text:
Hungarian
ice hockey
winger
KooKoo
Liiga
Finland
Sweden
Flemingsbergs IK
Linköpings HC
2015-16 season
Timrå IK
HockeyAllsvenskan
SHL

categories: Linköpings HC players,Timrå IK players,Hungarian ice hockey players,Sportspeople from Budapest,1996 births,Living people

paragraph: Vilmos Galló

paragraph: Vilmos Galló (born 31 July 1996) is a Hungarian professional ice hockey winger who plays for KooKoo of the Liiga in Finland.

paragraph: Section::::Playing career.

paragraph: Galló has played the majority of his career in Sweden, beginning with Flemingsbergs IK in 2010 where he played for their J18 and J20 teams. In 2013, he joined Linköpings HC and played in their junior teams up to the 2015-16 season where he made his debut on their main roster. He joined Timrå IK in 2017, playing initially in the HockeyAllsvenskan before their promotion to the SHL.

paragraph: On May 20, 2019, Galló moved to Finland and signed for KooKoo of the Liiga.

description: ice hockey player (1996-)

wikidata_label: Vilmos Galló

wikipedia_title: Vilmos Galló


text: ordinary

text: Catholic Church

text: comune

text: Tuscan

text: province of Arezzo

text: priest

text: Arezzo

text: Auxiliary Bishop of Arezzo

text: Titular Bishop

text: Diocese of Zaba

text: principal consecrator

text: Telesforo Giovanni Cioli

text: Bishop of Cortona

text: Giuseppe Franciolini

text: Angelo Scapecchi

text: Bishop of Fiesole

text: Simone Scatizzi

text: Rodolfo Cetoloni

text: Mario Meini

text: Catholic Church in Italy

text: Diocese of Fiesole

categories: 20th-century Roman Catholic bishops,People from Fiesole,21st-century Roman Catholic bishops,People from the Province of Arezzo,Bishops in Tuscany,Living people

paragraph: Luciano Giovannetti (bishop)

paragraph: Luciano Giovannetti (born 26 July 1934) is an Italian ordinary of the Catholic Church and the Bishop Emeritus of Fiesole. He is the current president of the John Paul II Foundation for Dialogue, Cooperation and Development.

paragraph: Section::::Biography.

paragraph: Luciano Giovannetti was born on 26 July 1934 in Civitella in Val di Chiana, a "comune" in the Tuscan province of Arezzo.

paragraph: He was ordained a priest on 15 June 1957 in Arezzo and on 15 February 1978 was simultaneously the Auxiliary Bishop of Arezzo and the Titular Bishop of the Diocese of Zaba. He was consecrated a bishop on 8 April of that year. The principal consecrator was Telesforo Giovanni Cioli, the Bishop of Cortona, and the principal co-consecrators were Giuseppe Franciolini, Coadjutor Bishop of Arezzo, and Angelo Scapecchi, Titular Bishop of Vicohabentia.

paragraph: On 27 May 1981, Giovannetti was appointed the Bishop of Fiesole and was installed on 6 September 1981, succeeding Simone Scatizzi. He acted as principal co-consecrator of Rodolfo Cetoloni in 2000. He assumed emeritus status on 13 February 2010 and was succeeded by Mario Meini.

paragraph: Giovannetti is the current president of the John Paul II Foundation for Dialogue, Cooperation and Development. He is also the Grand Prior for Central Appenine of the Equestrian Order of the Holy Sepulchre of Jerusalem.

paragraph: Section::::See also.

paragraph: BULLET::::- Catholic Church in Italy

paragraph: Section::::External links.

paragraph: BULLET::::- Diocese of Fiesole

description: Italian bishop of the Catholic Church

wikidata_label: Luciano Giovannetti

wikipedia_title: Luciano Giovannetti (bishop)


text: Bishop of Alabama

text: Episcopal Church

text: Alexandria, Virginia

text: Christ Church

text: William Holland Wilmer

text: College of William & Mary

text: Williamsburg, Virginia

text: Yale University

text: Virginia Theological Seminary

text: William Meade

text: Bishop of Virginia

text: Goochland

text: Fluvanna

text: Wilmington, North Carolina

text: Loudoun

text: Fauquier

text: Bedford

text: Henrico County

text: Emmanuel Church at Brook Hill

text: American Civil War

text: Nicholas H. Cobbs

text: Bishop of Alabama

text: Montgomery, Alabama

text: James Otey

text: Thomas Atkinson

text: Richmond

text: John Johns

text: Stephen Elliott

text: of Georgia

text: St. Paul's Church

text: General Convention

text: Robert Woodward Barnwell

text: Selma, Alabama

text: Emmanuel Church at Brook Hill

text: Henrico County, Virginia

text: Birmingham Public Library

text: University of North Carolina

text: Episcopal Diocese of Maryland

text: Wilmer, Alabama

text: The New York Times

paragraph: Richard Hooker Wilmer

paragraph: Richard Hooker Wilmer (March 15, 1816 – June 14, 1900) was the second Bishop of Alabama in the Episcopal Church. Richard Wilmer was the only bishop to be consecrated by the Episcopal Church in the Confederate States of America (PECCSA).

paragraph: Section::::Early and family life.

paragraph: He was born in Alexandria, Virginia, the son of the rector of Christ Church, William Holland Wilmer and his wife Marion Hannah Cox, who died in childbirth when Richard was six. His father, a prominent priest in Maryland as well as Virginia and from a family of priests, briefly served as the eleventh president of the College of William & Mary before his death in Williamsburg, Virginia when Richard was only eleven. Raised in part by his stepmother (his eldest brother dying in Mississippi shortly after his father), Richard Wilmer worked as a teenager to support his family.

paragraph: He graduated from Yale University in 1836 and the Virginia Theological Seminary in 1839.

paragraph: Section::::Career.

paragraph: William Meade, Bishop of Virginia, ordained him as a deacon on March 31, 1839 and as a priest on April 19, 1840. He served parishes in Goochland and Fluvanna counties in Virginia, and then served as rector of St. James Church in Wilmington, North Carolina. Upon returning to Virginia, Wilmer served parishes in Clarke, Loudoun, Fauquier and Bedford counties. In 1858, he started a mission church in Henrico County which became Emmanuel Church at Brook Hill.

paragraph: Section::::Episcopate.

paragraph: Shortly after the outbreak of the American Civil War, Virginia and other states seceded from the Union, a move Wilmer supported, as eventually did Meade. Nicholas H. Cobbs, Bishop of Alabama, a slaveholder who did not support secession, died in Montgomery, Alabama on January 11, 1861, the day his state's legislature voted to secede from the Union. Weeks later, Meade and other bishops of dioceses now in Confederate states met in Montgomery and decided to form the Episcopal Church in the Confederate States of America (PECCSA). A diocesan convention in Alabama voted to join the PECCSA in August, and on November 21, 1861, another Alabama diocesan meeting elected Richard Wilmer his successor. Wilmer accordingly resigned his position at Emmanuel Church effective at the years end. However, Bishops James Otey of Tennessee and Thomas Atkinson of North Carolina refused to participate in the necessary consecration ceremony before the PECCA held a convention and established its form of government. Since three bishops are needed for consecrations, the elderly and ill Meade traveled to Richmond for the consecration, and he, his assistant bishop John Johns, and bishop Stephen Elliott of Georgia, consecrated Wilmer as Bishop of Alabama on March 6, 1862 at St. Paul's Church. Meade died at a friend's house in Richmond shortly after that consecration.

paragraph: After the Confederacy's defeat, Wilmer's consecration was ultimately accepted by a re-united Episcopal Church, although he remained an ardent Southern nationalist. He could not attend the first General Convention after the war because he was under house arrest for instructing his clergy to omit prayers for the President of the United States as a protest against military occupation. Nonetheless, the reunited church ratified his consecration.

paragraph: Wilmer founded an order of deaconesses to care for Confederate widows and orphans, and by the time of his death in 1900, was the longest-serving Episcopal bishop. Although another Virginia priest, Henry Melville Jackson, assisted Wilmer in his last years, the diocese elected Robert Woodward Barnwell, a native of Selma, Alabama, as his successor.

paragraph: Section::::Death and legacy.

paragraph: He is buried in the cemetery of Emmanuel Church at Brook Hill in Henrico County, Virginia, the parish at which he served before being called to Alabama. Libraries which hold his papers include the Birmingham Public Library, University of North Carolina, and the Episcopal Diocese of Maryland.

paragraph: The community of Wilmer, Alabama is named in his honor.

paragraph: Section::::External links.

paragraph: BULLET::::- Gaillard Hunt. Story of a Great Southern Bishop - Richard Hooker Wilmer, Episcopal Wit: How He Supported Confederacy and Fought Gen. Thomas. "The New York Times", published January 25, 1908.

alias:
Richard H. Wilmer
Richard Wilmer

description: Bishop of Alabama

wikidata_label: Richard Hooker Wilmer

wikipedia_title: Richard Hooker Wilmer


text:
short chronology
middle chronology
Isin
Ikūn-pî-Ištar
Larsa
Uruk
Chronicle of Early Kings
Library of Ashurbanipal
commemorative cone
Nintinugga
Sud
Iddin-Dagān
Enlil
Enlil-bāni year-names at CDLI.
A praise poem of Enlil-bāni at ETCSL.

paragraph: Enlil-bani

paragraph: Enlil-bāni, ca. 1798 BC – 1775 BC (short chronology) or 1860 – 1837 BC (middle chronology), was the 10th king of the 1st Dynasty of Isin and reigned 24 years according to the "Ur-Isin kinglist". He is best known for the legendary and perhaps apocryphal manner of his ascendancy.

paragraph: Section::::Biography.

paragraph: A certain Ikūn-pî-Ištar is recorded as having ruled for 6 months or a year, between the reigns of Erra-imittī and Enlil-bāni according to two variant copies of a chronicle. Another chronicle which might have shed further light on his origins is too broken to translate. A lengthy inscription proclaims:

paragraph: Hegemony over Nippur was fleeting, with control of the city passing back and forth between Isin and Larsa several times. Uruk, too, seceded during his reign and, as his power crumbled, he may have had the "Chronicle of Early Kings" redacted to provide a more legendary tale of his accession than the rather mundane act of usurpation that it may well have been. It relates that Erra-Imittī selected his gardener, Enlil-bâni, enthroned him, and placed the royal tiara on his head. Erra-Imittī then died while eating hot porridge, and Enlil-bâni by virtue of his refusal to quit the throne, became king.

paragraph: The colophon of a medical text, “when a man's brain contains fire,” from the Library of Ashurbanipal reads: “Proven and tested salves and poultices, fit for use, according to the old sages from before the flood from Šuruppak, which Enlil-muballiṭ, sage (apkallu) of Nippur, left (to posterity) in the second year of Enlil-bāni.”

paragraph: Enlil-bāni found it necessary to "build anew the wall of Isin which had become dilapidated," which he recorded on commemorative cones. He named the wall "Enlil-bāni-išdam-kīn", “Enlil-bāni is firm as to foundation.” In practice, the walls of major cities were probably under continuous repair. He was a prodigious builder, responsible for the construction of the "é-ur-gi-ra", “the dog house,” temple of Ninisina, a palace, also the "é-ní-dúb-bu", “house of relaxation,” for the goddess Nintinugga, “lady who revives the dead,” the "é-dim-gal-an-na", “house - great mast of heaven,” for the tutelary deity of Šuruppak, the goddess Sud, and finally, the "é-ki-ág-gá-ni" for Ninibgal, the “lady with patient mercy who loves ex-votos, who heeds prayers and entreaties, his shining mother.” Two large copper statues were taken to Nippur for dedication to Ningal, which Iddin-Dagān had fashioned 117 years earlier but had been unable to deliver, “on account of this, the goddess Ninlil had the god Enlil lengthen the life span of Enlil-Bāni.”

