1992 film "A League of Their Own", directed by Penny Marshall and starred by Geena Davis, Tom Hanks, Madonna, Lori Petty and Rosie O'Donnell, that brought these ballplayer's women into the public eye.

paragraph: Schroeder was the daughter of a German farmer and local postmaster at Champaign. She had an older brother, Walter, and a twin brother, Don. Dorothy was nine years old when their family moved to Sadorus, Illinois. She attended St. Paul's Lutheran Church in nearby Sadorus and sang in the choir. By then, she started to play baseball with her two brothers and her father, who had also managed a semi-pro baseball team of Champaign. In 1939, the young girl played on a fastpitch softball team and joined the Illinois Commercial College team in 1940.

paragraph: At 15, Schroeder decided to play professional baseball after reading about the AAGPBL in a "Chicago Tribune" advertisement. She personified the family background, values, dreams and aspirations that the AAGPLB founders attempted to cultivate, so that her parents insisted on close supervision before permitting her to join the new league. In 1943, she attended the first tryout camp at Sportsman's Park in St. Louis, where she competed against 60 girls for one of two roster spots. The final tryouts were held at Wrigley Field in Chicago.

paragraph: Schroeder entered the league in 1943 with the South Bend Blue Sox, playing for them two and a half years before joining the Kenosha Comets (1945-'47), Fort Wayne Daisies (1947-'52) and Kalamazoo Lassies (1953-'54). In her first season, she led the league shortstops in fielding average, collected 32 stolen bases and hit a respectable .211 of batting average, considering that the league used an underhand pitch in what could only be called classic dead-ball-era fashion. She also had 56 hits with 44 runs and 56 walks to her credit.

paragraph: In 1944 Schroeder stole 70 bases. Failing to hit .200 in each of her first six seasons and totalling four home runs in that time, she became a fine hitter with power in her later years after the league switched to overhand pitching. From 1949 through 1954 she hit a combined .242 average (509-for-2095); tying for third place with five home runs in 1950, and finishing fourth in 1951 with four homers. In 1952, she was again fourth with six dingers and her average raised to .245, while earning her first of three consecutive selections to the AAGPBL All-Star Team.

paragraph: In 1953, Schroeder saw her average climb to .285 and tied for fourth with six home runs. She also was named the Most Valuable Player of the Daisies, after helping her team to win the regular season title with a 67–42 mark. But after an exciting series, Jean Faut led the South Bend club to win the Championship Title.

paragraph: Schroeder enjoyed her most productive season in 1954, when she posted career-highs with .304, 17 homers and 65 runs batted in. In that season, she was part of a Lassies All-Star slick infield that included June Peppas at first base, Nancy Mudge at second, and Fern Shollenberger at third. Meanwhile, the called "Home Run Twins", Chris Ballingall (17) and Carol Habben (15), powered the offense with 32 home runs; Peppas enjoyed a year career, and Kalamazoo advanced to the Championship Series. As a result, the Lassies defeated the Daisies in a best-of-five games series, with a decisive eight-inning RBI double by Schroeder in Game 5, during what turned out to be the AAGPBL final season.

paragraph: In addition to playing 16 professional baseball seasons, Schroeder holds all-time records for most games played (1,249), at-bats (4,129), RBI (431) and walks (696) in AAGPBL history. She also ranks second in hits (870) and third in home runs (42). Defensively, she was impenetrable, leading three times the AAGPBL shortstops in fielding, collecting 2,579 outs and 3,376 assists for a .913 career average.

paragraph: Section::::Allington All-Stars.

paragraph: When the league was unable to continue in 1955, Schroeder joined several other players selected by former Daisies manager Bill Allington to play in the national touring team known as the All-Americans All-Stars. The team played 100 games, each booked in a different town, against male teams, while traveling over 10,000 miles in the manager's station wagon and a Ford Country Sedan. Besides Schroeder, the Allington All-Stars included players as Joan Berger, Gloria Cordes, Jeanie Descombes, Gertrude Dunn, Betty Foss, Mary Froning, Jean Geissinger, Katie Horstman, Maxine Kline, Dolores Lee, Magdalen Redman, Ruth Richard, Jean Smith, Dolly Vanderlip and Joanne Weaver, among others.

paragraph: Section::::Life after baseball.

paragraph: Schroeder, who never married, is one of the few All-Americans pictured individually in the exhibit on Women in Baseball at the National Baseball Hall of Fame and Museum in Cooperstown, New York, which was created in . She lived the rest of her life in her homeland of Champaign, working for Collegiate Cap & Gown Company for 36 years until retiring in 1993. She died three years later, at the age of 68, following complications of a brain aneurysm.

paragraph: Section::::Commentary.

paragraph: BULLET::::- "Dottie Schroeder probably received more media attention and signed more autographs than any other All-American. An appropriate symbol of the feminine character of a league which wanted girls to look like women but play ball like men, her pretty portrait adorned the cover of Parade Magazine in August 1948". Jim Sargent, baseball researcher and historian.

paragraph: Section::::Sources.

paragraph: BULLET::::- "All-American Girls Professional Baseball League Record Book" – W. C. Madden. Publisher: McFarland & Company, 2000. Format: Paperback, 294pp. Language: English. .

paragraph: BULLET::::- "Women of the All-American Girls Professional Baseball League: A Biographical Dictionary" - W. C. Madden. Publisher: McFarland & Company, 2005. Format: Paperback, 295 pp. Language: English. .

paragraph: BULLET::::- "Biographical Dictionary of American Sports. Vol. 3: Baseball, Q-Z" - David L. Porter. Publisher: Greenwood Pub Group, 1987. Language: English. .

paragraph: Section::::External links.

paragraph: BULLET::::- AAGPBL Official Site

paragraph: BULLET::::- AAGPBL Records

paragraph: BULLET::::- Florida Memory State Library and Archives

description: American baseball player

wikidata_label: Dorothy Schroeder

wikipedia_title: Dorothy Schroeder


text:
Bühl
Germany
Baden-Baden
Berlin
Bonn
Kiel
World War I
Flanders
Italy
Iron Cross
Heidelberg University
University of Halle
Nazi
Mandate Palestine
Hadassah Medical School
Hebrew University of Jerusalem
Hadassah Medical Center
Israel Prize
medicine
Solomon Bublick Award
Hebrew University of Jerusalem
List of Israel Prize recipients
Wertheimer
Curriculum Vitai in German

categories: Israeli Jews,1978 deaths,Hebrew University of Jerusalem faculty,German Jewish military personnel of World War I,Heidelberg University alumni,Israeli scientists,University of Halle faculty,People from Bühl (Baden),1893 births,Jews in Mandatory Palestine,Israel Prize in medicine recipients,German emigrants to Israel

paragraph: Haim Ernst Wertheimer

paragraph: Haim Ernst Wertheimer (; August 24, 1893 – March 23, 1978) was an Israeli biochemist.

paragraph: Section::::Biography.

paragraph: Wertheimer was born in Bühl, Germany in 1893 and studied in his native town and in Baden-Baden. He commenced studying medicine in 1912, initially in Berlin, Bonn and Kiel, before his studies were interrupted by World War I, where he served in a medical capacity in Flanders and Italy, and was awarded the Iron Cross, second class, and other decorations. Following the war, he completed his medical studies in Heidelberg University.

paragraph: In 1920–21 Wertheimer worked as a doctor at Berlin's municipal orphanage, and subsequently received a position at the Institute for Physiology, University of Halle.

paragraph: With the Nazi rise to power in Germany Wertheimer lost his job. In 1934 he emigrated to Mandate Palestine and accepted a job as temporary director of the Laboratory of Chemistry, at Hadassah Medical School in the Hebrew University of Jerusalem. He continued working at the Hadassah Medical Center until 1963, and served as dean of the institution in the '50s. Werthimer is regarded as the father of the field of fat metabolism.

paragraph: Section::::Awards.

paragraph: BULLET::::- In 1956, Wertheimer was awarded the Israel Prize, for medicine.

paragraph: BULLET::::- In 1964, he received the Solomon Bublick Award of the Hebrew University of Jerusalem.

paragraph: Section::::See also.

paragraph: BULLET::::- List of Israel Prize recipients

paragraph: BULLET::::- Wertheimer

paragraph: Section::::External links.

paragraph: BULLET::::- Curriculum Vitai in German

description: Israeli biochemist

wikidata_label: Haim Ernst Wertheimer

wikipedia_title: Haim Ernst Wertheimer


text:
Major League Baseball
catcher
Kansas State League
Pacific Coast League
Boston Braves
Kansas City Packers
Federal League
Kansas City, Missouri
suicide

categories: 1885 births,Boston Braves players,Major League Baseball catchers,Baseball players who committed suicide,Kansas City Packers players,Baseball players from California,Vernon Tigers players,1927 deaths

paragraph: Drummond Brown

paragraph: Drummond Nicol Brown (January 31, 1885 – January 27, 1927) was a Major League Baseball catcher.

paragraph: Brown started his professional career in 1906, at the age of 21, in the Kansas State League. He spent 1909-12 in the Pacific Coast League.

paragraph: After a few games with the Boston Braves in 1913, Brown jumped to the Kansas City Packers of the Federal League. He played there from 1914 to 1915.

paragraph: After the Federal League folded, Brown became a police officer in Kansas City, Missouri. He committed suicide by shooting himself in 1927.

description: American baseball player

wikidata_label: Drummond Brown

wikipedia_title: Drummond Brown


text: General

text: First World War

text: British Expeditionary Force

text: General Officer Commanding

text: XV Corps

text: Douglas Haig

text: Ferdinand Foch

text: Master-General of the Ordnance

text: commissioned

text: lieutenant

text: Royal Artillery

text: captain

text: major

text: Second Boer War

text: Cape Town

text: Southampton

text: mentioned in despatches

text: brevet

text: lieutenant-colonel

text: Commander

text: 3rd Division

text: Brigadier-General

text: General Staff

text: III Corps

text: William Robertson

text: Ministry of Munitions

text: GOC

text: XV Corps

text: Operation Hush

text: Belgian

text: German "Georgette" Offensive

text: Field Marshal Haig

text: General Foch

text: Master-General of the Ordnance

text: General Officer Commanding

text: Western Command

text: General Officer Commanding

text: British Army of the Rhine

text: Aide-de-Camp General

text: the King

categories: British Army personnel of the Second Boer War,1947 deaths,People from South Kensington,Royal Artillery officers,British Army generals of World War I,Knights Grand Cross of the Order of the Bath,1865 births,Governors and Governors-General of Malta

paragraph: John Philip Du Cane

paragraph: General Sir John Philip Du Cane, (5 May 1865 – 5 April 1947) was a British Army general. He held high rank during the First World War, most notably as Major-General Royal Artillery at General Headquarters in 1915 when the British Expeditionary Force (BEF) was expanding rapidly, as General Officer Commanding XV Corps 1916-18, then from April 1918 as liaison officer between Field-Marshal Douglas Haig and the Allied Generalissimo Ferdinand Foch. After the war he was Master-General of the Ordnance.

paragraph: Section::::Military career.

paragraph: Du Cane was commissioned a lieutenant in the Royal Artillery in February 1884, promoted to captain on 4 March 1893, and to major on 14 February 1900.

