text: photographer

text: photojournalist

text: Spanish Civil War

text: Magnum Photos

text: Henri Cartier-Bresson

text: Robert Capa

text: George Rodger

text: UNICEF

text: World War II

text: Suez crisis

text: Warsaw

text: World War I

text: Leipzig

text: Paris

text: Sorbonne

text: Sorbonne

text: Paris

text: Regards

text: Spanish Civil War

text: Robert Capa

text: World War II

text: Life

text: Look

text: Paris-Match

text: UNICEF

text: Edward Steichen

text: MoMA

text: The Family of Man

text: Magnum Photos

text: Robert Capa

text: Henri Cartier-Bresson

text: 1956 Suez Crisis

text: Ben Shneiderman

text: war orphan

text: Sophia Loren

text: Bernard Berenson

text: Borghese Gallery

text: Pablo Picasso

text: Guernica

text: Henri Barbusse

text: Arturo Toscanini

text: Ingrid Bergman

text: Roberto Rossellini

text: Audrey Hepburn

text: Richard Avedon

text: International Center of Photography

text: The Art Gallery at the University of Maryland

text: Corcoran Gallery of Art

text: George Eastman House

text: de Young

text: National Gallery of Art

text: The Art Institute of Chicago

text: de Young

text: Victoria and Albert Museum

text: The Mexican Suitcase

text: The Photographs of David Seymour

text: NPR Story: Reflections from the Heart

text: UMD Professor Ben Shneiderman on David "Chim" Seymour

text: Library of Congress blog

text: Video

text: Chim Home Page

categories: Deaths by firearm in Egypt,Polish emigrants to the United States,American army personnel of World War II,Magnum photographers,American photojournalists,1956 deaths,Journalists killed while covering military conflicts,1911 births,Polish photojournalists,United States Army soldiers,American people of Polish-Jewish descent

paragraph: David Seymour (photographer)

paragraph: David Seymour (born Dawid Szymin; November 20, 1911 – November 10, 1956), or Chim (pronounced "shim", an abbreviation of the surname "Szymin"), was a Polish photographer and photojournalist.

paragraph: Chim was known for his images from the Spanish Civil War, for co-founding Magnum Photos with Henri Cartier-Bresson, Robert Capa and George Rodger, and for his project "Children of War" with UNICEF that captured the plight of children in the aftermath of World War II.

paragraph: He became president of Magnum after Capa's death in 1954 and held this post until his own death in 1956 by Egyptian machinegun fire in the aftermath of the Suez crisis.

paragraph: Section::::Early life.

paragraph: Chim was born to Polish Jewish parents in Warsaw in 1911. David had a sister, Eileen, who was three years older. Their parents were Regina and Benjamin Szymin, a respected publisher of Yiddish and Hebrew books. In 1914 Chim and his parents emigrated to Odessa just as World War I had begun. In 1919 they returned to Warsaw. Chim studied graphic arts in Leipzig and then traveled to Paris to study at the Sorbonne.

paragraph: Section::::Career.

paragraph: It was while Chim was studying at the Sorbonne in Paris that he became interested in photography. He began working as a freelance journalist in 1933. His first "credited" published photograph appeared in 1934 in the magazine "Regards."

paragraph: Between 1936 and 1938 Chim covered the Spanish Civil War (alongside colleague Robert Capa) and other international political events. In February 1935 Chim was sent to Spain by "Regards" to report on crucial issues there. Twenty five of his stories on Spain ended up being published in "Regards."

paragraph: In 1939 he covered the Loyalist Spanish war refugees on the S.S. Sinaia to Mexico and then later in the year he arrived in the United States. Chim was in New York City when World War II broke out in Europe when Nazi Germany invaded Poland, Chim's birthplace. In 1940 he enlisted in the United States Army, serving in Europe as a photo interpreter during the war. In 1942 he became a naturalized citizen of the United States, the same year that his parents were killed by the Nazis. Chim photographed for "Life", along with "Look," "Paris-Match" and "Regards."

paragraph: In 1948 he received a commission through UNICEF and traveled to Austria, Hungary, Italy, Poland and Germany to document the plight of World War II refugee children. Inge Bondi, Chim scholar, said:

paragraph: Chim's heart had always gone out to children, and they reacted to him with complete acceptance. They seemed oblivious of him, but he noticed every little movement, every little pain, every little pleasure. There is no artifice, no bravura of lighting expertise in Chim's photographs of the children. They speak simply from his pictures, as if alive. This intellectual, so adept at analyzing the most complex political situations, so comfortable photographing heads of state, produced his greatest photographs to help children in need.

paragraph: Between 1949 and 1955 Chim travelled extensively throughout Europe and Israel, fulfilling assignments for major publications in Europe and the United States. Edward Steichen included his imagery, including his simple but eloquent picture of the worn hands of an older worker clutching a dip-pen to practice the letter 'a', in MoMA's 1955 world-touring The Family of Man, seen by 9 million visitors.

paragraph: Section::::Magnum Photos.

paragraph: In 1947, Chim co-founded the Magnum Photos photography cooperative, together with Robert Capa and Henri Cartier-Bresson, whom he had befriended in Paris in the 1930s. As Inge Bondi, Chim scholar, stated:

paragraph: Photojournalism was about to enter a golden decade. Television was not yet available to broadcast world events, and editors and the public were eager for news, from which they had been cut off during the fascist years and war years.