paragraph: There are perhaps two hymns addressed to this monarch.

paragraph: Section::::External links.

paragraph: BULLET::::- Enlil-bāni year-names at CDLI.

paragraph: BULLET::::- A praise poem of Enlil-bāni at ETCSL.

wikidata_label: Enlil-bani

wikipedia_title: Enlil-bani


text: Shawnee, Oklahoma

text: Ramseur Records

text: Full Time Hobby Records

text: NAMMY

text: Indigenous Music Award

text: Hung

text: Barking Water

text: T.C. Cannon

text: Choctaw

text: Dale, Oklahoma

text: Beth Bombara

text: Mary Fallin

text: Christina Fallin

text: feather headdress

text: cultural appropriation

text: Native Americans

text: Facebook

text: Norman Music Festival

text: Murder By Death

text: Ali Harter

text: Matt Hopper

text: Penny Hill

text: Parker Millsap

text: Conan

text: First Aid Kit

text: the Avett Brothers

text: Langhorne Slim

text: Neutral Milk Hotel

text: The Mountain Goats

text: Murder By Death

text: Brandi Carlile

text: William Elliott Whitmore

text: Lucy Rose

text: Josh Ritter

text: Adrian Edmondson

text: First Aid Kit

text: Ha Ha Tonka

text: Deer Tick

text: Smoke Fairies

text: Thao and the Get Down Stay Down

text: Sister Suvi

text: Ingrid Michaelson

text: Meiko

text: Racheal Yamagata

text: Jenny Owen Youngs

text: Jessica Lea Mayfield

text: Emma Gatrill

text: American Aquarium

text: Erland and the Carnival

text: Parker Millsap

text: Beth Bombara

text: the Everybodyfields

text: Bombadil

text: Gregory Alan Isakov

text: Norman, Oklahoma

text: Portland, Oregon

text: Grand Rapids, Michigan

text: London, England

text: Perryville, Missouri

text: John Calvin Abney

text: Choctaw

text: Chicago

text: Danny Kadar

text: Asheville, North Carolina

text: Paste

text: Rolling Stone

text: Wichita, Kansas

text: Arizona

text: Frontier Ruckus

text: Matthew Milia

text: NPR

text: Weekend Edition

text: John Vanderslice

text: John Vanderslice

text: John Calvin Abney

text: John Moreland

text: Parker Millsap

text: PASTE Magazine

text: Rolling Stone Magazine

text: SPIN

text: NME

text: the Guardian

text: No Depression

text: Jason Molina

text: John Vanderslice

text: QRP

text: Bernie Grundman

text: Hard Working Americans

text: Secret Sisters

text: Reed Mathis

text: Tea Leaf Green

text: Jacob Fred Jazz Odyssey

text: Jessica Lea Mayfield

text: The Dodos

text: Dorian Electra

text: John Vanderslice

text: Thao with the Get Down Stay Down

text: The Mountain Goats

text: Tom Waits

text: John Wesley Harding

text: Ben Goldberg

text: The Klezmorium

text: Bill Frisell

text: Nels Cline

text: NPR

text: Impose Magazine

text: Blackwatch Studios

text: Samantha Crain

categories: Native American musicians,1986 births,American singer-songwriters,Singers from Oklahoma,Songwriters from Oklahoma,Choctaw people,People from Shawnee, Oklahoma,Living people

paragraph: Samantha Crain

paragraph: Samantha Crain (born August 15, 1986) is a Choctaw-American songwriter, musician, producer, and singer from Shawnee, Oklahoma, signed with Ramseur Records (North America) and Full Time Hobby Records (UK/Europe).

paragraph: Crain won 2 NAMMYs (Native American Music Awards) in 2009 for Folk Album of the Year and Songwriter of the Year. She also won the Indigenous Music Award for Best Rock Album in 2019. She has had songs featured on 90210, HBO's Hung, and in many independent documentaries and films, including Barking Water and UNRESERVED: The Work of Louie Gong. In 2017 and 2018, she worked with the Peabody Essex Museum in Salem, Mass. to compose and contribute music for the extensive T.C. Cannon exhibit "At the Edge of America." In July 2018, she self-released a collection of sonnets "En Masse: A Collection of 30 Sonnets by Samantha Crain".

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

paragraph: Crain was born and raised in Shawnee, Oklahoma and is of Choctaw heritage. She attended Grove School in Shawnee and Dale High School in Dale, Oklahoma. As a child and teenager, Crain competed and excelled in the sport of powerlifting (a sport that runs in her family with her father, grandfather, uncle, aunt, mother, and brother all competing in the sport at one time or another). Crain taught herself to play guitar and wrote songs based on her short stories the summer before her senior year at Dale High School. Crain began touring when she was 19. Her first tours were either solo or as a duo with Beth Bombara. She then founded Samantha Crain and the Midnight Shivers with Jacob Edwards and Andrew Tanz and toured with this band until 2009.

paragraph: Section::::Activism.

paragraph: Crain made the news in 2014 for staging a peaceful protest against the band Pink Pony, whose singer is the daughter of then Oklahoma Governor Mary Fallin. Christina Fallin had previously defended act of being photographed in a feather headdress, when called out for cultural appropriation by upset Native Americans. When “I heard Pink Pony was wearing full regalia tonight.” was posted by the band, to their own Facebook page, Crain said, "whether it was a publicity stunt or not, we needed to rally together” and organized a protest at the Norman Music Festival where demonstrators stood to the side of the stage, holding signs bearing messages like “Don’t tread on my culture” and “I am not a costume”. Ultimately the outcry led to Governor Fallin issuing a statement against her daughter's actions.

paragraph: Section::::Collaborations.

paragraph: Crain has lent her voice to recordings for Murder By Death, Ali Harter, Matt Hopper, Penny Hill, Small Houses, Beau Jennings, Parker Millsap, and others. She also appeared on Conan with First Aid Kit for their filmed performance of "Stay Gold".

paragraph: She has toured with the Avett Brothers, Langhorne Slim, Neutral Milk Hotel, The Mountain Goats, Murder By Death, Brandi Carlile, William Elliott Whitmore, Lucy Rose, Josh Ritter, Adrian Edmondson and the Bad Shepherds, First Aid Kit, Ha Ha Tonka, Deer Tick, Smoke Fairies, Thao and the Get Down Stay Down, Sister Suvi, Ingrid Michaelson, Meiko, Racheal Yamagata, Jenny Owen Youngs, Jessica Lea Mayfield, Emma Gatrill, American Aquarium, Erland and the Carnival, Parker Millsap, Broncho, Ali Harter, Beth Bombara, Berry, Ben Weaver, the Everybodyfields, Bombadil, Gregory Alan Isakov, Ninja Gun, and others.

paragraph: Crain has self-produced many of her own recordings, but in 2014, produced the debut record of Oklahoma-based country singer-songwriter, Kierston White. The album was recorded at Blackwatch Studios in Norman, Oklahoma. It is entitled "Don't Write Love Songs". Also, in 2015, she produced the album "Thought of You A God" by the Oklahoma-based band, Annie Oakley.

paragraph: Section::::Personal life.

paragraph: Crain resides in Norman, Oklahoma after having lived briefly in Portland, Oregon, Grand Rapids, Michigan, London, England, and Perryville, Missouri. She was, at one time, engaged to John Calvin Abney, her former musical collaborator. She speaks some German and Choctaw.

paragraph: Section::::Discography.

paragraph: Section::::Discography.:"The Confiscation EP: A Musical Novella".

paragraph: Crain's first recording was the self-released EP "The Confiscation". It was produced by Joey Lemon of the Chicago-based band, Berry, and later reissued by Ramseur Records in 2007. It is based on five short stories by Crain.

paragraph: Section::::Discography.:"Songs in the Night".

paragraph: Crain's first LP with her former backing band, the Midnight Shivers, was the April 28, 2009 release "Songs in the Night". The album was produced by Danny Kadar and recorded at Echo Mountain Studios in Asheville, North Carolina. "Songs in the Night" features Crain on acoustic guitar and vocals, Jacob Edwards on drums, trombone, and harmonica, Andrew Tanz on bass guitar, keys, and vocals, and Stephen Sebastian on electric guitar. Ben Wigler, formerly of the band Arizona, provides vocal harmonies on the track "Get the Fever Out".

paragraph: "Songs in the Night" was met with critical praise. "Paste" magazine gave the record a rating of 78 out of 100 and featured it many times online and in the magazine. "Rolling Stone" magazine reviewed it with 3.5 stars out of 5, saying "Her voice is gorgeously odd — all fulsome, shape-shifting vowels that do indeed billow like fog."

paragraph: Section::::Discography.:"You (Understood)".

paragraph: After the Midnight Shivers disbanded, Crain released her second LP on June 8, 2010. The album was recorded in 7 days in Joey Lemon's studio in Wichita, Kansas. It features Crain on electric guitar, acoustic guitar, vocals, and keys, Joey Lemon on bass, percussion, and vocals, Arizona's Ben Wigler on vocals and electric guitar, Eric Nauni (of Student Film, WAD, and Beau Jennings and the Tigers) on drums and percussion, and Sherree Chamberlain on vocals on "We Are the Same". Frontier Ruckus's Matthew Milia and David Jones are featured on the song "Santa Fe" with Milia on vocals and Jones on banjo. The album release was followed by an NPR Weekend Edition feature. This album was released in UK and Benelux on November 8, 2011. "Santa Fe" has gone on to be one of Crain's most loved songs.

paragraph: Section::::Discography.:"A Simple Jungle".

paragraph: Crain released the 7" vinyl single, "A Simple Jungle" on January 10, 2012. Its two tracks ("It's Simple" and "Cadwell Jungle") were produced by John Vanderslice in San Francisco at Tiny Telephone Studio and features Anne Lillis on percussion. She has said in interviews and at performances that these two songs came out of a failed relationship while living in Grand Rapids, Michigan.

paragraph: Section::::Discography.:"Kid Face".

paragraph: Produced by John Vanderslice in San Francisco at Tiny Telephone, Crain's third album "Kid Face" was released on February 19, 2013. John Calvin Abney (performs with John Moreland), Kyle Reid, Brine Webb, Daniel Foulks (of Parker Millsap's band), Anne Lillis, and Anna Ash contributed to the album. Jacob Winik engineered and mixed. This album was released in Europe and UK by Full Time Hobby Records on January 13, 2014. PASTE Magazine gave the album an 8.8 with high praise. Rolling Stone Magazine, SPIN, NME, the Guardian, and No Depression all reviewed the album highly as well. Crain has mentioned the song "For the Miner" on this album was written for Jason Molina shortly before his death. A music video for the song "Never Going Back" was produced by Lamar + Nik.

paragraph: Section::::Discography.:"Under Branch & Thorn & Tree".