paragraph: He served in the Second Boer War 1899-1900, and again from February 1901 when he was appointed a staff officer in South Africa. Following the end of hostilities in early June 1902, he left Cape Town on board the "SS Assaye", and arrived at Southampton the next month. He was mentioned in despatches and received a brevet promotion to lieutenant-colonel in the South Africa honours list published on 26 June 1902.

paragraph: He became Commander Royal Artillery for 3rd Division in 1911.

paragraph: He served in the First World War initially as a Brigadier-General on the General Staff of III Corps. In 1915, as Major-General Royal Artillery, he was Artillery Advisor at General Headquarters; William Robertson, Chief of Staff to the BEF in 1915, later stated that he had laid the organisational groundwork for the massive expansion of BEF artillery during the war. He was posted to the Ministry of Munitions in 1916 and then became GOC XV Corps in 1916. In that capacity, he was closely involved in Operation Hush, a planned invasion on the Belgian coast. On 12 April 1918, against the backdrop of the German "Georgette" Offensive and Field Marshal Haig's demands for French reinforcements, he was appointed liaison officer between Haig and the Allied Generalissimo General Foch.

paragraph: He was appointed Master-General of the Ordnance in 1920 and then General Officer Commanding-in-Chief for Western Command in 1923. He was General Officer Commanding-in-Chief for British Army of the Rhine from 1924 until 1927 when he became Governor and Commander-in-Chief of Malta; he retired in 1931.

paragraph: He was also Aide-de-Camp General to the King from 1926 to 1930.

paragraph: Section::::Books.

paragraph: BULLET::::- Harris, J.P. "Douglas Haig and the First World War". Cambridge, Cambridge University Press, 2008.

description: British Army general

wikidata_label: John Philip Du Cane

wikipedia_title: John Philip Du Cane


text:
William the Conqueror
Duke of Normandy
claimant
Kingdom of England
epithet
Norman French
William of Malmesbury
Orderic Vitalis
William the Conqueror
William II
Henry I
mortgaged
First Crusade
William the Conqueror
Norman
king of England
Matilda of Flanders
Maine
Count of Maine
Hugh V of Maine
William Rufus
Henry
Rouen
Rémalard
Robert I, Count of Flanders
Vexin
Philip I of France
Matilda
Matilda of Tuscany
William Rufus
New Forest
Helias of Saint-Saens
Duchy of Normandy
English Channel
Rebellion of 1088
Ranulf Flambard
William Rufus
Robert formed an army
Holy Land
First Crusade
marks
Henry
Portsmouth
Anselm
archbishop
Canterbury
Charter of Liberties
Treaty of Alton
Serlo
Bishop of Sées
Battle of Tinchebray
Devizes Castle
Cardiff
Cardiff Castle
St. Peter
Gloucester
bog oak
Nine Worthies
Gloucester Cathedral
Geoffrey of Brindisi
Conversano
Robert Guiscard
William Clito
Duchy of Normandy
Count of Anjou
Flanders
Henry I
William of Malmesbury
Robert of Torigny
Orderic Vitalis
New Forest
Helias of Saint-Saens

categories: Burials at Gloucester Cathedral,12th-century English people,French Roman Catholics,11th-century English people,Christians of the First Crusade,1134 deaths,English people who died in prison custody,Pretenders to the English throne,House of Normandy,1050s births,12th-century Dukes of Normandy,11th-century Dukes of Normandy,Heirs to the English throne,Prisoners in the Tower of London,French people who died in prison custody,English people of French descent,Dukes of Normandy,English Roman Catholics

paragraph: Robert Curthose

paragraph: Robert Curthose ( – 3 February 1134), sometimes called Robert II, succeeded his father, William the Conqueror as Duke of Normandy in 1087 and reigned until 1106. Robert was also an unsuccessful claimant to the throne of the Kingdom of England. The epithet "Curthose" had its origins in the Norman French word "courtheuse" "short stockings" and was apparently derived from a nickname given to Robert by his father; the chroniclers William of Malmesbury and Orderic Vitalis reported that William the Conqueror had derisively called Robert "brevis-ocrea" ("short boot").

paragraph: The eldest son of William the Conqueror, Robert's reign as duke is noted for the discord with his brothers William II and Henry I in England. Robert mortgaged his duchy to finance his participation in the First Crusade, where he was an important crusader commander. Eventually, his disagreements with Henry I led to his death in captivity and the absorption of Normandy as a possession of England.

paragraph: Section::::Early life.

paragraph: Robert was the eldest son of William the Conqueror, the first Norman king of England, and Matilda of Flanders.

paragraph: Estimates of Robert's birth-date range between 1051 and 1053. As a child he was betrothed to Margaret, the heiress of Maine, but she died before they could be wed, and Robert did not marry until his late forties. In his youth he was reported to be courageous and skilful in military exercises. He was, however, also prone to laziness and weakness of character that discontented nobles and the King of France exploited to stir discord with his father William. He was unsatisfied with the share of power allotted to him and quarrelled with his father and brothers fiercely. In 1063, his father made him the Count of Maine in view of his engagement to Margaret, and Robert may have had independent rule in Maine. The county remained under Norman control until 1069 when the county revolted and reverted to Hugh V of Maine.

paragraph: In 1077, Robert instigated his first insurrection against his father as the result of a prank played by his younger brothers William Rufus and Henry, who had dumped a full chamber-pot over his head. Robert was enraged and, urged on by his companions, started a brawl with his brothers that was only interrupted by the intercession of their father. Feeling that his dignity was wounded, Robert was further angered when King William failed to punish his brothers. The next day Robert and his followers attempted to seize the castle of Rouen. The siege failed, but, when King William ordered their arrest, Robert and his companions took refuge with Hugh of Chateauneuf-en-Thymerais. They were forced to flee again when King William attacked their base at Rémalard.

paragraph: Section::::Exile.

paragraph: Robert fled to Flanders to the court of his uncle Robert I, Count of Flanders, before plundering the county of the Vexin and causing such mayhem that his father King William allied himself with King Philip I of France to stop his rebellious son. Relations were not helped when King William discovered that his wife, Robert's mother Queen Matilda, was secretly sending her son Robert money. At a battle in January 1079, Robert unhorsed King William in combat and succeeded in wounding him, stopping his attack only when he recognised his father's voice. Humiliated, King William cursed his son. King William then raised the siege and returned to Rouen.

paragraph: At Easter 1080, father and son were reunited by the efforts of Queen Matilda, and a truce lasted until she died in 1083. Robert seems to have left court soon after the death of his mother and spent several years travelling throughout France, Germany and Flanders. He visited Italy seeking the hand of the great heiress Matilda of Tuscany (b. 1046) but was unsuccessful. During this period as a wandering knight Robert sired several illegitimate children. His bastard son Richard seems to have spent much of his life at the royal court of his uncle William Rufus. This Richard was killed in a hunting accident in the New Forest in 1099 as was his uncle, King William Rufus, the next year. An illegitimate daughter was later married to Helias of Saint-Saens.

paragraph: Section::::Reign as Duke of Normandy.

paragraph: In 1087, the elder William died of wounds suffered from a riding accident during a siege of Mantes. At his death he reportedly wanted to disinherit his eldest son but was persuaded to divide the Norman dominions between his two eldest sons. To Robert he granted the Duchy of Normandy and to William Rufus he granted the Kingdom of England. The youngest son Henry was given money to buy land. Of the two elder sons Robert was considered to be much the weaker and was generally preferred by the nobles who held lands on both sides of the English Channel since they could more easily circumvent his authority.

paragraph: At the time of their father's death the two brothers made an agreement to be each other's heir. However this peace lasted less than a year when barons joined with Robert to displace Rufus in the Rebellion of 1088. It was not a success, in part because Robert never showed up to support the English rebels.

paragraph: Robert took as his close adviser Ranulf Flambard, who had been previously a close adviser to his father. Flambard later became an astute but much-disliked financial adviser to William Rufus until the latter's death in 1100.

paragraph: In 1096, Robert formed an army and left for the Holy Land on the First Crusade. At the time of his departure he was reportedly so poor that he often had to stay in bed for lack of clothes. To raise money for the crusade he mortgaged his duchy to his brother William for the sum of 10,000 marks.

paragraph: When William II died on 2 August 1100, Robert was on his return journey from the Crusade and was about to marry a wealthy young bride to raise funds to buy back his duchy. As a result of Robert's absence, his brother Henry was able to seize the crown of England for himself.

paragraph: Upon his return, Robert – urged by Flambard and several Anglo-Norman barons – claimed the English crown, on the basis of the short-lived agreement of 1087, and in 1101 led an invasion to oust his brother Henry. He landed at Portsmouth with his army, but the lack of popular support among the English (Anselm, the archbishop of Canterbury, was decidedly against him and the Charter of Liberties issued at Henry's coronation was well liked) as well as Robert's own mishandling of the invasion tactics enabled Henry to resist the invasion. Robert was forced by diplomacy to renounce his claim to the English throne in the Treaty of Alton. It is said that Robert was a brilliant field commander but a terrible strategist in the First Crusade.

paragraph: Section::::Imprisonment and death.

paragraph: In 1105, however, Robert's continual stirring of discord with his brother in England as well as civil disorder in Normandy itself prompted Henry to invade Normandy. Orderic reports on an incident at Easter 1105 when Robert was supposed to hear a sermon by the venerable Serlo, Bishop of Sées. Robert spent the night before sporting with harlots and jesters, and while he lay in bed sleeping off his drunkenness his unworthy friends stole his clothes. He awoke to find himself naked and had to remain in bed and missed the sermon.

paragraph: In 1106, Henry defeated Robert's army decisively at the Battle of Tinchebray and claimed Normandy as a possession of the English crown, a situation that endured for almost a century. Captured after the battle, Robert was imprisoned in Devizes Castle for twenty years before being moved to Cardiff.

paragraph: In 1134, Robert died in Cardiff Castle in his early eighties. Robert Curthose, sometime Duke of Normandy, eldest son of the Conqueror, was buried in the abbey church of St. Peter in Gloucester. The exact place of his burial is difficult to establish – legend states that he requested to be buried before the High Altar. His effigy carved in bog oak, however, lies on a mortuary chest decorated with the attributed arms of the Nine Worthies (missing one – Joshua, and replaced with the arms of Edward the Confessor). The effigy dates from about 100 years after his death and the mortuary chest much later. The church subsequently has become Gloucester Cathedral.

paragraph: Section::::Descendants.

paragraph: Robert married Sybilla of Conversano, daughter of Geoffrey of Brindisi, Count of Conversano (and a grandniece of Robert Guiscard, another Norman duke) on the way back from Crusade; they had one child:

paragraph: BULLET::::1. William Clito, was born 25 October 1102 and became heir to the Duchy of Normandy. William Clito was unlucky all his life; his attempts to invade Normandy failed twice (1119 and 1125), his first marriage to a daughter of the Count of Anjou was annulled by his uncle's machinations, and even his late inheritance of the county of Flanders was mishandled. William Clito died in 1128 leaving no issue, thus leaving the field clear in the Norman succession (at least until the death of Henry I).

paragraph: Sybilla, who was admired and often praised by chroniclers of the time, died shortly after the birth of her son. William of Malmesbury claims she died as a result of binding her breasts too tightly; both Robert of Torigny and Orderic Vitalis suggest she was murdered by a cabal of noblewomen led by her husband's mistress, Agnes Giffard.

paragraph: Robert also had at least three illegitimate children – Richard, who died hunting in the New Forest in May 1100, a son William, a full brother of Richard, and a daughter who married Helias of Saint-Saens. William went to Palestine after 1106 and was named lord of Tortosa, but disappears from the historical record after 1110.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Also

alias:
Robert II, Duke of Normandy
Robert II

description: Duke of Normandy

wikidata_label: Robert Curthose

wikipedia_title: Robert Curthose


text: draughtsman

text: printmaker

text: sculptor

text: Pablo Picasso

text: visual arts

text: Fauves

text: Nice

text: French Riviera

text: modern art

text: Le Cateau-Cambrésis

text: Nord

text: department

text: Bohain-en-Vermandois

text: Le Cateau-Cambrésis

text: appendicitis

text: Académie Julian

text: William-Adolphe Bouguereau

text: Gustave Moreau

text: still life

text: Jean-Baptiste-Siméon Chardin

text: Nicolas Poussin

text: Antoine Watteau

text: Édouard Manet

text: Japanese art

text: Louvre

text: John Russell

text: Belle Île

text: Brittany

text: Impressionism

text: Vincent van Gogh

text: colour theory

text: Société Nationale des Beaux-Arts

text: Camille Pissarro

text: J. M. W. Turner

text: Corsica

text: Albert Marquet

text: André Derain

text: Jean Puy

text: Jules Flandrin

text: Rodin

text: Gauguin

text: van Gogh

text: Cézanne

text: Divisionist

text: Paul Signac

text: Antoine-Louis Barye

text: Fauvism

text: movement

text: André Derain

text: Ambroise Vollard

text: St. Tropez

text: neo-Impressionist

text: Henri-Edmond Cross

text: Luxe, Calme et Volupté

text: André Derain

text: Collioure

text: pointillism

text: Fauves

text: Salon d'Automne

text: Louis Vauxcelles

text: Donatello

text: Renaissance

text: Gil Blas

text: Camille Mauclair

text: Woman with a Hat

text: Gertrude

text: Leo Stein

text: Georges Braque

text: Raoul Dufy

text: Maurice de Vlaminck

text: Symbolist

text: Gustave Moreau

text: École des Beaux-Arts

text: Guillaume Apollinaire

text: Nu bleu

text: Armory Show

text: Montparnasse

text: bourgeois

text: Algeria

text: Primitivism

text: Islamic art

text: Morocco

text: Tangier

text: L'Atelier Rouge

text: Sergei Shchukin

text: La Danse

text: The Museum of Modern Art

text: Pablo Picasso

text: still life

text: salon

text: Gertrude Stein

text: Alice B. Toklas

text: Leo Stein

text: Sarah

text: Baltimore

text: Cone sisters

text: Baltimore Museum of Art

text: 27 rue de Fleurus

text: Renoir

text: Fernande Olivier

text: Georges Braque

text: André Derain

text: Max Jacob

text: Guillaume Apollinaire

text: Marie Laurencin

text: Henri Rousseau

text: Dômiers

text: Hans Purrmann

text: Patrick Henry Bruce

text: Sarah Stein

text: Morocco

text: orientalist

text: odalisque

text: Cimiez

text: French Riviera

text: Nice

text: return to order

text: World War I

text: neoclassicism

text: Stravinsky

text: Derain

text: orientalist

text: odalisque

text: Albert C. Barnes

text: Barnes Foundation

text: The Dance II

text: Mourlot Studios

text: Dominican

text: Résistance

text: Ravensbrück concentration camp

text: Rudolf Levy

text: Auschwitz concentration camp

text: decoupage

text: gouache

text: Le chant du rossignol

text: Igor Stravinsky

text: Albert C. Barnes

text: Sergei Diaghilev

text: Ballets Russes

text: Jazz

text: Chapelle du Rosaire de Vence

text: chasubles

text: Vence

text: Matisse Museum in Le Cateau

text: David Rockefeller

text: stained-glass

text: Union Church of Pocantico Hills

text: maquette

text: Still Life with Geraniums

text: Pinakothek der Moderne

text: The Plum Blossoms

text: Museum of Modern Art

text: Henry Kravis

text: Marie-Josée Drouin

text: Pierre Matisse

text: Joan Miró

text: Marc Chagall

text: Alberto Giacometti

text: Jean Dubuffet

text: André Derain

text: Yves Tanguy

text: Le Corbusier

text: Paul Delvaux

text: Wifredo Lam

text: Jean-Paul Riopelle

text: Balthus

text: Leonora Carrington

text: Zao Wou Ki

text: Sam Francis

text: Theodore Roszak

text: Raymond Mason

text: Reg Butler

text: Paul Matisse

text: Massachusetts

text: Sophie Matisse

text: Artists Rights Society

text: Tate Modern

text: Museum of Modern Art

text: Woman Reading

text: Musée National d'Art Moderne

text: Le Mur Rose

text: Notre-Dame, une fin d'après-midi

text: Albright-Knox Art Gallery

text: Buffalo, New York

text: Luxe, Calme, et Volupté

text: Green Stripe

text: The Open Window

text: Woman with a Hat

text: Les toits de Collioure

text: Landscape at Collioure

text: Le bonheur de vivre

text: The Young Sailor II

text: Self-Portrait in a Striped T-shirt

text: Madras Rouge

text: Blue Nude

text: Baltimore Museum of Art

text: Bathers with a Turtle

text: Saint Louis Art Museum

text: Missouri

text: La Danse

text: Still Life with Geraniums

text: L'Atelier Rouge

text: The Conversation

text: Zorah on the Terrace

text: Le Rifain assis

text: Window at Tangier

text: Le rideau jaune

text: Detroit Institute of Arts

text: Michigan

text: The Painter and His Model

text: Cleveland Museum of Art

text: Cleveland Museum of Art

text: Odalisque with Raised Arms

text: National Gallery of Art

text: Yellow Odalisque

text: The Dance II

text: triptych

text: mural

text: Barnes Foundation of Philadelphia

text: Robe violette et Anémones

text: Woman in a Purple Coat

text: La Blouse Roumaine

text: Cleveland Museum of Art

text: Le Lanceur De Couteaux

text: Annelies, White Tulips and Anemones

text: Honolulu Museum of Art

text: L'Asie

text: Deux fillettes, fond jaune et rouge

text: Jazz

text: The Plum Blossoms

text: Chapelle du Saint-Marie du Rosaire

text: Beasts of the Sea

text: Facial-maschera

text: The Sorrows of the King

text: Black Leaf on Green Background

text: La Négresse

text: Blue Nude II

text: The Snail

text: Le Bateau

text: gouache

text: MoMA

text: Jean Cocteau

text: Deepa Mehta

text: Al Pacino

text: Midnight in Paris

text: Ray Bradbury

text: The Watchful Poker Chip of H. Matisse

text: Michael Ondaatje

text: Running in the Family

text: Henry Miller

text: Tropic of Cancer

text: Peter Seabourne

text: La Tristesse du Roi

text: Jazz

text: Raymond Escholier

text: Lawrence Gowing

text: Modernism/modernity

text: January 2009)

text: John Russell

text: Hilary Spurling

text: Berggruen, Olivier

text: Max Hollein

text: Matisse and his Cats

text: Footage of Henri Matisse in Vence, France working on the New Chapel of Vence

text: Henri Matisse: Life and Work

text: Musée Matisse Nice

text: The nude in Matisse

text: Getty Research Institute. Los Angeles, California

text: Gelett Burgess, "The Wild Men of Paris, Matisse, Picasso and Les Fauves," 1910

text: "Documenting the Gilded Age: New York City Exhibitions at the Turn of the 20th Century"

text: New York Art Resources Consortium

text: Barnes Foundation, Philadelphia

categories: Fauvism,Orientalist painters,Matisse family,French male painters,Modern painters,20th-century French sculptors,19th-century French sculptors,19th-century French painters,Henri Matisse,Post-impressionist painters,Nude art,French printmakers,French male sculptors,People from Le Cateau-Cambrésis,1869 births,Alumni of the Académie Julian,1954 deaths,French atheists,20th-century French painters

paragraph: Henri Matisse

paragraph: Henri Émile Benoît Matisse (; 31 December 1869 – 3 November 1954) was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is known primarily as a painter.

paragraph: Matisse is commonly regarded, along with Pablo Picasso, as one of the artists who best helped to define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century, responsible for significant developments in painting and sculpture.

paragraph: The intense colorism of the works he painted between 1900 and 1905 brought him notoriety as one of the Fauves (wild beasts). Many of his finest works were created in the decade or so after 1906, when he developed a rigorous style that emphasized flattened forms and decorative pattern. In 1917, he relocated to a suburb of Nice on the French Riviera, and the more relaxed style of his work during the 1920s gained him critical acclaim as an upholder of the classical tradition in French painting. After 1930, he adopted a bolder simplification of form. When ill health in his final years prevented him from painting, he created an important body of work in the medium of cut paper collage.

paragraph: His mastery of the expressive language of colour and drawing, displayed in a body of work spanning over a half-century, won him recognition as a leading figure in modern art.

paragraph: Section::::Early life and education.

paragraph: Matisse was born in Le Cateau-Cambrésis, in the Nord department in Northern France, the oldest son of a wealthy grain merchant. He grew up in Bohain-en-Vermandois, Picardie, France. In 1887, he went to Paris to study law, working as a court administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, after his mother brought him art supplies during a period of convalescence following an attack of appendicitis. He discovered "a kind of paradise" as he later described it, and decided to become an artist, deeply disappointing his father.

paragraph: In 1891, he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau and Gustave Moreau. Initially he painted still lifes and landscapes in a traditional style, at which he achieved reasonable proficiency. Matisse was influenced by the works of earlier masters such as Jean-Baptiste-Siméon Chardin, Nicolas Poussin, and Antoine Watteau, as well as by modern artists, such as Édouard Manet, and by Japanese art. Chardin was one of the painters Matisse most admired; as an art student he made copies of four of Chardin's paintings in the Louvre.

paragraph: In 1896, Matisse, an unknown art student at the time, visited the Australian painter John Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of Vincent van Gogh—who had been a friend of Russell—and gave him a Van Gogh drawing. Matisse's style changed completely; abandoning his earth-coloured palette for bright colours. He later said "Russell was my teacher, and Russell explained colour theory to me." The same year, Matisse exhibited five paintings in the salon of the Société Nationale des Beaux-Arts, two of which were purchased by the state.

paragraph: With the model Caroline Joblau, he had a daughter, Marguerite, born in 1894. In 1898, he married Amélie Noellie Parayre; the two raised Marguerite together and had two sons, Jean (born 1899) and Pierre (born 1900). Marguerite and Amélie often served as models for Matisse.

paragraph: In 1898, on the advice of Camille Pissarro, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. Upon his return to Paris in February 1899, he worked beside Albert Marquet and met André Derain, Jean Puy, and Jules Flandrin. Matisse immersed himself in the work of others and went into debt from buying work from painters he admired. The work he hung and displayed in his home included a plaster bust by Rodin, a painting by Gauguin, a drawing by van Gogh, and Cézanne's "Three Bathers". In Cézanne's sense of pictorial structure and colour, Matisse found his main inspiration.