paragraph: Crain returned to Tiny Telephone to record her 4th full-length album "Under Branch & Thorn & Tree" again with John Vanderslice producing. The album also features the Magik*Magik Orchestra led by Minna Choi. It was released July 17, 2015 on 200 gram audiophile quality vinyl boasting its fully analog recording, mixing, and mastering process. It was pressed at QRP in Salina, Kansas and mastered by Bernie Grundman. Jacob Winik engineered and mixed the album. John Calvin Abney, Jesse Aycock (Hard Working Americans, Secret Sisters), Reed Mathis (Tea Leaf Green, Jacob Fred Jazz Odyssey), Anne Lillis (Jessica Lea Mayfield, White Pines), and Meric Long (The Dodos) are all featured musicians on the record. The Guardian, Uncut, Rolling Stone, No Depression, and Blurt Magazine all reviewed the album with critical praise. A music video for the song "Killer" was produced by Dorian Electra and Weston G. Allen. Also a video for "Kathleen" was produced by Lamar + Nik.

paragraph: Section::::Discography.:"You Had Me At Goodbye".

paragraph: On March 24, 2017, Crain released her 5th full-length album "You Had Me At Goodbye". It was recorded at Tiny Telephone Oakland in Oakland, CA and produced by John Vanderslice. Once again, this album boasted fully analog recording, mixing, and mastering. Jamie Riotto arranged clarinets and strings for this record and played bass. Rob Shelton, Jason Slota (Thao with the Get Down Stay Down, The Mountain Goats), David Phillips (Tom Waits, Frank Black, John Wesley Harding), Geneva Harrison (Bells Atlas), and Ben Goldberg (The Klezmorium, Bill Frisell, Nels Cline) are all featured musicians on this album. The album received critical acclaim from NPR, Impose Magazine, and the Line of Best Fit. A music video for the song "Oh Dear Louis" was created by Crain and Jared Evans (Blackwatch Studios). Crain toured the album in UK and Europe before cancelling her US tour for personal reasons. The album features the song "Red Sky, Blue Mountain" which is entirely written and sung in the Choctaw language.

paragraph: Section::::External links.

paragraph: BULLET::::- Samantha Crain (official site)

paragraph: BULLET::::- Under Branch & Thorn & Tree Tracklisting

description: American musician

wikidata_label: Samantha Crain

wikipedia_title: Samantha Crain


text: Kiev

text: Bessancourt

text: Ukrainian Democratic-Radical Party

text: World War I

text: Central Rada

text: Ukrainian People's Republic

text: Vsevolod Holubovych

text: Paris

categories: People from Kiev,People from Kiev Governorate,Ukrainian people in the Russian Empire,1942 deaths,Ukrainian emigrants to France,Prime ministers of the Ukrainian People's Republic,Members of the Ukrainian government in exile,1881 births,20th-century Ukrainian politicians,Ukrainian Democratic Party (1904) politicians,Imperial Russian emigrants to France

paragraph: Vyacheslav Prokopovych

paragraph: Vyacheslav (Viacheslav) Prokopovych () (1881, Kiev - 1942, Bessancourt) was a Ukrainian politician and historian.

paragraph: Starting in 1905, he was a politician of the Ukrainian Democratic-Radical Party (UDRP), established in Kiev. At the end of World War I, he was a member of the Ukrainian Party of Socialists-Federalists (UPSF) and Central Rada. In 1918, he served as the minister of education in a cabinet of Ukrainian People's Republic (UNR), headed by Vsevolod Holubovych. On 26 May 1920, Viacheslav Prokopovych became the prime minister of the UNR until October 14, 1920.

paragraph: At the beginning of 1921 the government of the UNR went into exile. The cabinet was headed twice by Prokopovych (March - August 1921, and May 1926 - October 1939). The members of the Government-in-exile of the Ukrainian National Republic lived in the principal émigré centers: Warsaw, Prague, and Paris. In 1925-1939, he was also a founder and chief editor of "Tryzub", published in Paris.

description: Ukrainian politician

wikidata_label: Vyacheslav Prokopovych

wikipedia_title: Vyacheslav Prokopovych


text:
Chicago, Illinois
M.F.A
New York City
St. John's University
Brooklyn College
Zurich
Jungian psychology
Long Island City
Guggenheim Museum
Whitney Museum
SIGGRAPH
Macworld

wikipedia_title:
Chicago
Master of Fine Arts
New York City
St. John's University (New York City)
Brooklyn College
Zürich
Analytical psychology
Long Island City
Solomon R. Guggenheim Museum
Whitney Museum of American Art
SIGGRAPH
Macworld

paragraph: Richard J. Navin

paragraph: Richard J. Navin was a professor in the Art Department of various universities and was also an artist. He worked out of his art studio in Long Island City creating sculptures and creating translucent pieces. He is most famous for his sculpture, the Myceanae Circle which was on display at the Guggenheim Museum in New York City. He was well known for developing computer art programs to educate inner city children in Brooklyn.

paragraph: Section::::Early career.

paragraph: Richard J. Navin (1934–2006) was born and raised in Chicago, Illinois. He attended college at Notre Dame and also graduated with an M.F.A in Design. At age 30 he moved from Chicago to New York City where he became a faculty member at St. John's University for 2 years, before moving to Brooklyn College. At Brooklyn College he received a tenured position in the Art Department where he remained a faculty member for over 30 years. He also lived in Kuesnacht, Zurich, for many years where he studied Jungian psychology and became a proponent of the Bauhaus theory of minimalist art design.

paragraph: Section::::Art career.

paragraph: In the 1970s Navin opened an art studio in Long Island City where he spent most of his time creating sculptures and pioneered the use of resins and lights to create translucent sculpture pieces. He is most famous for his sculpture, "the Myceanae Circle" which was on display at the Guggenheim Museum in New York City, on the first floor along with a number of additional sculptures. He published a book on his sculpture work which featured many photographs of the Myceanae Circle and his other pieces. Navin also exhibited his sculptures at the Whitney Museum, United Nations and many hospitals in the Greater New York area.

paragraph: Section::::Grants, awards and mentoring.

paragraph: Richard received many grants and awards for pioneering the use of computers in artwork and design. He set up the Digital Media Center, which was a computer lab that gave students of Brooklyn College access to high-end equipment and software to construct 3D imaging and video projects. Navin was well known for developing computer art programs to educate inner city children in Brooklyn. He frequently presented his work at the international computer meetings SIGGRAPH and Macworld, where he often gave lectures on education. He mentored many graduate students at Brooklyn College and was well known for his love of academia and education.

description: American artist

wikidata_label: Richard J. Navin

wikipedia_title: Richard J. Navin


href: Sulmierzyce Lublin Poland poet Jagiellonian%20University Latin Polish%20language Lviv Ruthenia Lublin Jesuits Ruthenia Sapphic%20stanza%20in%20Polish%20poetry

text:
Sulmierzyce
Lublin
Polish
poet
University of Kraków
Latin
Polish
Lviv
Ruthenia
Lublin
Jesuits
Ruthenia
Sapphic stanza in Polish poetry

wikipedia_title:
Sulmierzyce
Lublin
Poland
Poet
Jagiellonian University
Latin
Polish language
Lviv
Ruthenia
Lublin
Society of Jesus
Ruthenia
Sapphic stanza in Polish poetry

categories: 16th-century Latin-language writers,1545 births,New Latin-language poets,1602 deaths,Polish male poets,Jagiellonian University alumni,Polish poets,Polish composers,Polish satirists

paragraph: Sebastian Klonowic

paragraph: Sebastian Fabian Klonowic (1545 Sulmierzyce – August 29, 1602 Lublin) was a Polish poet and composer.

paragraph: Section::::Biography.

paragraph: He studied at the University of Kraków. He was also known by his Latin name, Acernus, and wrote in both Polish and Latin. He first lived in Lviv, in Ruthenia, then he settled in Lublin. While in Lublin, he became mayor.

paragraph: He wrote attacks in Latin on the Jesuits. His Latin poems were filled with Latinized Polish words, and on the other hand his Polish poems were often made unintelligible by the use of Latinisms and Hellenisms literally translated. He lived his last years on the charity of the Jesuits.

paragraph: Section::::Famous works.

paragraph: BULLET::::- "Roxolania" (1584) — a description the people and land of Ruthenia

paragraph: BULLET::::- "Flis, to Jest Spuszczanie Statków Wisłą" (1595) — an early example of the Sapphic stanza in Polish poetry, exceptional for its length

paragraph: BULLET::::- "Worek Judaszów" (1600)

paragraph: BULLET::::- "Victoria Deorum" (1587)

paragraph: BULLET::::- "Żale nagrobne na ślachetnie urodzonego Pana Jana Kochanowskiego"

paragraph: BULLET::::- "Gorais"

paragraph: BULLET::::- "Hebdomas, to jest Siedem tegodniowych piosnek wyjętych z pierwszych Ksiąg Moiżeszowych kapituły pierwszej, co którego dnia Pan Bóg stworzył i jako siódmego dnia odpoczynął, krótko zebranych przez Sebastyjana Klonowica z Sulimierzyc, pisarza ławicy lubelskiej" (1581) — songs

paragraph: Section::::References.

paragraph: BULLET::::- Biography

paragraph: Section::::External links.

paragraph: BULLET::::- Digital versions of his works

description: Polish satiric poet

wikidata_label: Sebastian Klonowic

wikipedia_title: Sebastian Klonowic


text:
azhwar
India
Vaishnava
Hinduism
azhwars
Nalayira Divya Prabandham
Divya desam
Ranganatha
Srirangam Ranganathaswamy temple
nayanmars
Pallava
Buddhism
Jainism
Hinduism
Azhagiya Manavala Perumal Temple
Woraiyur
Azhwars
Vishnu
Vaishnavism
Tamil
Nalayira Divya Prabandham
Divya desam
brahmin
Kshatria
pāṇar
Saranga
Manavala Mamunigal
Dwapara Yuga
nayanmars
Pallava
Buddhism
Jainism
Hinduism
Ramayana
Mahabaratha
Vaishnavism
Nathamuni
Nakshatra
Srirangam
bliss
Sanskrit drama
Brahma
alvars
Sriman Narayanan
veena
Vishnu
Tamil
Southern India
bhakti
bhakti
Cauvery
Kaveri
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sastras
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Veena
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Vaishnava
Acharyas
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Vedanta Desikan
Manipravalam
Stotram
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Woraiyur
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Mangalasasanam
Divya Prabhandham
Audio Link of amalanAdhipirAn

paragraph: Thiruppaan Alvar

paragraph: Thiruppaan Alvar or Thirupaanazhwar is one of the twelve "azhwar" saints of South India, who are known for their affiliation to Vaishnava tradition of Hinduism. The verses of "azhwars" are compiled as "Nalayira Divya Prabandham" and the 108 temples revered are classified as "Divya desam". Thirupaanazhwar is considered the eleventh in the line of the twelve azhwars.

paragraph: As per Hindu legend, he was born to a couple from the "paanar" community. Thirupaanazhwar is known for his affiliation to Ranganatha of the Srirangam Ranganathaswamy temple and is believed to have merged with the deity.

paragraph: The ten verses of Thirupaanazhwar are called "Amalanaathipiran", and his contributions amount to ten verses among the 4000 stanzas in the "Nalayira Divya Prabandam". The works of Thirupaanazhwar contributed to the philosophical and theological ideas of Vaishnavism. Along with the three Saiva nayanmars, they influenced the ruling Pallava kings of the South Indian region, resulting in changing the religious geography from Buddhism and Jainism to the two sects of Hinduism.

paragraph: In South-Indian Vishnu temples, Thirupaanazhwar has images and festivals associated with him. The Tirupaanazhwar Avathara Utsavam is celebrated in Srirangam and for ten days in Azhagiya Manavala Perumal Temple in Woraiyur/ The verses of Thirupaanazhwar and other azhwars are recited as a part of daily prayers and during festive occasions in most Vishnu temples in South India.