paragraph: Many of Matisse's paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signac's essay, "D'Eugène Delacroix au Néo-impressionisme". His paintings of 1902–03, a period of material hardship for the artist, are comparatively somber and reveal a preoccupation with form. Having made his first attempt at sculpture, a copy after Antoine-Louis Barye, in 1899, he devoted much of his energy to working in clay, completing "The Slave" in 1903.

paragraph: Section::::Fauvism.

paragraph: Fauvism as a style began around 1900 and continued beyond 1910. The movement as such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Matisse and André Derain. Matisse's first solo exhibition was at Ambroise Vollard's gallery in 1904, without much success. His fondness for bright and expressive colour became more pronounced after he spent the summer of 1904 painting in St. Tropez with the neo-Impressionists Signac and Henri-Edmond Cross. In that year, he painted the most important of his works in the neo-Impressionist style, "Luxe, Calme et Volupté". In 1905, he travelled southwards again to work with André Derain at Collioure. His paintings of this period are characterised by flat shapes and controlled lines, using pointillism in a less rigorous way than before.

paragraph: Matisse and a group of artists now known as "Fauves" exhibited together in a room at the Salon d'Automne in 1905. The paintings expressed emotion with wild, often dissonant colours, without regard for the subject's natural colours. Matisse showed "Open Window" and "Woman with the Hat" at the Salon. Critic Louis Vauxcelles commented on a lone sculpture surround by an "orgie of pure tones" as "Donatello chez les fauves" (Donatello among the wild beasts), referring to a Renaissance-type sculpture that shared the room with them. His comment was printed on 17 October 1905 in "Gil Blas", a daily newspaper, and passed into popular usage. The exhibition garnered harsh criticism—"A pot of paint has been flung in the face of the public", said the critic Camille Mauclair—but also some favourable attention. When the painting that was singled out for special condemnation, Matisse's "Woman with a Hat", was bought by Gertrude and Leo Stein, the embattled artist's morale improved considerably.

paragraph: Matisse was recognised as a leader of the Fauves, along with André Derain; the two were friendly rivals, each with his own followers. Other members were Georges Braque, Raoul Dufy, and Maurice de Vlaminck. The Symbolist painter Gustave Moreau (1826–1898) was the movement's inspirational teacher. As a professor at the École des Beaux-Arts in Paris, he pushed his students to think outside of the lines of formality and to follow their visions.

paragraph: In 1907, Guillaume Apollinaire, commenting about Matisse in an article published in "La Falange", wrote, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable." But Matisse's work of the time also encountered vehement criticism, and it was difficult for him to provide for his family. His painting "Nu bleu" (1907) was burned in effigy at the Armory Show in Chicago in 1913.

paragraph: The decline of the Fauvist movement after 1906 did not affect the career of Matisse; many of his finest works were created between 1906 and 1917, when he was an active part of the great gathering of artistic talent in Montparnasse, even though he did not quite fit in, with his conservative appearance and strict bourgeois work habits. He continued to absorb new influences. He travelled to Algeria in 1906 studying African art and Primitivism. After viewing a large exhibition of Islamic art in Munich in 1910, he spent two months in Spain studying Moorish art. He visited Morocco in 1912 and again in 1913 and while painting in Tangier he made several changes to his work, including his use of black as a colour. The effect on Matisse's art was a new boldness in the use of intense, unmodulated colour, as in "L'Atelier Rouge" (1911).

paragraph: Matisse had a long association with the Russian art collector Sergei Shchukin. He created one of his major works "La Danse" specially for Shchukin as part of a two painting commission, the other painting being "Music," 1910. An earlier version of "La Danse" (1909) is in the collection of The Museum of Modern Art in New York City.

paragraph: Section::::Gertrude Stein, Académie Matisse, and the Cone sisters.

paragraph: Around April 1906, he met Pablo Picasso, who was 11 years younger than Matisse. The two became lifelong friends as well as rivals and are often compared. One key difference between them is that Matisse drew and painted from nature, while Picasso was more inclined to work from imagination. The subjects painted most frequently by both artists were women and still lifes, with Matisse more likely to place his figures in fully realised interiors. Matisse and Picasso were first brought together at the Paris salon of Gertrude Stein with her companion Alice B. Toklas. During the first decade of the twentieth century, the Americans in Paris—Gertrude Stein, her brothers Leo Stein, Michael Stein, and Michael's wife Sarah—were important collectors and supporters of Matisse's paintings. In addition, Gertrude Stein's two American friends from Baltimore, the Cone sisters Claribel and Etta, became major patrons of Matisse and Picasso, collecting hundreds of their paintings and drawings. The Cone collection is now exhibited in the Baltimore Museum of Art.

paragraph: While numerous artists visited the Stein salon, many of these artists were not represented among the paintings on the walls at 27 rue de Fleurus. Where the works of Renoir, Cézanne, Matisse, and Picasso dominated Leo and Gertrude Stein's collection, Sarah Stein's collection particularly emphasised Matisse.

paragraph: Contemporaries of Leo and Gertrude Stein, Matisse and Picasso became part of their social circle and routinely joined the gatherings that took place on Saturday evenings at 27 rue de Fleurus. Gertrude attributed the beginnings of the Saturday evening salons to Matisse, remarking:

paragraph: "More and more frequently, people began visiting to see the Matisse paintings—and the Cézannes: Matisse brought people, everybody brought somebody, and they came at any time and it began to be a nuisance, and it was in this way that Saturday evenings began."'

paragraph: Among Pablo Picasso's acquaintances who also frequented the Saturday evenings were Fernande Olivier (Picasso's mistress), Georges Braque, André Derain, the poets Max Jacob and Guillaume Apollinaire, Marie Laurencin (Apollinaire's mistress and an artist in her own right), and Henri Rousseau.

paragraph: His friends organized and financed the "Académie Matisse" in Paris, a private and non-commercial school in which Matisse instructed young artists. It operated from 1907 until 1911. The initiative for the academy came from the Steins and the Dômiers, with the involvement of Hans Purrmann, Patrick Henry Bruce, and Sarah Stein.

paragraph: Matisse spent seven months in Morocco from 1912 to 1913, producing about 24 paintings and numerous drawings. His frequent orientalist topics of later paintings, such as odalisques, can be traced to this period.

paragraph: Section::::After Paris.

paragraph: In 1917, Matisse relocated to Cimiez on the French Riviera, a suburb of the city of Nice. His work of the decade or so following this relocation shows a relaxation and softening of his approach. This "return to order" is characteristic of much post-World War I art, and can be compared with the neoclassicism of Picasso and Stravinsky as well as the return to traditionalism of Derain.

paragraph: Matisse's orientalist odalisque paintings are characteristic of the period; while this work was popular, some contemporary critics found it shallow and decorative.

paragraph: In the late 1920s, Matisse once again engaged in active collaborations with other artists. He worked with not only Frenchmen, Dutch, Germans, and Spaniards, but also a few Americans and recent American immigrants.

paragraph: After 1930, a new vigor and bolder simplification appeared in his work. American art collector Albert C. Barnes convinced Matisse to produce a large mural for the Barnes Foundation, "The Dance II", which was completed in 1932; the Foundation owns several dozen other Matisse paintings. This move toward simplification and a foreshadowing of the cutout technique is also evident in his painting "Large Reclining Nude" (1935). Matisse worked on this painting for several months and documented the progress with a series of 22 photographs, which he sent to Etta Cone.

paragraph: Section::::War years.

paragraph: Matisse's wife Amélie, who suspected that he was having an affair with her young Russian emigre companion, Lydia Delectorskaya, ended their 41-year marriage in July 1939, dividing their possessions equally between them. Delectorskaya attempted suicide by shooting herself in the chest; remarkably, she survived with no serious after-effects, and instead returned to Matisse and worked with him for the rest of his life, running his household, paying the bills, typing his correspondence, keeping meticulous records, assisting in the studio and coordinating his business affairs.

paragraph: Matisse was visiting Paris when the Nazis invaded France in June 1940 but managed to make his way back to Nice. His son, Pierre, by then a gallery owner in New York, begged him to flee while he could. Matisse was about to embark for Brazil to escape the Occupation but changed his mind and remained in Nice, in Vichy France. "It seemed to me as if I would be deserting," he wrote Pierre in September 1940. "If everyone who has any value leaves France, what remains of France?" Although he was never a member of the resistance, it became a point of pride to the occupied French that one of their most acclaimed artists chose to stay, though of course, being non-Jewish, he had that option.

paragraph: While the Nazis occupied France from 1940 to 1944, they were more lenient in their attacks on "degenerate art" in Paris than they were in the German-speaking nations under their military dictatorship. Matisse was allowed to exhibit along with other former Fauves and Cubists whom Hitler had initially claimed to despise, though without any Jewish artists, all of whose works had been purged from all French museums and galleries; any French artists exhibiting in France had to sign an oath assuring their "Aryan" status—including Matisse. He also worked as a graphic artist and produced black-and-white illustrations for several books and over one hundred original lithographs at the Mourlot Studios in Paris.

paragraph: In 1941, Matisse was diagnosed with duodenal cancer. The surgery, while successful, resulted in serious complications from which he nearly died. Being bedridden for three months resulted in his developing a new art form using paper and scissors.

paragraph: That same year, a nursing student named Monique Bourgeois responded to an ad placed by Matisse for a nurse. A platonic friendship developed between Matisse and Bourgeois. He discovered that she was an amateur artist and taught her about perspective. After Bourgeois left the position to join a convent in 1944, Matisse sometimes contacted her to request that she model for him. Bourgeois became a Dominican nun in 1946, and Matisse painted a chapel in Vence, a small town he moved to in 1943, in her honor.

paragraph: Matisse remained for the most part isolated in southern France throughout the war but his family was intimately involved with the French resistance. His son Pierre, the art dealer in New York, helped the Jewish and anti-Nazi French artists he represented to escape occupied France and enter the United States. In 1942, he held an exhibit in New York, "Artists in Exile," which was to become legendary. Matisse's estranged wife, Amélie, was a typist for the French Underground and jailed for six months. Matisse was shocked when he heard that his daughter Marguerite, who had been active in the Résistance during the war, was tortured (almost to death) by the Gestapo in a Rennes prison and sentenced to the Ravensbrück concentration camp in Germany. Marguerite managed to escape from the train to Ravensbrück, which was halted during an Allied air raid; she survived in the woods in the chaos of the closing days of the war, until rescued by fellow resisters. Matisse's student Rudolf Levy was killed in the Auschwitz concentration camp in 1944.

paragraph: Section::::Final years.

paragraph: Section::::Final years.:Cut-outs.

paragraph: Diagnosed with abdominal cancer in 1941, Matisse underwent surgery that left him chair- and bedbound. Painting and sculpture had become physical challenges, so he turned to a new type of medium. With the help of his assistants, he began creating cut paper collages, or decoupage. He would cut sheets of paper, pre-painted with gouache by his assistants, into shapes of varying colours and sizes, and arrange them to form lively compositions. Initially, these pieces were modest in size, but eventually transformed into murals or room-sized works. The result was a distinct and dimensional complexity—an art form that was not quite painting, but not quite sculpture.

paragraph: Although the paper cut-out was Matisse's major medium in the final decade of his life, his first recorded use of the technique was in 1919 during the design of decor for the "Le chant du rossignol", an opera composed by Igor Stravinsky. Albert C. Barnes arranged for cardboard templates to be made of the unusual dimensions of the walls onto which Matisse, in his studio in Nice, fixed the composition of painted paper shapes. Another group of cut-outs were made between 1937 and 1938, while Matisse was working on the stage sets and costumes for Sergei Diaghilev's Ballets Russes. However, it was only after his operation that, bedridden, Matisse began to develop the cut-out technique as its own form, rather than its prior utilitarian origin.br

paragraph: He moved to the hilltop of Vence in 1943, where he produced his first major cut-out project for his artist's book titled "Jazz". However, these cut-outs were conceived as designs for stencil prints to be looked at in the book, rather than as independent pictorial works. At this point, Matisse still thought of the cut-outs as separate from his principal art form. His new understanding of this medium unfolds with the 1946 introduction for "Jazz". After summarizing his career, Matisse refers to the possibilities the cut-out technique offers, insisting "An artist must never be a prisoner of himself, prisoner of a style, prisoner of a reputation, prisoner of success…"br

paragraph: The number of independently conceived cut-outs steadily increased following "Jazz", and eventually led to the creation of mural-size works, such as "Oceania the Sky" and "Oceania the Sea" of 1946. Under Matisse's direction, Lydia Delectorskaya, his studio assistant, loosely pinned the silhouettes of birds, fish, and marine vegetation directly onto the walls of the room. The two Oceania pieces, his first cut-outs of this scale, evoked a trip to Tahiti he made years before.br

paragraph: Section::::Final years.:Chapel and museum.

paragraph: In 1948, Matisse began to prepare designs for the Chapelle du Rosaire de Vence, which allowed him to expand this technique within a truly decorative context. The experience of designing the chapel windows, chasubles, and tabernacle door—all planned using the cut-out method—had the effect of consolidating the medium as his primary focus. Finishing his last painting in 1951 (and final sculpture the year before), Matisse utilized the paper cut-out as his sole medium for expression up until his death.br

paragraph: This project was the result of the close friendship between Matisse and Bourgeois, now Sister Jacques-Marie, despite his being an atheist. They had met again in Vence and started the collaboration, a story related in her 1992 book "Henri Matisse: La Chapelle de Vence" and in the 2003 documentary "A Model for Matisse".

paragraph: In 1952, he established a museum dedicated to his work, the Matisse Museum in Le Cateau, and this museum is now the third-largest collection of Matisse works in France.

paragraph: According to David Rockefeller, Matisse's final work was the design for a stained-glass window installed at the Union Church of Pocantico Hills near the Rockefeller estate north of New York City. "It was his final artistic creation; the maquette was on the wall of his bedroom when he died in November of 1954", Rockefeller writes. Installation was completed in 1956.

paragraph: Matisse died of a heart attack at the age of 84 on 3 November 1954. He is interred in the cemetery of the Monastère Notre Dame de Cimiez, near Nice.

paragraph: Section::::Legacy.

paragraph: The first painting of Matisse acquired by a public collection was "Still Life with Geraniums" (1910), exhibited in the Pinakothek der Moderne.

paragraph: His "The Plum Blossoms" (1948) was purchased on 8 September 2005 for the Museum of Modern Art by Henry Kravis and the new president of the museum, Marie-Josée Drouin. Estimated price was US$25 million. Previously, it had not been seen by the public since 1970. In 2002, a Matisse sculpture, "Reclining Nude I (Dawn)," sold for US$9.2 million, a record for a sculpture by the artist.

paragraph: Matisse's daughter Marguerite often aided Matisse scholars with insights about his working methods and his works. She died in 1982 while compiling a catalogue of her father's work.

paragraph: Matisse's son Pierre Matisse (1900–1989) opened a modern art gallery in New York City during the 1930s. The Pierre Matisse Gallery, which was active from 1931 until 1989, represented and exhibited many European artists and a few Americans and Canadians in New York often for the first time. He exhibited Joan Miró, Marc Chagall, Alberto Giacometti, Jean Dubuffet, André Derain, Yves Tanguy, Le Corbusier, Paul Delvaux, Wifredo Lam, Jean-Paul Riopelle, Balthus, Leonora Carrington, Zao Wou Ki, Sam Francis, sculptors Theodore Roszak, Raymond Mason, and Reg Butler, and several other important artists, including the work of Henri Matisse.

paragraph: Henri Matisse's grandson Paul Matisse is an artist and inventor living in Massachusetts. Matisse's great-granddaughter Sophie Matisse is active as an artist. Les Heritiers Matisse functions as his official Estate. The U.S. copyright representative for Les Heritiers Matisse is the Artists Rights Society.

paragraph: Section::::Recent exhibitions.

paragraph: "Henri Matisse: The Cut-Outs" was exhibited at London's Tate Modern, from April to September 2014. The show was the largest and most extensive of the cut-outs ever mounted, including approximately 100 paper maquettes—borrowed from international public and private collections—as well as a selection of related drawings, prints, illustrated books, stained glass, and textiles. In total, the retrospective featured 130 works encompassing his practice from 1937 to 1954. The Tate Modern show was the first in its history to attract more than half a million people.

paragraph: The show then traveled to New York's Museum of Modern Art, where it was on display through 10 February 2015. The newly conserved cut-out, "The Swimming Pool", which had been off view for more than 20 years prior, returned to the galleries as the centerpiece of the exhibition.br

paragraph: Section::::Partial list of works.

paragraph: BULLET::::- "Woman Reading" (1894), Musée National d'Art Moderne Paris

paragraph: BULLET::::- "Le Mur Rose" (1898), Musée National d'Art Moderne

paragraph: BULLET::::- "Canal du Midi" (1898), Thyssen-Bornemisza Museum

paragraph: BULLET::::- "Notre-Dame, une fin d'après-midi" (1902), Albright-Knox Art Gallery, Buffalo, New York

paragraph: BULLET::::- "Luxe, Calme, et Volupté" (1904), Musée National d'Art Moderne

paragraph: BULLET::::- "Green Stripe" (1905)

paragraph: BULLET::::- "The Open Window" (1905)

paragraph: BULLET::::- "Woman with a Hat" (1905)

paragraph: BULLET::::- "Les toits de Collioure" (1905)

paragraph: BULLET::::- "Landscape at Collioure" (1905)

paragraph: BULLET::::- "Le bonheur de vivre" (1906)

paragraph: BULLET::::- "The Young Sailor II" (1906)

paragraph: BULLET::::- "Self-Portrait in a Striped T-shirt" (1906)

paragraph: BULLET::::- "Madras Rouge" (1907)

paragraph: BULLET::::- "Blue Nude" (1907), Baltimore Museum of Art

paragraph: BULLET::::- "" (1908)

paragraph: BULLET::::- "Bathers with a Turtle" (1908), Saint Louis Art Museum, Missouri

paragraph: BULLET::::- "La Danse" (1909)

paragraph: BULLET::::- "Still Life with Geraniums" (1910)

paragraph: BULLET::::- "L'Atelier Rouge" (1911)

paragraph: BULLET::::- "The Conversation" (1908–1912)

paragraph: BULLET::::- "Zorah on the Terrace" (1912)

paragraph: BULLET::::- "Le Rifain assis" (1912)

paragraph: BULLET::::- "Window at Tangier" (1912)

paragraph: BULLET::::- "Le rideau jaune (the yellow curtain)" (1915)

paragraph: BULLET::::- "The Window" (1916), Detroit Institute of Arts, Michigan

paragraph: BULLET::::- "The Painter and His Model" (1916–17)

paragraph: BULLET::::- "The Windshield, On the Road to Villacoublay" (1917), Cleveland Museum of Art

paragraph: BULLET::::- "La leçon de musique" (1917)

paragraph: BULLET::::- "Interior A Nice" (1920)

paragraph: BULLET::::- "Festival of Flowers, Nice" (1923), Cleveland Museum of Art

paragraph: BULLET::::- "Odalisque with Raised Arms" (1923), National Gallery of Art, Washington, D.C.

paragraph: BULLET::::- "Yellow Odalisque" (1926)

paragraph: BULLET::::- "The Dance II" (1932), triptych mural (45 ft by 15 ft) in the Barnes Foundation of Philadelphia

paragraph: BULLET::::- "Robe violette et Anémones" (1937)

paragraph: BULLET::::- "Woman in a Purple Coat" (1937)

paragraph: BULLET::::- "Le Rêve de 1940" "(the dream of 1940)" (1940)

paragraph: BULLET::::- "La Blouse Roumaine" (1940)

paragraph: BULLET::::- "Interior with an Etruscan Vase" (1940), Cleveland Museum of Art

paragraph: BULLET::::- "Le Lanceur De Couteaux" (1943)

paragraph: BULLET::::- "Annelies, White Tulips and Anemones" (1944), Honolulu Museum of Art

paragraph: BULLET::::- "L'Asie" (1946)

paragraph: BULLET::::- "Deux fillettes, fond jaune et rouge" (1947)

paragraph: BULLET::::- "Jazz" (1947)

paragraph: BULLET::::- "The Plum Blossoms" (1948)

paragraph: BULLET::::- Chapelle du Saint-Marie du Rosaire (1948–1951)

paragraph: BULLET::::- "Beasts of the Sea" (1950)

paragraph: BULLET::::- "Facial-maschera" (1951)

paragraph: BULLET::::- "The Sorrows of the King" (1952)

paragraph: BULLET::::- "Black Leaf on Green Background" (1952)

paragraph: BULLET::::- "La Négresse" (1952)

paragraph: BULLET::::- "Blue Nude II" (1952)

paragraph: BULLET::::- "The Snail" (1953)

paragraph: BULLET::::- "Le Bateau" (1954) This gouache created a minor stir when the MoMA mistakenly displayed it upside-down for 47 days in 1961.

paragraph: Section::::Illustrations.

paragraph: BULLET::::- Jean Cocteau, Bertrand Guégan (1892-1943); "L'almanach de Cocagne pour l'an 1920-1922, Dédié aux vrais Gourmands Et aux Francs Buveurs"

paragraph: Section::::Portrayal in media and literature.

paragraph: BULLET::::- Film dramatisations

paragraph: BULLET::::- A film called "Masterpiece", about the artist and his relationship with Monique Bourgeois, was proposed in 2011. Deepa Mehta intended to direct with Al Pacino to play Henri Matisse.

paragraph: BULLET::::- Matisse was played by Yves-Antoine Spoto in the 2011 film "Midnight in Paris".

paragraph: BULLET::::- Exhibition on screen

paragraph: BULLET::::- The Museum of Modern Art's Matisse retrospective was part of the film series "Exhibition on Screen", which broadcasts productions to movie theaters.

paragraph: BULLET::::- The film "Matisse From MoMA and Tate Modern" combines high-definition footage of the galleries with commentary from curators, museum administrators and, through narration of words from the past, Matisse himself. "We want to show the exhibition as well as we possibly can to the audience who can’t get there", said director Phil Grabsky. Inspired by a similar "event cinema" produced by the Met, Grabsky started his series to simulate the experience of strolling through an art exhibit.