paragraph: Section::::Alvars.

paragraph: Though the word "azhwar" has traditionally been etymologized as from Tamil. 'Azh' (ஆழ்), 'to immerse oneself' as one who dives deep into the ocean of the countless attributes of god, a seminal research by the Indologist S. Palaniappan has established that this word is actually a corruption of the original inscriptionally attested pre-11th century 'ALvAr' 'one who rules' or 'a great person' which should be compared with the epithet 'Āṇḍãḷ' ((ஆண்டாள்) for the female canonized Vaishnava saint Kōtai ((கோதை). "Azhwars" are considered the twelve supreme devotees of Vishnu, who were instrumental in popularising Vaishnavism during the 5th to 8th centuries AD. The religious works of these saints in Tamil, songs of love and devotion, are compiled as "Nalayira Divya Prabandham" containing 4000 verses and the 108 temples revered in their songs are classified as "Divya desam". The saints had different origins and belonged to different castes. As per tradition, the first three "azhwars", Poigai, Bhutha and Pei were born miraculously. Tirumizhisai was the son of a sage, Thondaradi, Mathurakavi, Peria and Andal were from brahmin community, Kulasekhara from "Kshatria" community, Namm was from a cultivator family, Tirupana from the ancient musical pāṇar community and Tirumangai from "kaḷvar" community. "Divya Suri Saritra" by Garuda-Vahana Pandita (11th century AD), "Guruparamparaprabavam" by Pinbaragiya Perumal Jiyar, "Periya tiru mudi adaivu" by Anbillai Kandadiappan, "Yatindra Pranava Prabavam" by Pillai Lokacharya, commentaries on "Divya Prabandam", Guru Parampara (lineage of Gurus) texts, temple records and inscriptions give a detailed account of the "azhwars" and their works. According to these texts, the saints were considered incarnations of some form of Vishnu. Poigai is considered an incarnation of "Panchajanya" (Krishna's conch), Bhoothath of "Kaumodakee" (Vishnu's Mace/Club), Pey of "Nandaka" (Vishnu's sword), Thirumalisai of "Sudarshanam" (Vishnu's discus), Namm of "Vishvaksena" (Vishnu's commander), Madhurakavi of "Vainatheya" (Vishnu's eagle, Garuda), Kulasekhara of "Kaustubha" (Vishnu's necklace), Periy of Garuda (Vishnu's eagle), Andal of Bhoodevi (Vishnu's wife, Lakshmi, in her form as Bhudevi), Thondaradippodi of "Vanamaalai" (Vishnu's garland), Thiruppaan of "Srivatsa" (An auspicious mark on Vishnu's chest) and Thirumangai of "Saranga" (Rama's bow). The songs of "Prabandam" are regularly sung in all the Vishnu temples of South India daily and also during festivals.

paragraph: According to traditional account by Manavala Mamunigal, the first three "azhwars" namely Poigai, Bhoothath and Pey belong to "Dwapara Yuga" (before 4200 BC). It is widely accepted by tradition and historians that the trio are the earliest among the twelve "azhwars". Along with the three Saiva nayanmars, they influenced the ruling Pallava kings, creating a Bhakti movement that resulted in changing the religious geography from Buddhism and Jainism to these two sects of Hinduism in the region. The "azhwars" were also instrumental in promoting the Bhagavatha cult and the two epics of India, namely, "Ramayana" and "Mahabaratha". The "azhwars" were instrumental in spreading "Vaishnavism" throughout the region. The verses of the various "azhwars" were compiled by Nathamuni (824-924 AD), a 10th-century Vaishnavite theologian, who called it the "Tamil Veda".

paragraph: Section::::Early life.

paragraph: Thiruppaan Alvar was born in Purthurmadhi year, "Kaarthigai"(Nov-Dec) month, on a Wednesday in the "Rohini Nakshatra"(star) in a small village of Alagapuri near Srirangam in the 8th or 9th century C.E. "Paanars" are a community of musicians and traditional song makers who are capable of moving their audiences to states of ecstasy and bliss. While later traditional legends treat the Tamil Paanar community as outcastes historically they have never been outcastes or untouchables as established by Palaniappan. The community has traditionally been treated as untouchables by the Tamil hagiographical literature. In reality they have never been untouchable till today. In fact medieval inscriptions present evidence for their performing Sanskrit drama and for singing and training temple dancers in Brahmanic temples. As Palaniappan states therein: "What is interesting about the traditional views regarding the social status of the Pāṇars is that they were not informed by any real data on the Pāṇars actually living in Tamil Nadu during medieval times. Such real data are indeed available to us from Tamil inscriptions, which present a drastically different picture of the social status of the Pāṇars".

paragraph: It is believed that he is the "amsam" (form) of the small mark on Vishnu's chest (legend has it that all alvars are avatars of some part of Vishnu), called as "Srivatsam" on the chest of Sriman Narayanan.

paragraph: Being a divine child, his instincts were heavenly and he grew as a man leaving all glamour of the world. Having a "veena"(string instrument) in his hand, he was always to be seen singing the glories of Vishnu. He was soon famous in and around these Tamil lands of Southern India. His skills as a "bhakti"(divine) musician and his abilities to express and invoke "bhakti" amongst his listeners, drew audiences from afar. He was soon to be known as "Paanar perumal". One of the strictures on outcastes was that they were not allowed to use some shores of Cauvery river, considered sacred and pure by the people of the region. Following this stricture, Paan Perumal did not come near the Kaveri river, but mostly stood alongside its banks facing the Srirangam temple and sang his praises to Ranganatha, the presiding deity of the temple. He believed that the conventions and spiritual sense specified by "sastras" lies in moral conduct.

paragraph: Section::::Reaching Srirangam.

paragraph: A sage by name Loka Saranga came to the river Kaveri for drawing water for the temple. Panar was in deep devotion and was unaware of his surroundings that he missed the voice of Saranga asking him to leave way. The sage threw a small stone in his direction to wake him, but the stone accidentally hit the forehead of Paanar and he started to bleed. Paanar realised the happening and quietly retired. Unaware of the injury caused to Panaar, the sage returned to the temple. He was taken aback on seeing blood oozing out from the forehead of the image of Ranganatha. That very night, Vishnu appeared in the dream of Loka Saaranga and commanded him to fetch Paanar to the temple the next morning in his shoulders. Accordingly, Lokasaranga requested Paanar to come to the temple. But, Paanar, referring to his lowly birth, declined to enter the holy place. When he was told of Vishnu's commandment, Paanar was beside himself and was lost in a deep trance. Loka Saaranga said that if that were his objection, he could carry him on his shoulders to the temple. When they reached the sanctum, Paanar experienced the bliss of Ranganatha and composed the "Amalan Adhipiraan" a poem describing the beauty from head to foot of Vishnu in ten verses and ultimately laid his life at the feet of the deity. The poem is considered to be sweeter than even the sound of music of the Veena.

paragraph: Section::::Works.

paragraph: The first "pasuram"(hymn) sung by Alvar is on Arangan's feet. On seeing the Thiruvadi (lotus feet) of Ranganathan he sang:

paragraph: "Neel madhil Arangathamman thrukkamalpadham vandhu en Kanninullana okkinrathe."

paragraph: He then started to see the whole thirumeni (body) of Emperumaan and he sang a total of ten "paasurams" (hymns) which explain the beauty of Sri Ranganathar from his "thiruvadi" (foot) to "thirumudi" (head). He explains in his ten "paasurams" (hymns) about the clean saffron cloth which is worn on the body of Ranganathar, his jewels the "thiru vayiru" (stomach) from where Lord Brahma originated, the broad chest, the red lips and finally on explaining the beauty of the two broad eyes, he fell down. After some time, Thiruppaan Alwar was not found and he went in to the body of Thiruvaranganathan. Like Andal, whose thoughts were always on Aranganathan, and was enraptured by the love of the Perumal, Thiruppaan Alwar was also captured by this love and he became a part of the Lord along with his mortal sheath. He composed a total of ten paasurams, where he explains how a humans should lead their life. His principal purport in them is : "Perumal is the principal supreme entity and our aims and aspirations should be to attain Him through total surrender to him signified by our placing all of ourselves at his lotus feet".

paragraph: One of the verses reads

paragraph: Transliterationbr

paragraph: "Kondal vannanaik kovalanay venney"br

paragraph: "Unda vayan en ullam kavarndhanai"br

paragraph: "Andar kon ani arangan en amudhinaik"br

paragraph: "Kanda kangal marronarinaik kanave"

paragraph: Meaningbr

paragraph: I have seen the One whose color is like dark rainclouds

paragraph: He is the one with the mouth that swallowed the butter of cowherds,

paragraph: He is the Lord of the devas,

paragraph: He is Lord Ranganatha,

paragraph: He is my nectar, my life!

paragraph: My eyes have seen my Lord and will not see anything else!

paragraph: Section::::Commentary and Interpretations.

paragraph: Thiruppaanaalvar's ten verses "Amalannadhipiraan" and the "Alvar's" "Bhagavad Anubhavam" (experiences of the divine) moved many Vaishnava Acharyas(gurus). The ten verses are compiled in the "Sixth Prabhandam" of the "Mudalaaiyram" of "Divya Prabandha". Vedanta Desikan was moved by the composition of the Alvar and wrote a commentary called "Munivahana Bhogam" in Sanskritized Tamil - Manipravalam. He also composed four verses in Tamil in his "Prabhanda Saaram" to elaborate on the significance of the contribution of the saint. He went on to compose a "Stotram" (divine text) in Sanskrit known as "Sri Bhagavad Dhyana Sobhaanam". Vedanta Desikan was so moved by the ten verses of "Amalanaadhipiraan" that he paid multiple tributes to the saint. Desikan was so overwhelmed by the profoundity of the saint's" "bhagavad anubhavam" that he declared the ten verse compendium to be the essence of countless Vedic texts.

paragraph: Section::::Culture.

paragraph: The devotees of Srivaishnva sect of Hinduism pay respect to the azhwars in a similar vein to their worship of Vishnu. The verses of azhwars are recited as a part of daily prayers and during festive occasions in most Vishnu temples in South India. There are shrines dedicated to the azhwars in most of the Vishnu temples in South India. In Srirangam Ranganthaswamy temple, a yearly birth festival of Tirupannazhwar is celebrated wit Viswaroopa darshan of Ranganatha at the sanctum on the occasion of his birthday. The festive idol of Tiupannazhwar is brought from his birth place in Sri Azhagiya Manavala Perumal Temple at modern day Woraiyur to Srirangam. Tiupana is accorded with grand honours called "Keezha Padi Honours". A "Parivattam" (silk turban) is tied on the Azhwar's head, adorned with garland, shawl is wrapped around his shoulders and sacred sandal paste is handed to him, all of which are believed to bring a smile on the face of the azhwar. An hour later, the image of the azhwar is taken to Nammazhwar shrine and then Thayar shrine, with the chanting of "Nalayira Divya Prabandham" with the verses of the azhwar's work "Amalanaathipiraan". In the Azhagiya Manaval Perumal temple, a 10-day festival is celebrated that included "Araiyar sevai", "Veda Paaraayanam" (reciting of "Vedas"), special "thirumanjanam" (ablution) and procession inside the temple.

paragraph: Section::::Mangalasasanam.

paragraph: There are 13 of his paasurams in the 4000 Divya Prabhandham. He has sung in praise of three temples.

paragraph: Section::::External links.

paragraph: BULLET::::- Audio Link of amalanAdhipirAn

wikidata_label: Thiruppaan Alvar

wikipedia_title: Thiruppaan Alvar


text: Latin

text: mathematics

text: astronomy

text: University of Ferrara

text: Leonello d'Este

text: Georg Purbach

text: Regiomontanus

text: astronomical table

text: positional

text: fractions

text: trigonometric table

text: Al-Kashi

text: Samarkand

text: Blanchinus

text: Moon

text: Francesco Bianchini

text: Bianchini

text: Giuseppe Biancani

text: Blancanus

text: « Bianchini, Giovanni »

text: Dizionario Biografico degli Italiani

text: Antonio Bianchini

categories: 1460s deaths,Italian astronomers,1410 births

paragraph: Giovanni Bianchini

paragraph: Giovanni Bianchini (in Latin, Johannes Blanchinus) (1410 – c. 1469) was a professor of mathematics and astronomy at the University of Ferrara and court astrologer of Leonello d'Este. He was an associate of Georg Purbach and Regiomontanus. The letters exchanged with Regiomontanus in 1463–1464 mention works by Bianchini entitled: "Primum mobile" (astronomical tables included), "Flores almagesti", "Compositio instrumenti".

paragraph: Bianchini was the first mathematician in Europe to use decimal positional fractions for his trigonometric tables, at the same time as Al-Kashi in Samarkand. In "De arithmetica", part of the "Flores almagesti", he uses operations with negative numbers and expresses the "Law of Signs".

paragraph: He was probably the father of the instrument maker Antonio Bianchino.

paragraph: The crater Blanchinus on the Moon is named after him.

paragraph: Section::::Works.

paragraph: BULLET::::- Silvio Magrini (ed.), "Joannes de Blanchinis ferrariensis e il suo carteggio scientifico col Regiomontano (1463-64)", Zuffi, 1916 — Scientific letters exchanged by Bianchini and Regiomontanus

paragraph: Section::::See also.

paragraph: Giovanni Bianchini should not be confused with two similarly-named Italians with their own lunar craters: Francesco Bianchini (1662–1729) (and the Bianchini crater), and Giuseppe Biancani (1566–1624) (and the Blancanus crater).

paragraph: Section::::External links.

paragraph: BULLET::::- Vescovini, Graziella Federici. « Bianchini, Giovanni ». In: "Dizionario Biografico degli Italiani"

paragraph: BULLET::::- Institute and History of the Museum of Science

paragraph: BULLET::::- Antonio Bianchini

description: Italian astronomer

wikidata_label: Giovanni Bianchini

wikipedia_title: Giovanni Bianchini


text: Guayaquil

text: Ecuador

text: painting

text: Constructivist Movement

text: Vladimir Tatlin

text: Joaquín Torres García

text: Manuel Rendón

text: Aníbal Villacís

text: Theo Constanté

text: Oswaldo Viteri

text: Estuardo Maldonado

text: Luis Molinari

text: Félix Arauz

text: Carlos Catasse

text: grotesque

text: prostitute

text: Organization of American States

text: André Breton

text: Joan Miró

text: Surrealism

text: Salvador Dalí

text: Joan Miró

text: Eugenio Granell

text: Antoni Tàpies

text: Antonio Saura

text: Manolo Millares

text: Dau-al-Set

text: Catalan

text: Joan Brossa

text: Dadaism

text: Formalist

text: Max Ernst

text: Paul Klee

text: Theo Constanté

text: Museum of Modern Art

text: Lausanne

text: Milan

text: Grenchen

text: Vienna

text: Lisbon

text: Munich

text: Barcelona

text: Madrid

text: Washington

text: New York

text: Villacís

text: Villacís

text: Maldonado

text: Cifuentes

text: Molinari

text: Oswaldo Guayasamin

text: Premio Eugenio Espejo

text: Rufino Tamayo

text: Museo del Niño

text: Pan American Union

text: Goya

text: Organization of American States

text: Ateneu Barcelonès

text: São Paulo

text: Basel

text: Bochum

text: Karlsruhe

text: Grenchen

text: Bremen

text: San Juan, Puerto Rico

text: Gilbert

text: Rendon

text: Villacís

text: Molinari

text: Maldonado

text: New York, New York

text: Miami

text: Florida

text: Casa de las Américas

text: Havana

text: Cuba

text: Simón Bolivar

text: Quevedo

text: Rufino Tamayo

text: México D.F.

text: San José, Costa Rica

text: Caracas

text: Venezuela

text: Miami, Florida

text: Santiago

text: Cuenca, Ecuador

text: Panama City

text: Quito

text: Ecuador

text: Lima

text: Peru

text: Bolivia

text: Museo Antropologico y de Arte Contemporaneo

text: Mayagüez, Puerto Rico

text: Villacís

text: Viteri

text: Maldonado

text: Rendón

text: Gilbert

text: Hamburg

text: Long Beach, California

text: Guayasamin

text: Kingman

text: Arauz

text: Villafuerte

text: Cali

text: Colombia

text: Madrid

text: Spain

text: Berlin

text: Germany

text: Guayaquil

text: Ecuador

text: Buenos Aires

text: Argentina

text: Guayaquil

text: Ecuador

text: Guayaquil

text: Ecuador

text: Premio Eugenio Espejo

text: Alfredo Palacio

text: Velázquez

text: Quito

text: Ecuador

text: House of Ecuadorian Culture

categories: Ecuadorian painters,Surrealist artists,1930 births,People from Guayaquil,Modern painters,Living people

paragraph: Enrique Tábara

paragraph: Luis Enrique Tábara (born 1930 in Guayaquil, Ecuador) is a master Ecuadorian painter and teacher representing a whole Hispanic pictorial and artistic culture.

paragraph: Tábara took interest in painting at the age of three and was drawing regularly by the age of six. In these early years, Tabara was strongly encouraged by both his sister and his mother. Enrique Tábara nevertheless is a creator who investigates and demystifies the image in which he takes refuge. Tábara's vitality is a constant that reveals the versatile spirit of a teacher and a master of experimentation.

paragraph: Tábara was greatly influenced by the Constructivist Movement, founded around 1913 by Russian artist Vladimir Tatlin, which made its way into Europe and Latin America by way of Uruguayan painter Joaquín Torres García and Parisian/Ecuadorian painter Manuel Rendón. Torres Garcia and Rendón both made an enormous impact on Latin American artists such as Tábara, Aníbal Villacís, Theo Constanté, Oswaldo Viteri, Estuardo Maldonado, Luis Molinari, Félix Arauz and Carlos Catasse, to name a few.

paragraph: Section::::The Barcelona Years.

paragraph: In 1946, Tábara attended the School of Fine Arts in Guayaquil and was mentored by German artist Hans Michaelson and Guayaquilean artist, Luis Martinez Serrano. In 1951, Tábara finished mastering the fundamentals and left art school. Tábara's early works typically depicted grotesque characters, marginalized peoples of Guayaquil, prostitutes, and some portraits. By 1953, Tábara began to paint more abstract images.

paragraph: Tábara held his first US exhibit in 1954 at the Organization of American States (OAS) in Washington, D.C. In 1955, the Ecuadorian government offered Tábara a scholarship to study at the Escuela Official de Bellas Artes de Barcelona. Tábara's work was welcomed with great success in Spain and Tábara befriended surrealist André Breton and Joan Miró. By 1959, Tábara's work had gained a great deal of international attention. André Breton asked Tábara to represent Spain in the "Homage to Surrealism Exhibition", among the works of Salvador Dalí, Joan Miró, and Eugenio Granell. Miró enthusiastically praised Tábara's work and presented Tábara with an original piece of his artwork which Tábara has long treasured.

paragraph: While living in Barcelona, Tábara began working with Antoni Tàpies, Antonio Saura, Manolo Millares, Modest Cuixart and many other Spanish Infomalist artists. Tàpies and Cuixart were members of the first Post-War Movement in Spain known as Dau-al-Set, founded by Catalan poet Joan Brossa. Tábara wrote several articles for their publication of the same name, "Dau-al-Set". Dau-al-Set was connected with Surrealism and Dadaism and its members sought a connection to both the conscious and unconscious in their work. Dau-al-Set opposed both the Formalist Movement and the formal art centers. The group was inspired by the early works of Max Ernst, Paul Klee, and Joan Miró.

paragraph: In 1963, Tábara represented Ecuador together with Humberto Moré and Theo Constanté at the Museum of Modern Art in Paris for the Third Biennial of Paris. By 1964, Tábara's work was being shown throughout Latin America, as well as Lausanne, Milan, Grenchen, Vienna, Lisbon, Munich, Barcelona, Madrid, Washington, New York and Paris.

paragraph: Section::::Return to Ecuador.

paragraph: After living and painting in Europe for over nine years Tábara felt that there was not enough being done in the name of Latin American Modern art so in 1964 he returned to Ecuador in search of a new aesthetic. Tábara reconnected to his roots through the Latin American current of "Ancestralism", which finds inspiration in pre-Hispanic cultures that inhabited the continent (third stage). Tábara is the first artist to use the Pre-Columbian motif as a search for a new aesthetic.

paragraph: Shortly after returning to Ecuador, Tábara and Villacís founded the Informalist art group, VAN (Vanguardia Artística Nacional), that was in opposition to the Indiginist Art Movement. VAN had a double meaning, from the avant-garde term, "Vanguard", as well as, the Spanish phrase ""se van"" meaning, ""they are going"". In other words, the artists were moving on, away from Guayasaminism and Indigenist Art Movement that had been dominating the art scene of Ecuador for decades. VAN consisted of Tábara, Villacís, Maldonado, Cifuentes, Molinari, Almeida, and Muriel. VAN strongly opposed the Communist political views of Oswaldo Guayasamin and was in a constant search of new artistic pathways while never losing a connection to their Pre-Columbian roots.

paragraph: Section::::Patas-Patas.

paragraph: Finally, Tábara started to paint simple shapes inspired in nature, and also other simple structures, such as his famed "Patas-Patas", or Feet-Feet, as well as insects and shrubs. Tábara is most known for his Patas-Patas works which contain legs with feet incorporated into the piece. When asked about this subject matter, Tábara says that one day he was drawing a figure but he didn't like it, so he ripped it up and the feet of the figure landed at his feet, thus his fate. It has been suggested by some critics that Tábara's use of feet was possibly a subtle statement in opposition to Guayasamin's use of hands. In some of Tábara's Patas-Patas works, the legs are bold focal points that stand out clearly. In other works, the legs are more obscure or seem to be hidden within shrubs, bones or abstract forms.

paragraph: Tábara is an artist who is in a constant, infinite search. He likes to experiment and live "pictorical adventures". He believes that in art one has to pose difficult problems for oneself and solve them on the canvas. Today, Tábara is considered one of the most important artists of the last century and has been lauded as a national treasure in Ecuador.

paragraph: In 1988, Tábara was awarded the Premio Eugenio Espejo, the country's most prestigious National Award for Art, Literature and Culture presented by the president of Ecuador. Tábara continues to paint with a vigorous spirit in his home town of Guayaquil, Ecuador. Barcelona is considered Tábara's home away from home.

paragraph: Section::::Museums and Collections.

paragraph: BULLET::::- Museo de Arte de Lausanne, Laussanne, Switzerland.

paragraph: BULLET::::- Museo de Arte Contemporáneo de Barcelona, Barcelona, Spain.

paragraph: BULLET::::- Museo de Arte Moderno de São Paulo, São Paulo, Brazil.

paragraph: BULLET::::- Museo de Arte Contemporáneo de Armada, Armanda, Portugal.