paragraph: BULLET::::- Literature

paragraph: BULLET::::- The Ray Bradbury short story "The Watchful Poker Chip of H. Matisse" contains an allusion to the artist painting an eye on a poker chip for an American man to use as a monocle.

paragraph: BULLET::::- In Michael Ondaatje's "Running in the Family", there is a section called 'Don't talk to me about Matisse'

paragraph: BULLET::::- In Henry Miller's "Tropic of Cancer" there are multiple pages lionizing the works and importance of "the bright sage" Matisse, his hero.

paragraph: BULLET::::- Music

paragraph: BULLET::::- The British composer Peter Seabourne b.1960 wrote a septet "The Sadness of the King" (2007) inspired by the late paper cut "La Tristesse du Roi".

paragraph: Section::::Books and essays.

paragraph: BULLET::::- "Notes of a Painter" ("Note d'un peintre"), 1908

paragraph: BULLET::::- "Painter's Notes on Drawing" ("Notes d'un peintre sur son dessin"), July 1939

paragraph: BULLET::::- "Jazz", 1947

paragraph: BULLET::::- "Matisse on Art", collected by Jack D. Flam, 1973,

paragraph: BULLET::::- "Chatting with Henri Matisse: The Lost 1941 Interview", Getty Publications, 2013,

paragraph: Section::::References and sources.

paragraph: BULLET::::- References

paragraph: BULLET::::- Sources

paragraph: BULLET::::- Alfred H. Barr, Jr., "Matisse: His Art and His Public" New York: The Museum of Modern Art, 1951. ; .

paragraph: BULLET::::- Olivier Berggruen and Max Hollein, Editors. "Henri Matisse: Drawing with Scissors: Masterpieces from the Late Years". Prestel Publishing, 2006. .

paragraph: BULLET::::- F. Celdran, R.R. Vidal y Plana. "Triangle : Henri Matisse – Georgette Agutte – Marcel Sembat" Paris, Yvelinedition, 2007. .

paragraph: BULLET::::- Jack Cowart and Dominique Fourcade. "Henri Matisse: The Early Years in Nice 1916–1930". Henry N. Abrams, Inc., 1986. .

paragraph: BULLET::::- Raymond Escholier. "Matisse. A Portrait of the Artist and the Man." London, Faber & Faber, 1960.

paragraph: BULLET::::- Lawrence Gowing. "Matisse." New York, Oxford University Press, 1979. .

paragraph: BULLET::::- Hanne Finsen, Catherine Coquio, et al. "Matisse: A Second Life". Hazan, 2005. .

paragraph: BULLET::::- David Lewis. "Matisse and Byzantium, or, Mechanization Takes Command" in Modernism/modernity 16:1 (January 2009), 51–59.

paragraph: BULLET::::- John Russell. "Matisse, Father & Son," published by Harry N. Abrams, NYC. Copyright John Russell 1999,

paragraph: BULLET::::- Pierre Schneider. "Matisse." New York, Rizzoli, 1984. .

paragraph: BULLET::::- Hilary Spurling. "The Unknown Matisse: A Life of Henri Matisse, Vol. 1, 1869–1908". London, Hamish Hamilton Ltd, 1998. .

paragraph: BULLET::::- Hilary Spurling. "Matisse the Master: A Life of Henri Matisse, Vol. 2, "The Conquest of Colour" 1909–1954". London, Hamish Hamilton Ltd, 2005. .

paragraph: BULLET::::- Alastair Wright. "Matisse and the Subject of Modernism" Princeton, Princeton University Press, 2006. .

paragraph: Section::::Further reading.

paragraph: BULLET::::- Berggruen, Olivier and Max Hollein, eds., "Henri Matisse: Drawing with Scissors: Masterpieces from the Late Years", Prestel, 2006. .

paragraph: BULLET::::- Bois, Yve-Alain. "Matisse in the Barnes Foundation", Philadelphia: The Barnes Foundation; New York and London: Thames & Hudson, 2016.

paragraph: BULLET::::- Kampis, Antal, "Matisse", Budapest, 1959.

paragraph: BULLET::::- Nancy Marmer, "Matisse and the Strategy of Decoration," "Artforum," March 1966, pp. 28–33.

paragraph: BULLET::::- Henry Matisse, A Second Life, Alastair Sooke, Penguin, 2014

paragraph: Section::::External links.

paragraph: BULLET::::- Matisse and his Cats

paragraph: BULLET::::- Footage of Henri Matisse in Vence, France working on the New Chapel of Vence

paragraph: BULLET::::- Henri Matisse: Life and Work 500 hi-res images

paragraph: BULLET::::- Musée Matisse Nice

paragraph: BULLET::::- The nude in Matisse

paragraph: BULLET::::- Getty Research Institute. Los Angeles, California

paragraph: BULLET::::- Gelett Burgess, "The Wild Men of Paris, Matisse, Picasso and Les Fauves," 1910

paragraph: BULLET::::- "Documenting the Gilded Age: New York City Exhibitions at the Turn of the 20th Century" A New York Art Resources Consortium project. Matisse exhibition catalog, and photoarchive file of "Young Sailor II".

paragraph: BULLET::::- Barnes Foundation, Philadelphia

alias:
Henri-Émile-Benoît Matisse
Henri Emile Benoît Matisse
Henri Emile Benoit Matisse
Anri Matiss
Matisse
Henri-Emile-Benoît Matisse
Henri-Emile-Benoit Matisse
H. Matisse
matisse h.
h. matisse
matisse henri
Henri-Matisse

description: French artist

enwikiquote_title: Henri Matisse

wikidata_label: Henri Matisse

wikipedia_title: Henri Matisse


text:
Byzantine
Romanos I Lekapenos
Constantine
Constantine VII
Lesbos
Christopher
Helena
Constantine VII Porphyrogennetos
Constantine
magistroi
basileopator
Macedonian dynasty
George Kedrenos
castrated
sebastophoros
Romanos II
John Kourkouas
Macedonian line
Hugh of Arles
King of Italy
will
Steven Runciman
coup d'état
Marianos Argyros
protospatharios
strategos
Great Palace of Constantinople
Prote
Princes' Islands
Constantinople
Lombard
Liutprand of Cremona
Amalfi
Gaeta
Rome
Provence
Bardas Phokas the Elder
Domestic of the Schools
Constantine Gongyles
Byzantine navy
patrikios
Count of the Stable
"droungarios" of the Watch
Book of Isaiah
Jehovah
Rhodes
Methymna
Lesbos
mutilated
Easter Sunday
John Skylitzes
Theophano
Basil II
Constantine VIII

wikipedia_title: Political mutilation in Byzantine culture

categories: Macedonian dynasty,Armenian Byzantine emperors,10th-century Byzantine emperors,10th-century births,963 deaths,Lekapenos family,Byzantine junior emperors

paragraph: Stephen Lekapenos

paragraph: Stephen Lekapenos or Lecapenus (; died 18 April 963) was the second son of the Byzantine emperor Romanos I Lekapenos (r. 920–944), and co-emperor from 924 to 945. With his younger brother Constantine, he deposed Romanos I in December 944, but was overthrown and exiled by the legitimate emperor Constantine VII (r. 913–959) a few weeks later. Stephen lived out his life in exile on the island of Lesbos, where he died on Easter 963.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Family.

paragraph: Stephen was the second son of Romanos I and his wife Theodora. His older siblings were Christopher (co-emperor from 921 until his death in 931) and his sisters Helena, who married Constantine VII Porphyrogennetos (r. 913–959), and Agatha, who married Romanos Argyros. His younger brothers were Constantine (co-emperor 924–945) and Theophylact (Patriarch of Constantinople in 933–956). He probably also had at least two unnamed younger sisters, known only because of their marriages to the "magistroi" Romanos Mosele and Romanos Saronites.

paragraph: Section::::Biography.:Reign.

paragraph: Romanos Lekapenos had risen to power in 919, when he had managed to appoint himself regent over the young Constantine VII and marry his daughter Helena to him. Within a year, he successively rose from "basileopator" to "Caesar", and was eventually crowned senior emperor on 17 December 920. To consolidate his hold on power, and with a view of supplanting the ruling Macedonian dynasty with his own family, he raised his eldest son Christopher to co-emperor in May 921, while Stephen and Constantine were proclaimed co-emperors on 25 December 924.

paragraph: Following Christopher's early death in 931, and given Constantine VII's "de facto" sidelining, Stephen and Constantine assumed an increased prominence, although formally they still ranked after their brother-in-law in the college of emperors. In 933, Stephen was married to Anna, the daughter of a certain Gabalas, who was crowned "Augusta" on the same occasion. The couple had one known son, Romanos. According to the 11th-century chronicler George Kedrenos, he was castrated in 945, but later became a "sebastophoros".

paragraph: Stephen and Constantine Lekapenos came to the fore in 943, when they opposed a dynastic marriage for their nephew, Romanos II. Their father wanted to have his eldest surviving grandson married to Euphrosyne, a daughter of his successful general John Kourkouas. Although such a union would effectively cement the loyalty of the army, it would also strengthen the position of the legitimate Macedonian line, represented by Romanos II and his father Constantine VII, over the imperial claims of Romanos's own sons. Predictably, Stephen and Constantine opposed this decision, and prevailed upon their father, who was by this time ill and old, to dismiss Kourkouas in the autumn of 944. Romanos II instead married Bertha, an illegitimate daughter of Hugh of Arles, King of Italy, who changed her name to Eudokia after her marriage.

paragraph: With Romanos I approaching the end of his life, the matter of his succession became urgent. In 943, Romanos drafted a will which would leave Constantine VII as the senior emperor following his death. This greatly upset his two sons, who feared that their brother-in-law would have them deposed and force them to take monastic vows. Motivated, in the opinion of Steven Runciman, partially by self-preservation and partially from genuine ambition, they started planning to seize power through a coup d'état, with Stephen apparently the ringleader and Constantine a rather reluctant partner.

paragraph: Their fellow conspirators included Marianos Argyros, the "protospatharios" Basil Peteinos, Manuel Kourtikes, the "strategos" Diogenes, Clado, and Philip. Kedrenos, however, considers Peteinos to have served as an agent of Constantine VII among the conspirators. On 20 December 944, the conspirators set their plans in motion. The two brothers smuggled their supporters in the Great Palace of Constantinople during the midday break in palace activities. They then led their men into the chamber of Romanos I, where they easily captured the "ill old man". They were able to transport him to the nearest harbour and from there to Prote, one of the Princes' Islands and a popular place of exile. There, Romanos agreed to take monastic vows and retire from the throne.

paragraph: Having managed to quietly depose their father, the brothers now had to deal with Constantine VII. Unfortunately for them, rumours soon spread around Constantinople, to the effect that, following Romanos's deposition, Constantine VII's life was in danger. Before long, crowds gathered before the palace, demanding to see their emperor in person. The contemporary Lombard historian Liutprand of Cremona notes that the ambassadors and envoys from Amalfi, Gaeta, Rome, and Provence present in the capital also supported Constantine VII. Stephen and his brother had to succumb to the inevitable, recognizing their brother-in-law as the senior emperor.