paragraph: BULLET::::- Museo de Arte Moderno de Bogotá, Bogotá, Colombia.

paragraph: BULLET::::- Museo de Arte de Ponce, Ponce, Puerto Rico.

paragraph: BULLET::::- Museo de la Universidad de Rio Piedras, Rio Piedras, Puerto Rico.

paragraph: BULLET::::- Museo de Arte Contemporáneo de Panamá, Panamá.

paragraph: BULLET::::- Museo de Bellas Artes de Bochum, Bochem, Germany.

paragraph: BULLET::::- Museo Juan Abello Mollet, Barcelona, Spain.

paragraph: BULLET::::- Museo Omar Rayo, Roldanillo, Colombia.

paragraph: BULLET::::- Museo Rufino Tamayo, Mexico City, Mexico.

paragraph: BULLET::::- Museum of Modern Art, Paris, France.

paragraph: BULLET::::- Museum of Latin American Art (MoLAA), Long Beach, California, U.S.A.

paragraph: BULLET::::- Bronx Museum of the Arts, Bronx, New York, U.S.A.

paragraph: BULLET::::- Jack S. Blanton Museum, University of Texas, Austin, Texas, U.S.A.

paragraph: BULLET::::- Museo Nacional de Bellas Artes, Santiago, Chile.

paragraph: BULLET::::- Museo de Arte Moderno de Cuenca, Cuenca, Ecuador.

paragraph: BULLET::::- Museo del Banco Central, Quito, Ecuador.

paragraph: BULLET::::- The Museum of American Art of Maldonado (MAAM), Maldonado, Uruguay.

paragraph: BULLET::::- Museo del Niño, San José, Costa Rica.

paragraph: BULLET::::- Museo de Arte del Banco Central, Guayaquil, Ecuador.

paragraph: BULLET::::- Museo de la Casa de la Cultura, Quito, Ecuador.

paragraph: BULLET::::- Museo de la Casa de la Cultura, Guayaquil, Ecuador.

paragraph: BULLET::::- Museo Antropológico de Arte Contemporaneo (MAAC), Guayaquil, Ecuador.

paragraph: BULLET::::- El Museo del Barrio, New York, U.S.A

paragraph: BULLET::::- Pumapungo Museum of the Central Bank of River Basin, River Basin, Ecuador.

paragraph: BULLET::::- Misrashi Gallery, Mexico City, Mexico.

paragraph: BULLET::::- Ortiz Leiva Gallery of Art, Glendale, California, U.S.A.

paragraph: BULLET::::- Galeria Elite Fine Art, Miami, Florida, U.S.A.

paragraph: BULLET::::- Eugenia Cucalón Gallery, New York, U.S.A.

paragraph: BULLET::::- Museo de América, Madrid, Spain.

paragraph: BULLET::::- Collection of Carrie Adrian, New York, U.S.A.

paragraph: BULLET::::- Collection John and Barbara Duncan, New York, U.S.A.

paragraph: BULLET::::- Collection of Castle Cooke, San Francisco, California, U.S.A.

paragraph: BULLET::::- Collection of the Pan American Union, Washington, D. C., U.S.A.

paragraph: BULLET::::- Colección Galeria Goya, Mexico City, Mexico.

paragraph: BULLET::::- Coleccion Sr. Jorge Eljuri, Guayaquil, Ecuador.

paragraph: BULLET::::- Coleccion Sr. Georges Kasper, Laussane, Switzerland.

paragraph: BULLET::::- Coleccion Sr, René Metrás, Barcelona, Spain.

paragraph: BULLET::::- Coleccion Sr. Horst Moeller, Germany.

paragraph: Section::::Individual and Group Exhibitions.

paragraph: BULLET::::- 1953 Exposición Casa de la Cultura (N. del Guayas), Guayaquil, Ecuador.

paragraph: BULLET::::- 1954 Organization of American States (OAS), Washington, D.C., U.S.A.

paragraph: BULLET::::- 1954 Segunda Exposición individual (primeras obras, no figurativas) Casa de la Cultura (N. del Guayas), Guayaquil, Ecuador.

paragraph: BULLET::::- 1956 Museo Municipal de Mataró (first exhibition in Spain).

paragraph: BULLET::::- 1956 Museo de Granollers (primeras pinturas de Materia) Spain.

paragraph: BULLET::::- 1956 Ayuntamiento de Sarria, Barcelona, Spain.

paragraph: BULLET::::- 1957 Galerias Layetanas (30 pinturas), Barcelona, Spain.

paragraph: BULLET::::- 1958 Ateneu Barcelonès (dibujos obra en papel), Barcelona, Spain.

paragraph: BULLET::::- 1958 Sala Gaspar (Club 49), Barcelona, Spain.

paragraph: BULLET::::- 1959 Sala Neblí, Madrid, Spain.

paragraph: BULLET::::- 1959 Galería Kasper, Lausanne, Switzerland.

paragraph: BULLET::::- 1961 VI Biennial of São Paulo, São Paulo, Brazil.

paragraph: BULLET::::- 1961 Museo de Arte Contemporáneo, Barcelona, Spain.

paragraph: BULLET::::- 1961 Galería Hilt, Basel, Switzerland.

paragraph: BULLET::::- 1961 Restaurant Galería "La Perette", Milan, Italy.

paragraph: BULLET::::- 1962 Galería Falazik, Bochum, Germany.

paragraph: BULLET::::- 1962 Nueva Galería Kunstlerhaus, Munich, Germany.

paragraph: BULLET::::- 1962 Galería Rottoff, Karlsruhe, Germany.

paragraph: BULLET::::- 1962 Galería Brechbuhi, Grenchen, Switzerland.

paragraph: BULLET::::- 1963 Galería Naviglio, Milan, Italy.

paragraph: BULLET::::- 1963 Diario de Noticias, Lisbon, Portugal.

paragraph: BULLET::::- 1963 Galería René Metrás, Barcelona, Spain.

paragraph: BULLET::::- 1963 Ateneo de Madrid, Madrid, Spain.

paragraph: BULLET::::- 1963 Galería Emmy Widman, Bremen, Germany.

paragraph: BULLET::::- 1963 Instituto de Cultura Hispánica (tintas y Aguadas), Barcelona, Spain.

paragraph: BULLET::::- 1963 Galería Malelline, Vienna, Austria.

paragraph: BULLET::::- 1964 Galería René Metrás ( objetos y Pinturas ), Barcelona, Spain.

paragraph: BULLET::::- 1964 Pan American Union, Washington, D.C., U.S.A.

paragraph: BULLET::::- 1965 Museo de Arte Moderno, Bogotá, Colombia

paragraph: BULLET::::- 1965 Centro Ecuatoriano Norteamericano, Quito, Ecuador.

paragraph: BULLET::::- 1965 Galería Siglo XX, Quito, Ecuador.

paragraph: BULLET::::- 1966 Museo de Rio Piedras, San Juan, Puerto Rico.

paragraph: BULLET::::- 1967 Universidad de Mayagues, Puerto Rico

paragraph: BULLET::::- 1967 Casa de la Cultura (obras de 1960–1967), Guayaquil, Ecuador.

paragraph: BULLET::::- 1968 Galería Contémpora, Guayaquil, Ecuador.

paragraph: BULLET::::- 1968 Galería Marta Traba, Bogotá, Colombia.

paragraph: BULLET::::- 1969 Galería Contempora, Guayaquil, Ecuador.

paragraph: BULLET::::- 1969 X Biennial de São Paulo, São Paulo, Brazil.

paragraph: BULLET::::- 1970 Galería Altamira, Quito, Ecuador.

paragraph: BULLET::::- 1970 "Latin American Paintings and Drawings from the Collection of John and Barbara Duncan", Center for Inter-American Relations, New York, New York, U.S.A.

paragraph: BULLET::::- 1971 Museo Municipal, Guayaquil, Ecuador.

paragraph: BULLET::::- 1972 Galería Altamira, Quito, Ecuador.

paragraph: BULLET::::- 1972 Alianza Francesa, Guayaquil, Ecuador.

paragraph: BULLET::::- 1973 Alianza Francesa, Quito, Ecuador.

paragraph: BULLET::::- 1973 XI Biennial de São Paulo, São Paulo, Brazil.

paragraph: BULLET::::- 1973 Casa de la Cultura Nucleo del Azuay, Cuenca, Ecuador.

paragraph: BULLET::::- 1973 Colegio de Bellas Artes (25 años de Pintura) 1948–1973, Guayaquil, Ecuador.

paragraph: BULLET::::- 1974 Galelía Altamira, Quito, Ecuador.

paragraph: BULLET::::- 1975 Galería Siglo XX, Quito, Ecuador.

paragraph: BULLET::::- 1976 Galería Buchholz, Bogotá, Colombia.

paragraph: BULLET::::- 1976 Casa de la Cultura Nucleo del Guayas, Guayaquil, Ecuador.

paragraph: BULLET::::- 1976 Centro Ecuatoriano Norteamericano, Guayaquil, Ecuador .

paragraph: BULLET::::- 1977 Museo del Banco Central "Persistencia de una Imagen", Quito, Ecuador.

paragraph: BULLET::::- 1977 "Abstract Currents in Ecuadorian Art": Paintings by: Gilbert, Rendon, Tábara, Villacís, Molinari and Maldonado. Center for Inter-American Relations, New York, New York, U.S.A.

paragraph: BULLET::::- 1977 "The Martinez-Canas Collection of Contemporary Latin American Art", Metropolitan Museum, Miami, Florida, U.S.A.

paragraph: BULLET::::- 1979 Museo Municipal, Guayaquil, Ecuador.

paragraph: BULLET::::- 1979 Pasaje Arosemena (obra en papel), Guayaquil, Ecuador.

paragraph: BULLET::::- 1980 Galería Madeleine Hollaender, Guayaquil, Ecuador.

paragraph: BULLET::::- 1981 La Galería, Quito, Ecuador.

paragraph: BULLET::::- 1982 Casa de las Américas, Havana, Cuba.

paragraph: BULLET::::- 1984 Galería Madeleine Hollaender, Guayaquil, Ecuador.

paragraph: BULLET::::- 1985 Galería Sosa Larrea, Quito, Ecuador.

paragraph: BULLET::::- 1985 Museo Omar Rayo, Roldanillo, Colombia.

paragraph: BULLET::::- 1985 Galería Perspectiv, a Guayaquil, Ecuador.

paragraph: BULLET::::- 1986 Municipalidad de Machala, Machala, Ecuador.

paragraph: BULLET::::- 1986 Galerias Asociadas Sosa – Nesle, Quito, Ecuador .

paragraph: BULLET::::- 1986 Galería Madeleine Hollaender, Guayaquil, Ecuador.

paragraph: BULLET::::- 1987 La Galería, Quito, Ecuador.

paragraph: BULLET::::- 1987 Condominio Simón Bolivar, Quevedo, Ecuador.

paragraph: BULLET::::- 1988 Museo Rufino Tamayo, México D.F. México.

paragraph: BULLET::::- 1989 Homenaje al Arte Abstracto I, Jacob Karpio Galeria, San José, Costa Rica

paragraph: BULLET::::- 1989 Centro de Arte de la Sociedad Femenina de Cultura, Guayaquil, Ecuador.

paragraph: BULLET::::- 1989 Galería Manzana Verde, Guayaquil, Ecuador.

paragraph: BULLET::::- 1990 Galería Expresiones, Guayaquil, Ecuador.

paragraph: BULLET::::- 1990 Fundación Hallo "Homenaje a Tábara".

paragraph: BULLET::::- 1991 Municipalidad de Miraflores, Lima, Perú.

paragraph: BULLET::::- 1991 Seguros La Unión, Guayaquil, Ecuador.

paragraph: BULLET::::- 1992 Galeria Cucalón Feria Iberoamenricana, Caracas, Venezuela.

paragraph: BULLET::::- 1994 Elite Fine Arts Gallery, Miami, Florida, U.S.A.

paragraph: BULLET::::- 1994 Galería Todo Arte, Guayaquil, Ecuador.

paragraph: BULLET::::- 1997 Museo de Arte Contemporáneo de Panamá, Panamá.

paragraph: BULLET::::- 1997 Museo Municipal de Arte Moderno, Cuenca, Ecuador.

paragraph: BULLET::::- 1997 Museo Nacional de Bellas Artes, Santiago, Chile.

paragraph: BULLET::::- 1998 Centro Cultural Jorge Fernandez, Quito, Ecuador.

paragraph: BULLET::::- 1998 La Galería, Quito, Ecuador.

paragraph: BULLET::::- 1998 Museo del Banco Central, Guayaquil, Ecuador.

paragraph: BULLET::::- 1999 Museo del Niño, San José, Costa Rica.

paragraph: BULLET::::- 1999 Casona Universitaria (Retrospectiva), Guayaquil, Ecuador.

paragraph: BULLET::::- 1999 Museo de Arte Moderno, Cuenca, Ecuador.

paragraph: BULLET::::- 1999 Galería Homonimus, Panama City, Panamá.

paragraph: BULLET::::- 1999 Sala Miguel de Santiago, Casa de la Cultura B.C., Quito, Ecuador.

paragraph: BULLET::::- 2000 Sala Marta Traba, São Paulo, Brazil.

paragraph: BULLET::::- 2003 Bocetos de Tábara 1998-2003, La Galeria Mirador, Universidad Católica de Guayaquil, Guayaquil, Ecuador.

paragraph: BULLET::::- 2003 Museo Pedro de Osma Embajada del Ecuador en Lima, Lima, Peru.

paragraph: BULLET::::- 2003 Embajada del Ecuador en Bolivia.

paragraph: BULLET::::- 2004-2005 Sala Autoral-Enrique Tábara, Museo Antropologico y de Arte Contemporaneo (MAAC), Guayaquil, Ecuador.

paragraph: BULLET::::- 2005 Ceremony for the Museum of Art and Academic Senate (MuSA) at The University of Puerto Rico, Mayagüez, Puerto Rico.

paragraph: BULLET::::- 2005 "The Ancestralismo", Tábara, Villacís, Viteri and Maldonado, Museum of the Central Bank, River Basin, Ecuador.

paragraph: BULLET::::- 2005 Teatro Centro de Arte, Guayaquil, Ecuador.

paragraph: BULLET::::- 2006 Monograph: The Work of Enrique Tábara, National Museum of the Central Bank of Ecuador, Quito, Ecuador.

paragraph: BULLET::::- 2006 From Port to Port: Rendón, Tábara, & Gilbert, In Celebration of Ecuadorian Culture at The World Cup (Futbol), Hamburg, Germany.

paragraph: BULLET::::- 2006 Guía de El Grabado Latinoamericano: La Evolución de la Identidad desde lo Mítico hasta lo Personal, Museum of Latin American Art (MoLAA), Long Beach, California, U.S.A.

paragraph: BULLET::::- 2006 XII Fair de Libro Pacific, works by Tábara, Guayasamin, Kingman, Arauz & Villafuerte, University of the Valley, Cali, Colombia.

paragraph: BULLET::::- 2007-2008 "Tábara: La Mirada Atenta". Museo de América, Madrid, Spain.

paragraph: BULLET::::- 2008 Ministry of Foreign Trade and Integration - Ecuadorian Embassy in Germany, Berlin, Germany.

paragraph: BULLET::::- 2010 "Elogio de la Forma", Moderno del Museo Municipal de Guayaquil, Guayaquil, Ecuador.

paragraph: BULLET::::- 2011 "Tres Generaciones de Artistas Ecuatorianos: Fibra Obra Sobre Papel", Centro Cultural de la Cooperacion Floreal Gorini, Buenos Aires, Argentina.

paragraph: BULLET::::- 2012 - "Geografías Plásticas del Arte Ecuatoriano del Siglo XX: Desde la Estética del Objeto al Concepto", Museo Antropológico y de Arte Contemporáneo (MAAC), Guayaquil, Ecuador.

paragraph: BULLET::::- 2013 - "Retorno del Futuro", Casa de la Cultura, Guayaquil, Ecuador.

paragraph: Section::::Awards and Medals.

paragraph: BULLET::::- 1960 Swiss Abstract Painting Prize, Lausanne, Switzerland.

paragraph: BULLET::::- 1964 Second Prize Hall - October, Guayaquil, Ecuador.

paragraph: BULLET::::- 1967 First Prize Hall - July, Guayaquil, Ecuador.

paragraph: BULLET::::- 1967 First Prize Hall Vanguard, Guayaquil, Ecuador.

paragraph: BULLET::::- 1968 Medal of Artistic Merit, Municipality of Guayaquil, Guayaquil, Ecuador.

paragraph: BULLET::::- 1970 Gold Medal, First Hall Drawing, Watercolor and Tempera, House of the Culture, Quito, Ecuador.

paragraph: BULLET::::- 1972 Second Prize of Contemporary Gallery, "Virgin Santísima M. of God".

paragraph: BULLET::::- 1973 Gold Medal, 25 years of Painting Exhibition, School of Beautiful Arts, Guayaquil, Ecuador.

paragraph: BULLET::::- 1989 National Prize of Culture - Premio Eugenio Espejo - presented by the President of Ecuador.

paragraph: BULLET::::- 1989 Second Prize, River Basin Biennial of International Painting - River Basin, Ecuador

paragraph: BULLET::::- 1994 Decoration to the Artistic Merit in the Degree of Commander by the Ecuadorian Government

paragraph: BULLET::::- 1997 Gold Brush, Association of the Rocks, Guayaquil, Ecuador.

paragraph: BULLET::::- 1998 Medal to the Cultural Merit (House of the Culture) Guayaquil, Ecuador.

paragraph: BULLET::::- 1998 Medal of Honor of the National Congress by the 50th Anniversary of the Professional Trajectory of the Artist.

paragraph: BULLET::::- 1998 Decoration of the Museum Central Bank of Ecuador, Guayaquil, Ecuador.

paragraph: BULLET::::- 1998 Alfredo Palacio Prize (University of Guayaquil), Guayaquil, Ecuador.

paragraph: BULLET::::- 1999 Gold Brush, Guayaquil, Ecuador.

paragraph: BULLET::::- 2007 Nominee for the Velázquez Prize of Plastic Arts 2007, presented by the crowned King of Spain.

paragraph: Section::::Sources.

paragraph: BULLET::::- Arean, Carlos A., Tábara. Pelaez Editores, Centro de Arte Gala Banco de Guayaquil; Quito, Ecuador, 1990.

paragraph: BULLET::::- Sullivan, Edward J., Latin American Art in the Twentieth Century. Phaidon Press Limited; London, 1996.

paragraph: BULLET::::- Barnitz, Jacqueline, Twentieth-Century Art of Latin America. University of Texas Press; Austin, Texas, 2001.

paragraph: BULLET::::- Salvat, Arte Contemporáneo de Ecuador. Salvat Editores Ecuatoriana, S.A., Quito, Ecuador, 1977.

paragraph: BULLET::::- House of Ecuadorian Culture

alias:
Enrique Tabara
Luis Enrique Tábara
Luis E. Tábara

description: Ecuadorian painter

wikidata_label: Enrique Tábara

wikipedia_title: Enrique Tábara


text:
American
Williston Park, New York
Korean War
1st Infantry Division
U.S. Army
New York School of Art
New York World-Telegram
St. Petersburg Times
The Pilot
North Carolina
The Charlotte Observer
Myrtle Beach, South Carolina
golf
Pulitzer Prize
Answers.com
AF News

categories: People from Williston Park, New York,American comic strip cartoonists,2006 deaths,1929 births,American comics artists,American columnists,American army personnel of the Korean War,United States Army soldiers,The New Yorker cartoonists

paragraph: Stan Hunt

paragraph: Stanley Richard Hunt (August 18, 1929 – January 4, 2006) was an American newspaper cartoonist.

paragraph: Born in Williston Park, New York, Hunt served in the Korean War with the 1st Infantry Division of the U.S. Army. After the war, Hunt attended the New York School of Art. He created cartoons for various newspapers, including the "New York World-Telegram" and "St. Petersburg Times". He was with "The Pilot" in North Carolina shortly before his death at age 76.

paragraph: He was an editorial and sports cartoonist for "The Springfield Union" and "The Charlotte Observer". Later he moved on to Myrtle Beach, South Carolina to work on golf magazines.

paragraph: Section::::Awards.

paragraph: Hunt was nominated for the Pulitzer Prize for Cartooning.

paragraph: Section::::External links.

paragraph: BULLET::::- Answers.com

paragraph: BULLET::::- AF News

description: American cartoonist

wikidata_label: Stan Hunt

wikipedia_title: Stan Hunt


text: Danish

text: botanist

text: mycologist

text: plant pathologist

text: natural history

text: flora

text: plant pathology

text: plant pathologist

text: Denmark

text: Royal Physiographic Society in Lund

text: University of Copenhagen

text: Jens Lind

text: Denmark

text: plant pathogen

text: Exobasidium rostrupii

text: Acanthosphaeria rostrupii

text: Austroboletus rostrupii

text: Phoma rostrupii

text: Biography at Mycokey

categories: Danish mycologists,Danish scientists,Danish botanists,Danish phytopathologists,University of Copenhagen faculty,University of Copenhagen alumni,Members of the Royal Physiographic Society in Lund,1907 deaths

paragraph: Emil Rostrup

paragraph: Frederik Georg Emil Rostrup (28 January 1831 – 16 January 1907) was a Danish botanist, mycologist and plant pathologist.

paragraph: From 1858, Emil Rostrup was a teacher at the paedagogical college "Skårup Seminarium" in then new subject natural history. He educated to-be school teachers for 25 years. In the meantime he had become well known for his flora handbooks and his works on plant pathology. He was appointed docent at the Royal Veterinary and Agricultural University in 1883. From 1902, he was professor at the same college.

paragraph: Rostrup was first real plant pathologist in Denmark and probably the greatest ever. He was member of Royal Danish Academy of Sciences and Letters (from 1882), Royal Physiographic Society in Lund (from 1888), Royal Swedish Academy of Agriculture and Forestry (from 1890). In 1894, he was made honorary doctor at the University of Copenhagen.

paragraph: After his death, his adept Jens Lind published a full account on all fungi collected by him in Denmark - mainly "microfungi" such as plant pathogens

paragraph: Numerous fungal species have been named to his honour, e.g. Exobasidium rostrupii, Acanthosphaeria rostrupii, Austroboletus rostrupii and Phoma rostrupii.

paragraph: Section::::External links.