paragraph: The new triumvirate lasted for about 40 days. The three emperors soon appointed new leaders for the military services. Bardas Phokas the Elder was appointed as the new Domestic of the Schools, and Constantine Gongyles as head of the Byzantine navy. Stephen and his brother managed to reward their fellow conspirators. Peteinos became "patrikios" and Great Hetaeriarch, Argyros was appointed Count of the Stable, Kourtikes a "patrikios" and "droungarios" of the Watch. On 26 January 945, however, at the urging of their sister, the "Augusta" Helena, another coup removed the two Lekapenoi from power and restored the sole imperial authority to Constantine VII.

paragraph: Section::::Biography.:Exile.

paragraph: Initially, the two brothers were sent to Prote. The Byzantine chroniclers have their father welcoming them by quoting a passage from the Book of Isaiah, specifically Chapter 1.2: "Hear, O heavens, and give ear, O earth; for Jehovah hath spoken: I have nourished and brought up children, and they have rebelled against me." Liutprand of Cremona, however, gives a slightly different account, having Romanos receive his sons with bitter sarcasm, thanking them for not neglecting him and begging them to excuse the monks for their ignorance on how to properly receive emperors. Soon, however, Stephen was moved on to a prison at Prokonnesos, and then to Rhodes, before finally settling in Methymna, Lesbos.

paragraph: A plot by some members of the imperial government to restore him was discovered in December 947 and the conspirators mutilated and publicly humiliated. Stephen died at Methymna on Easter Sunday (18 April), 963. John Skylitzes claims that Stephen was poisoned by order of the Empress Theophano as part of her efforts to protect the rights to the throne of her sons Basil II and Constantine VIII, by eliminating other possible claimants to the throne. It should, however, be noted that several deaths of the extended imperial family at the time are attributed to Theophano by hostile sources, usually by poison.

description: Byzantine emperor

wikidata_label: Stephen Lekapenos

wikipedia_title: Stephen Lekapenos


text:
Bergues
sculptor
war memorial
École des Beaux-Arts
Bergues
Johannes Gutenberg
Dunkirk
Seine-Maritime

wikipedia_title:
Bergues
Sculpture
War memorial
École des Beaux-Arts
Bergues
Johannes Gutenberg
Dunkirk
Seine-Maritime

categories: 1951 deaths,Art Nouveau sculptors,People from Bergues,20th-century French sculptors,1880 births

paragraph: Maurice Ringot

paragraph: Maurice Ringot (1880, in Bergues – 1951) was a French sculptor, best known for his war memorials. He also did work for churches and private individuals.

paragraph: Section::::Early life.

paragraph: Ringot came from a family of marbriers and sculptors, and studied in local colleges before entering the École des Beaux-Arts in Lille and then Paris. After his studies he returned to Bergues, married Hélène Sagary and set up his studio in the rue de l'Arsenal. There he produced his first major monument: the figure of Johannes Gutenberg for the front of the then "Le Nord Maritime" newspaper building in Dunkirk. This work is now in the Jean Bart school.

paragraph: In 1910 he moved to Malo-les-Bains and employed several workers and artists, one of whom was Louis Piron. Seven years later Ringot moved to the Seine-Maritime region and lived and worked there for several years before returning to Malo-les-Bains where he lived out the rest of his life.

paragraph: Section::::War memorials.

paragraph: French towns and villages often gave priority to local sculptors when erecting their war memorials and therefore Ringot was often chosen to sculpt war memorials in the Nord department. He also worked on war memorials for the Seine-Maritime area where he was a resident for some time.

paragraph: Section::::Recommended reading.

paragraph: BULLET::::- "Un grand sculpteur de notre Flandre maritime : Maurice Ringot, 1880-1951" by Laurentine Moritz-Bart. Published in 1981 in Dunkirk by Amis du vieux Dunkerque.

paragraph: Section::::External links.

paragraph: BULLET::::- Article with photograph Coudekerque Branche monument aux morts

description: French sculptor

wikidata_label: Maurice Ringot

wikipedia_title: Maurice Ringot


text:
Austrian
French Revolutionary Wars
Virton
Austrian Netherlands
Belgium
Seven Years' War
Theodor Franz Baillet von Latour
Austrian
Revolutions of 1848
Vienna Uprising
Grande Armée
Napoleon
Generalmajor
United States of Belgium
Feldmarschall-Leutnant
Duchy of Luxembourg
Military Order of Maria Theresa
First
Second Coalition
Francis I of Habsburg
Hofkriegsrat
Vienna

categories: Austrian politicians,Austrian generals,Austrian people of Belgian descent,18th-century Austrian people,Austrian soldiers,Military leaders of the French Revolutionary Wars,1806 deaths,Austrian Empire military leaders of the French Revolutionary Wars,1737 births,Counts of Baillet-Latour

paragraph: Maximilian Anton Karl, Count Baillet de Latour

paragraph: Count Maximilian Anton Karl Baillet de Latour () (14 December 173722 July 1806) was an Austrian general during the French Revolutionary Wars.

paragraph: Section::::Biography.

paragraph: Born at Latour Castle near Virton in the Austrian Netherlands (present-day Belgium), he joined the Austrian Army in 1755 and distinguished himself in the Seven Years' War. In 1772 he married Charlotte-Sophie de Guérin de La Marche (d-1806); their son, Count Theodor Franz Baillet von Latour, was Austrian minister of war during the Revolutions of 1848, and was murdered during the Vienna Uprising. His brother, Count Ludwig Wilhelm Anton Baillet de Latour-Merlemont (1753–1836), was also a general in Austrian service, until 1810, when he resigned, and joined the "Grande Armée" of Napoleon.

paragraph: Latour achieved the rank of a "Generalmajor" in 1782. In the course of the 1789 revolt that led to the proclamation of the autonomous United States of Belgium, Latour was elevated to the rank of a "Feldmarschall-Leutnant". His troops held the Duchy of Luxembourg and played a significant role in regaining the rebellious provinces by the end of 1790, which earned him the Military Order of Maria Theresa. From 1792 onwards Latour fought as an Austrian commander in the Wars of the First and Second Coalition. In 1805 Emperor Francis I of Habsburg appointed him president of the "Hofkriegsrat", Latour nevertheless died shortly afterwards at Vienna.

description: General in Austrian service


text: KG

text: Elizabeth de Badlesmere

text: Humphrey de Bohun, 4th Earl of Hereford

text: Elizabeth of Rhuddlan

text: Edward I

text: Humphrey de Bohun, 6th Earl of Hereford

text: King Peter I's

text: visit to England

text: sack of Alexandria

text: Joan Fitzalan

text: Richard Fitzalan, 10th Earl of Arundel

text: Eleanor of Lancaster

text: Eleanor de Bohun

text: Thomas of Woodstock

text: Mary de Bohun

text: King Henry IV of England

categories: 1341 births,Earls of Essex (1239),Earls of Northampton (1337),Earls of Hereford (1199),Bohun family,1373 deaths,14th-century English people

paragraph: Humphrey de Bohun, 7th Earl of Hereford

paragraph: Humphrey de Bohun, 7th Earl of Hereford, 6th Earl of Essex, 2nd Earl of Northampton, KG (25 March 1341 – 16 January 1373) was the son of William de Bohun, 1st Earl of Northampton and Elizabeth de Badlesmere, and grandson of Humphrey de Bohun, 4th Earl of Hereford by Elizabeth of Rhuddlan, daughter of King Edward I. He became heir to the Earldom of Hereford after the death of his childless uncle Humphrey de Bohun, 6th Earl of Hereford.

paragraph: Following King Peter I's visit to England, Humphrey participated in the sack of Alexandria in 1365.

paragraph: His wife and the mother of his daughters was Joan Fitzalan, daughter of Richard Fitzalan, 10th Earl of Arundel and Eleanor of Lancaster, whom he married after 9 September 1359.

paragraph: On his death, his great estates were divided between his two surviving daughters:

paragraph: BULLET::::- Eleanor de Bohun, who married Thomas of Woodstock.

paragraph: BULLET::::- Mary de Bohun, who married Henry Bolingbroke, the future King Henry IV of England.

paragraph: BULLET::::- Elizabeth, died young.

paragraph: Section::::References.

paragraph: BULLET::::- Hazlitt, William Carew, and Thomas Blount. Tenures of Land & Customs of Manors. 4th. London: Ballentine and Company, 1874. ad

paragraph: BULLET::::- Medieval Lands Project on Humphrey de Bohun, 7th Earl of Hereford

description: English noble

wikidata_label: Humphrey de Bohun, 7th Earl of Hereford

wikipedia_title: Humphrey de Bohun, 7th Earl of Hereford


text:
Italian
cardinal
Master of the Order of Preachers
Martin Luther
Protestant Reformation
Legate
Augsburg
Summa Theologica
Thomas Aquinas
Saint Cajetan
Gaeta
Kingdom of Naples
monastic
Dominican order
philosophy of St. Thomas Aquinas
theology
Padua
metaphysics
Ferrara
Pico della Mirandola
theologian
general
papal
Sorbonne
King Louis XII
bishopric of Gaeta
Pope Leo X
cardinal
archbishop of Palermo
Council of Pisa
Julius II
Jacques Almain
Fifth Lateran Council
Julius II
Leo X
cardinal presbyter
San Sisto
Rome
bishop of Palermo
bishop of Gaeta
Emperor Charles V
Diet of Augsburg
Saxon elector
Luther
Hilaire Belloc
conclave of 1521‑1522
bishop of Tortosa
Adrian VI
Clement VII
Constable of Bourbon
Frundsberg
Catharine of Aragon
Henry VIII of England
Clement VII
Greek Church
Rome
analogy
Thomist
Reginald Pole
archbishop of Canterbury
Catholic
Thomistic
Hell
Sorbonne
Paris
Aquinas
Aristotle
Aquinas
Old
New
Solomon's Song
Prophet
Revelation of St John
Reformation
Martin Luther
scholastics
piety
neo-Thomist
Thomas Aquinas
Étienne Gilson
Scotism
Thomas Aquinas
Henri de Lubac
Surnaturel
Ralph McInerny
Catholic Encyclopedia article

categories: Roman Catholic archbishops of Palermo,Catholic philosophers,16th-century philosophers,Italian cardinals,Bishops of Gaeta,Italian Dominicans,Italian philosophers,16th-century Roman Catholic bishops,People from Gaeta,University of Padua alumni,1534 deaths,16th-century writers,University of Padua faculty,1469 births,Italian Roman Catholic theologians,16th-century Italian people

paragraph: Thomas Cajetan

paragraph: Thomas Cajetan (; 20 February 1469 – 9 August 1534), also known as Gaetanus, commonly Tommaso de Vio or Thomas de Vio, was an Italian philosopher, theologian, cardinal (from 1517 until his death) and the Master of the Order of Preachers 1508-18. He was a leading theologian of his day who is now best known as the spokesman for Catholic opposition to the teachings of Martin Luther and the Protestant Reformation while he was the Pope's Legate in Augsburg, and perhaps also among Catholics for his extensive commentary on the "Summa Theologica" of Thomas Aquinas.

paragraph: He is not to be confused with his contemporary, Saint Cajetan, the founder of the Theatines.