paragraph: BULLET::::- Danish Biography in Dansk biografisk Lexikon vol. XIV

paragraph: BULLET::::- Biography at the Illinois Mycological Association

paragraph: BULLET::::- Biography at Mycokey

description: Danish biologist

wikidata_label: Emil Rostrup

wikipedia_title: Emil Rostrup


text:
Greek
vase painter
red-figure
Athens
stamnoi
lekythoi
Berlin Painter
Providence Painter
Sir John Beazley
Marseille
Adria
Agrigento
Altenburg
Ancona
Argos
Athens
Acropolis Museum
Athens
National Archaeological Museum
Baltimore
Walters Art Museum
Barcelona
Basel
Berne
Historisches Museum
Bologna
Boston
Museum of Fine Arts
Boulogne
Bristol
City Museum
Brussels
Musées Royaux des Beaux-Arts
Bryn Mawr
Bryn Mawr College
Cambridge, Massachusetts
Harvard University
Arthur M. Sackler Museum
Catania
Chicago
University of Chicago
Christchurch
University of Canterbury
Cologne
Cologne University
Columbia, Missouri
Corinth
Dresden
Albertinum
Ferrara
Florence
Gela
Glasgow
Gotha
Göttingen
Georg-August-Universität
Hartford
Wadsworth Atheneum
Heidelberg
Ruprecht-Karls-Universität
Innsbruck
University
Istanbul
Archaeology Museum
Karlsruhe
Kassel
Museum Schloß Wilhelmshöhe
Lancut
British Museum
Victoria & Albert Museum
County Museum of Art
Madrid
Mainz
Johannes Gutenberg Universität
Manchester
Mannheim
Marseilles
Melfi
Metaponto
Montreal
Museum of Fine Arts
Pushkin Museum
Munich
Glyptothek and Antikensammlung
Münster
Münster University
Naples
Museo Archeologico Nazionale
New York
Metropolitan Museum of Art
Norwich
Castle Museum
Orvieto
Oxford
Ashmolean Museum
Paestum
Palermo
Bibliothèque Nationale
Cabinet des Médailles
Louvre
Rhodes
Villa Giulia
Samothrace
St. Louis
St. Louis Art Museum
San Simeon
Hearst Corporation
St. Petersburg
Eremitage
Sarajevo
Stockholm
Syracuse
Tampa
Tampa Museum of Art
Trieste
Tübingen
Eberhard-Karls-Universität
Vatican City
Vienna
Kunsthistorisches Museum
Vienna University
Wiesbaden
Würzburg
Zürich
Zurich University
Works by Hermonax in the Louvre
Vases by Hermonax at Perseus

categories: 5th-century BC Athenians,Ancient Greek vase painters,5th-century BC deaths

paragraph: Hermonax

paragraph: Hermonax was a Greek vase painter working in the red-figure style. He painted between c. 470 and 440 BC in Athens. Ten vases signed with the phrase ""Hermonax has painted it"" survive, mainly stamnoi and lekythoi. He is generally a painter of large pots, though some cups survive.

paragraph: Section::::Background.

paragraph: Forming the beginning of the 'early classic' generation of vase-painters, Hermonax was a pupil of the Berlin Painter and a contemporary of the Providence Painter. Sir John Beazley attributed just over 150 vases to his hand. His work has been found all over the ancient Greek world from Marseille to Southern Russia.

paragraph: Hermonax entered the Berlin Painter's workshop towards its end. As a pupil of the Berlin Painter Hermonax adopted the practice of painting large figural scenes on large vessels. His meander patterns, unlike those of his master, can be careless, as with the Providence Painter. A characteristic of his style is his depiction of the eyes with a concave bottom and a convex top.

paragraph: The largest share of Hermonax' surviving work depicts Dionysiac themes.

paragraph: Section::::Appraisal.

paragraph: As Beazley states, "Sound and able as Hermonax's work generally is, he only once shows himself a remarkable artist, and that is not on any of his signed vases, but on the Munich stamnos...with the Birth of Erichthonios - Hauser has pointed out what was modern in that vase when it was painted; how the painter rejects the old-fashioned agreements of figure, face, and dress, and turns to a new kind of simplicity and truthfulness: new in his day, and fresh still, because the artist put his own thought, his own feeling into his shapes, and that keeps them alive and green."

paragraph: As the 'brother' of the Providence Painter, he is seen as less technically proficient.

paragraph: Section::::Selected works.

paragraph: BULLET::::- Adria, Museo Civico

paragraph: BULLET::::- Agrigento, Museo Archeologico Regionale

paragraph: BULLET::::- Altenburg, Staatliches Lindenau-Museum

paragraph: BULLET::::- Ancona, Museo Archeologico Nazionale

paragraph: BULLET::::- Argos, Archaeological Museum

paragraph: BULLET::::- Athens, Agora Museum

paragraph: BULLET::::- Athens, Acropolis Museum

paragraph: BULLET::::- Athens, National Archaeological Museum

paragraph: BULLET::::- Baltimore, Walters Art Museum

paragraph: BULLET::::- Barcelona, Museo Arqueologico

paragraph: BULLET::::- Basel, Antikenmuseum Basel and Sammlung Ludwig

paragraph: BULLET::::- Berne, Historisches Museum

paragraph: BULLET::::- Bologna, Museo Civico Archeologico

paragraph: BULLET::::- Boston, Museum of Fine Arts

paragraph: BULLET::::- Boulogne, Musée Communal

paragraph: BULLET::::- Bristol, City Museum

paragraph: BULLET::::- Brussels, Musées Royaux des Beaux-Arts

paragraph: BULLET::::- Bryn Mawr, Bryn Mawr College

paragraph: BULLET::::- Cambridge, Massachusetts, Harvard University, Arthur M. Sackler Museum

paragraph: BULLET::::- Catania, Museo Civico

paragraph: BULLET::::- Chicago, University of Chicago

paragraph: BULLET::::- Christchurch, University of Canterbury

paragraph: BULLET::::- Cologne, Cologne University

paragraph: BULLET::::- Columbia, Missouri, Museum of Art & Archeology

paragraph: BULLET::::- Corinth, Archaeological Museum

paragraph: BULLET::::- Dresden, Albertinum

paragraph: BULLET::::- Ferrara, Museo Nazionale di Spina

paragraph: BULLET::::- Florence, Museo Archeologico Etrusco

paragraph: BULLET::::- Gela, Museo Archeologico

paragraph: BULLET::::- Glasgow, Museum & Art Gallery

paragraph: BULLET::::- Gotha, Schlossmuseum

paragraph: BULLET::::- Göttingen, Georg-August-Universität

paragraph: BULLET::::- Hartford, Wadsworth Atheneum

paragraph: BULLET::::- Heidelberg, Ruprecht-Karls-Universität

paragraph: BULLET::::- Innsbruck, University

paragraph: BULLET::::- Istanbul, Archaeology Museum

paragraph: BULLET::::- Karlsruhe, Badisches Landesmuseum

paragraph: BULLET::::- Kassel, Museum Schloß Wilhelmshöhe

paragraph: BULLET::::- Lancut, Castle Museum

paragraph: BULLET::::- London, British Museum

paragraph: BULLET::::- London, Victoria & Albert Museum

paragraph: BULLET::::- Los Angeles, County Museum of Art

paragraph: BULLET::::- Madrid, Museo Arqueológico Nacional

paragraph: BULLET::::- Mainz, Johannes Gutenberg Universität

paragraph: BULLET::::- Manchester, City Art Gallery & Museum

paragraph: BULLET::::- Mannheim, Reiss-Museum

paragraph: BULLET::::- Marseilles, Musée Borely

paragraph: BULLET::::- Melfi, Museo Nazionale del Melfese

paragraph: BULLET::::- Metaponto, Museo Civico

paragraph: BULLET::::- Montreal, Museum of Fine Arts

paragraph: BULLET::::- Moscow, Pushkin Museum

paragraph: BULLET::::- Munich, Glyptothek and Antikensammlung

paragraph: BULLET::::- Münster, Archaeological Museum of Münster University

paragraph: BULLET::::- Naples, Museo Archeologico Nazionale

paragraph: BULLET::::- Naples, Palazzo di San Nicandro (Museo Mustilli)

paragraph: BULLET::::- New York, Metropolitan Museum of Art

paragraph: BULLET::::- Norwich, Castle Museum

paragraph: BULLET::::- Orvieto, Museo Civico (Collezione Faina)

paragraph: BULLET::::- Oxford, Ashmolean Museum

paragraph: BULLET::::- Paestum, Museo Archeologico Nazionale

paragraph: BULLET::::- Palermo, Collezione Collisani

paragraph: BULLET::::- Palermo, Museo Archeologico Regionale

paragraph: BULLET::::- Paris, Bibliothèque Nationale, Cabinet des Médailles

paragraph: BULLET::::- Paris, Musée National du Louvre

paragraph: BULLET::::- Rhodes, Archaeological Museum

paragraph: BULLET::::- Rome, Museo Nazionale di Villa Giulia

paragraph: BULLET::::- Samothrace, Archaeological Museum

paragraph: BULLET::::- St. Louis, St. Louis Art Museum

paragraph: BULLET::::- San Simeon, Hearst Corporation

paragraph: BULLET::::- St. Petersburg, Eremitage

paragraph: BULLET::::- Sarajevo, Zemaljski muzej Bosne i Hercegovine

paragraph: BULLET::::- Stockholm, Medelhavsmuseum

paragraph: BULLET::::- Syracuse, Museo Archeologico Regionale Paolo Orsi

paragraph: BULLET::::- Tampa, Tampa Museum of Art

paragraph: BULLET::::- Trieste, Museo Storia ed Arte

paragraph: BULLET::::- Tübingen, Eberhard-Karls-Universität

paragraph: BULLET::::- Vatican City, Museo Gregoriano Etrusco Vaticano

paragraph: BULLET::::- Vienna, Kunsthistorisches Museum

paragraph: BULLET::::- Vienna, Vienna University

paragraph: BULLET::::- Wiesbaden, Landesamt

paragraph: BULLET::::- Würzburg, Martin von Wagner Museum

paragraph: BULLET::::- Zürich, Zurich University

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Hanns E. Langenfass: "Hermonax. Untersuchungen zur Chronologie". München, Univ., Diss. 1972.

paragraph: BULLET::::- John H. Oakley: Athamas, Ino, Hermes, and the Infant Dionysos. A Hydria by Hermonax. "Antike Kunst" 25 (1982), p. 44-47.

paragraph: BULLET::::- Cornelia Isler-Kerényi: Hermonax in Zürich, 1. Ein Puzzle mit Hermonaxscherben. "Antike Kunst" 26 (1983), p. 127-135.

paragraph: BULLET::::- Cornelia Isler-Kerényi: Hermonax in Zürich, 2. Die Halsamphora Haniel. "Antike Kunst" 27 (1984), p. 54-57.

paragraph: BULLET::::- Cornelia Isler-Kerényi: Hermonax in Zürich, 3. Der Schalenmaler. "Antike Kunst" 27 (1984), p. 154-165.

paragraph: BULLET::::- Cornelia Isler-Kerényi: Hieron und Hermonax. In: "Ancient Greek and related pottery. Proceedings of the international vase symposium, Amsterdam 12–15 April 1984" (Amsterdam 1984), p. 164.

paragraph: BULLET::::- Cornelia Isler-Kerényi: Hermonax e i suoi temi dionisiaci. In: "Images et sociétés en Grèce ancienne. L'iconographie comme méthode d'analyse. Actes du Colloque international, Lausanne 8-11 février 1984" (Lausanne 1987), p. 169-175.

paragraph: Section::::External links.

paragraph: BULLET::::- Works by Hermonax in the Louvre/a

paragraph: BULLET::::- Vases by Hermonax at Perseus

description: Ancient Greek vase painter

wikidata_label: Hermonax

wikipedia_title: Hermonax