paragraph: Section::::Life.

paragraph: De Vio was born in Gaeta, then part of the Kingdom of Naples, as Jacopo Vio. The name Tommaso was taken as a monastic name, while the surname Cajetan derives from his native city. At the age of fifteen he entered the Dominican order and devoted himself to the study of the philosophy of St. Thomas Aquinas, becoming before the age of thirty a doctor of theology at Padua, and subsequently professor of metaphysics.

paragraph: A public disputation at Ferrara (1494) with Pico della Mirandola made his reputation as a theologian. He became general procurator in 1507 and general of the Dominicans a year later in 1508. For his zeal in defending the papal rights against the 1511 Council of Pisa, in a series of works which were condemned by the Sorbonne and publicly burnt by order of King Louis XII, he obtained the bishopric of Gaeta, and in 1517 Pope Leo X made him a cardinal and archbishop of Palermo.

paragraph: He appears in 1511 as a supporter of the pope against the claims of the Council of Pisa (1511-1512), called by dissident cardinals to punish Pope Julius II, who had ignored the electoral capitulations he had accepted before being elected. Cajetan composed in defense of his position the "Tractatus de Comparatione auctoritatis Papæ et conciliorum ad invicem". Jacques Almain answered this work, and Cajetan replied in his "Apologia". Cajetan refused to accept Almain's argument that the Church's polity had to be similar to a lay regime, complete with limits on the ruler. At the Fifth Lateran Council (1512–17) which Pope Julius II set up in opposition to that of Pisa, De Vio played the leading role. During the second session of the council, in which he gave the opening oration, he brought about a decree recognizing the superiority of papal authority to that of councils.

paragraph: In 1517, Leo X made him cardinal presbyter of San Sisto in Rome for his services. In the following year he became bishop of Palermo. He resigned as bishop of Palermo in 1519 to become bishop of Gaeta, as granted him by the Emperor Charles V for whose election De Vio had labored zealously.

paragraph: In 1518 he was sent as legate to the Diet of Augsburg and to him, at the wish of the Saxon elector, was entrusted the task of examining and testing the teachings of Luther. According to Catholic polemicist Hilaire Belloc, "[Luther] had not been treated roughly by his opponents, the roughness had been on his side. But things had gone against him, and he had been made to look foolish; he had been cross-examined into denying, for instance, the authority of a General Council – which authority was the trump card to play against the Papacy."

paragraph: In 1519, De Vio helped in drawing up the bill of excommunication against Luther.

paragraph: De Vio was employed in several other negotiations and transactions, being as able in business as in letters. In conjunction with Cardinal Giulio de' Medici in the conclave of 1521‑1522, he secured the election of Adrian Boeyens, bishop of Tortosa, as Adrian VI. He retained influence under Clement VII, suffered a short term of imprisonment after the storming of Rome by the Constable of Bourbon and by Frundsberg (1527), retired to his bishopric for a few years, and, returning to Rome in 1530, assumed his old position of influence with Pope Clement, in whose behalf he wrote the decision rejecting the appeal for divorce from Catharine of Aragon made by Henry VIII of England. Nominated by Clement VII a member of the committee of cardinals appointed to report on the "Nuremberg Recess", he recommended, in opposition to the majority, certain concessions to the Lutherans, notably the marriage of the clergy as in the Greek Church and communion in both kinds according to the decision of the council of Basel.

paragraph: Cardinal De Vio died in Rome in 1534.

paragraph: Section::::Views.

paragraph: As a philosopher and logician, Cajetan defended the idea of analogy.

paragraph: Though as a theologian De Vio was a scholastic of the older Thomist type, his general position was that of the moderate reformers of the school to which Reginald Pole, later archbishop of Canterbury, also belonged; i.e., he desired to retain the best elements of the humanist revival in harmony with Catholic orthodoxy illumined by a revived appreciation of the Augustinian doctrine of justification. In the field of Thomistic philosophy, he showed striking independence of judgment, expressing liberal views on marriage and divorce, denying the existence of a material Hell and advocating the celebration of public prayers in the vernacular.

paragraph: Some Dominicans regarded his views as too independent of those of Saint Thomas. The Sorbonne in Paris found some of these views heterodox, and in the 1570 edition of his celebrated commentary on Aquinas' "Summa", the objectionable passages were expunged. In this spirit he wrote commentaries upon portions of Aristotle and upon the "Summa" of Aquinas, and towards the end of his life made a careful translation of the Old and New Testaments, excepting Solomon's Song, the Prophets and the Revelation of St John. Cajetan also wrote opinions on subjects of practical importance, such as the disposition of plundered goods the ownership of which could not be determined.

paragraph: Of the Reformation he remained a steadfast opponent, composing several works directed against Martin Luther, and taking an important part in shaping the policy of the papal delegates in Germany. Learned though he was in the scholastics, he recognized that to fight the Reformers with some chance of success a deeper knowledge of the Scriptures than he possessed was necessary. To this study he devoted himself with characteristic zeal, wrote commentaries on the greater part of the Old and the New Testament, and in the exposition of his text, which he treated critically, allowed himself considerable latitude in departing from the literal and traditional interpretation.

paragraph: De Vio is reported as making a statement some might find controversial:

paragraph: In contrast to the majority of Italian cardinals of his day, De Vio was a man of austere piety and fervent zeal. And from the standpoint of the Dominican idea of the supreme necessity of maintaining ecclesiastical discipline, he defended the rights of the papacy and proclaimed that the pope should be "the mirror of God on earth."

paragraph: Section::::Modern assessment.

paragraph: In the mid-twentieth century, Cajetan's thought came to be assessed negatively by certain Catholic commentators who, in reacting against the then-regnant neo-Thomist thought, portrayed Cajetan as the first person to make mistaken interpretations of the thought of Thomas Aquinas – interpretations which, in their (different) narratives, lingered into the twentieth century.

paragraph: For Étienne Gilson, who was responding to arguments that 'philosophy' and 'Christianity' were incompatible disciplines, there existed in Hellenistic Judaism, patristic thought and the medieval period a way of thinking, animated by the ancient Greek quest for the cause of being, which could rightly be called 'Christian philosophy'. In Gilson's account, it was in Cajetan's thought that this link was first broken, since Cajetan, contaminated by Scotism, reduced Thomas Aquinas's metaphysics of the existential act of being to an ontology of substance. Cajetan and his successors therefore, in Gilson's account, represented Thomas as focused on the forms and essences of beings only, and not on the existence of all things as participation in the pure actuality which is God. Accordingly, for Gilson, 'philosophy' and 'Christianity' are only incompatible if Christian thought is understood in its tradition post-Cajetan – a tradition which is worse than the older, more distinguished tradition of Christian thought.

paragraph: For Henri de Lubac, who in "Surnaturel "(1946) was trying to provide a historical account of what he saw the emergence of a mistaken reading of the relationship between the natural and supernatural in Thomas Aquinas, it was Cajetan who made the misinterpretation which affected all subsequent interpretation of Thomas Aquinas. Cajetan, de Lubac argued, assumed that Thomas was an Aristotelian, working with a definition of nature from Aristotle's "Physics", which effectively turned human nature into a reality essentially closed in on itself, with its own intrinsic powers, desires and goals. This move, argued de Lubac, led subsequent Catholic thought to produce mistaken readings of Thomas Aquinas's account of the relationship between nature and grace.

paragraph: However, Ralph McInerny and other scholars have challenged the negative assessment of Cajetan's work made by Lubac and Gilson. McInerny writes that the criticisms of Cajetan are not in fact supported by evidence from his works, and furthermore that it is not Cajetan but Gilson whose interpretation of Aquinas is a departure from the latter's own beliefs.

paragraph: Section::::Works.

paragraph: BULLET::::- "Opera omnia" (5 vols., 1639)

paragraph: BULLET::::- "Opuscula omnia" (1530)

paragraph: BULLET::::- "Commentary on Saint Thomas' Summa theologiae" (1540)

paragraph: BULLET::::- "De divina institutione Pontificatus Romani Pontificis" (1521)

paragraph: BULLET::::- "In Porphyrii Isagogen" (1934)

paragraph: BULLET::::- "De comparatione auctoritatis papae" and "Apologia" (1936)

paragraph: BULLET::::- "De Anima" (1938)

paragraph: BULLET::::- "Scripta philosophica" (6 vols., edited by P. Zammit, M.-H. Laurent and J. Coquelle, 1934–39)

paragraph: Section::::References.

paragraph: Section::::References.:Sources.

paragraph: BULLET::::- "Aktenstücke uber das Verhalten der römischen Kurie zur Reformation, 1524‑1531," in "Quellen und Forschungen" (Kön. Press. "Hist. Inst., Rome"), vol. iii. p. 1‑20; TM Lindsay, "History of the Reformation", vol. i. (Edinburgh, 1906).

paragraph: BULLET::::- Catholic Encyclopedia article

paragraph: BULLET::::- "Conciliarism and Papalism", trans. J. H. Burns and Thomas M. Izbicki, Cambridge: Cambridge University Press, 1997.

description: Catholic cardinales

wikidata_label: Thomas Cajetan

wikipedia_title: Thomas Cajetan


text:
Luxembourg
art
Olympic
Olympic art competitions
postage stamp
1952 Summer Olympics
profile

categories: 1936 deaths,People from Luxembourg City,Olympic gold medalists in art competitions,Luxembourgian artists,Olympic gold medalists for Luxembourg,1891 births,Medalists at the 1928 Summer Olympics

paragraph: Jean Jacoby

paragraph: Jean Lucien Nicolas Jacoby (March 26, 1891 – September 9, 1936) was a Luxembourg artist. He won Olympic gold medals in the Olympic art competitions of 1924 and 1928, making him the most successful Olympic artist ever.

paragraph: Jacoby often depicted sports in his works, also designing Luxembourg postage stamps for the 1952 Summer Olympics.

paragraph: Section::::Life.

paragraph: After spending his youth in Molsheim in Alsace, Jean Jacoby studied art at the "École des Beaux-Arts" in Strasbourg.

paragraph: He was then a teacher of drawing from 1912 to 1918 at the Lewin-Funcke school in Berlin, then worked in Wiesbaden, before taking over the art department of a printing firm in Strasbourg.

paragraph: He became internationally known when in 1923 he won the French "Concours de l'Auto" with his drawing "Hurdle runner", beating 4,000 other entrants. From 1926 to 1934 he worked as an illustrator and artistic director for two newspapers of the Ullstein-Verlag, the "Berliner Illustrierte" and the "Grüne Post". He also founded a radio programme guide for all of Germany, called "Sieben Tage".

paragraph: In 1934 he moved to Mulhouse, where he died in 1936 of a heart attack.

paragraph: His second wife was Maria née Kasteleiner.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Deville, Adolphe, 1967: "Jean Jacoby". Arts et lettres 4, Nr.1, 71 p.

paragraph: BULLET::::- Kayser, Lucien, 2009. "face à face: la fonction publique et l'art luxembourgeois". Confédération générale de la fonction publique. Luxembourg. . (p. 64-65)

paragraph: Section::::External links.

paragraph: BULLET::::- profile

description: Luxembourgian artist

wikidata_label: Jean Jacoby

wikipedia_title: Jean Jacoby