paragraph: After Capa's death in 1954, Chim became president of Magnum Photos. He held that post until his death on November 10, 1956.

paragraph: Section::::Death.

paragraph: On November 10, 1956, Chim was killed while driving to photograph an exchange of wounded soldiers at El Quantara (along with French photographer Jean Roy) by Egyptian machinegun fire four days after the armistice of the 1956 Suez Crisis, ten days before his 45th birthday.

paragraph: Chim's work remains available by way of Magnum Photos and his estate is managed by nephew Ben Shneiderman and niece Helen Sarid.

paragraph: Section::::Photographic portraits.

paragraph: Chim's reputation for his photos of war orphans was magnified by his later work in photographing famous people of his time. These included:

paragraph: BULLET::::- Sophia Loren, at home, Naples, Italy (1955)

paragraph: BULLET::::- Bernard Berenson, at 90, visiting Borghese Gallery, Rome, Italy (1955)

paragraph: BULLET::::- Pablo Picasso, in front of detail of Guernica, France (1937)

paragraph: BULLET::::- Henri Barbusse, along with leading left-wing intellectuals in his office at the literary journal "Monde", Paris France (1935)

paragraph: BULLET::::- Arturo Toscanini, at his home, Milan (1954)

paragraph: BULLET::::- Ingrid Bergman, 35 portraits of Ingrid Bergman, Rome, Italy (1952–1956)

paragraph: BULLET::::- Roberto Rossellini, and family (1956)

paragraph: BULLET::::- Audrey Hepburn, 14 portraits (1956)

paragraph: BULLET::::- Richard Avedon, Paris, France (1956)

paragraph: Section::::Exhibitions.

paragraph: BULLET::::- "Chim: The Photos of David Seymour", 1996, International Center of Photography, New York City.

paragraph: BULLET::::- ""Close Enough"", 1999, The Art Gallery at the University of Maryland, College Park.

paragraph: BULLET::::- "Reflections from the Heart", September–December 2006, Albin O. Kuhn Library Gallery; March – June 2006, The Corcoran Gallery of Art; January–April 2007, George Eastman House.

paragraph: BULLET::::- "Photographs by David Seymour (Selections from George Eastman House)," May–September 9, 2007, International Center of Photography, New York City.

paragraph: BULLET::::- "Chim: The Photography of David Seymour (1911–1956)", September 2007 – February 2008, the de Young, San Francisco.

paragraph: BULLET::::- "The Mexican Suitcase," September 2010 – January 2011, International Center of Photography, New York City.

paragraph: BULLET::::- "Chim/Gamboa Exhibition: The Mexican Connection", December 2010 – March 2011, El Centro de la Imagen, Mexico City.

paragraph: BULLET::::- "ChimRetrospective", October–February 2011, the Jewish Museum, Brussels.

paragraph: BULLET::::- "ChimRediscovered / Chim retrouvé," December 2012 – January 2013, CLAIR Galerie, St. Paul de Vence, Nice, France.

paragraph: BULLET::::- "Chim(David Seymour)," February–March, Galerie Walter Keller, Zürich.

paragraph: BULLET::::- "Photographs by David "Chim" Seymour and Roman Vishniac," February 2013, Howard Greenberg Gallery, New York City.

paragraph: BULLET::::- "We Went Back: Photographs from Europe 1933–1956 by Chim", January–May 2013, International Center of Photography, New York City.

paragraph: BULLET::::- "David Seymour (Chim): A Celebration of Chim," September–October 2013, Leica Gallery, Washington, DC.

paragraph: BULLET::::- "Capturing History:The Photography of Chim" 29 March 2017 – Museum of the Jewish People at Beit Hatfutsot Tel Aviv

paragraph: BULLET::::- "David Seymour (Chim)," October 2018 – March 2019 Jewish Historical Museum Amsterdam.

paragraph: Section::::Public collections.

paragraph: Chim's work is held in the following public collections:

paragraph: BULLET::::- National Gallery of Art, Washington, DC

paragraph: BULLET::::- The Art Institute of Chicago, Chicago, IL

paragraph: BULLET::::- The de Young, San Francisco, CA

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

paragraph: Section::::Bibliography.

paragraph: BULLET::::- "Krieg in Spanien (War in Spain)," by S.L. Shneiderman, Photos by Chim, Warsaw, Poland: Yiddish Universal Library, 1938.

paragraph: BULLET::::- "Children of Europe." Photographs by David Seymour, 1949.

paragraph: BULLET::::- "The Vatican." Photographs by David Seymour, 1950.

paragraph: BULLET::::- "Little Ones." Photographs by David Seymour, 1957.

paragraph: BULLET::::- "Chim (David Seymour), 1911–1956." Paris: Michel Brient, 1966.

paragraph: BULLET::::- "David Seymour ("Chim")" Paragraphic Editor: Anna Farova - Associate Editors: Cornell Capa & Sam Holmes, New York City: Grossman Publishers, 1966.

paragraph: BULLET::::- "The Concerned Photographer." Photographs by David Seymour, 1968.

paragraph: BULLET::::- "Israel/The Reality - People, Places, Events in Memorable Photographs," Edited by Cornell Capa, Micha Bar-am, Karl Katz & Arnold Saks, New York City: The World Publishing Company in association with the Jewish Museum, 1969.

paragraph: BULLET::::- "David Seymour Chim, 1911–1956." Photographs by David Seymour, 1974.

paragraph: BULLET::::- "David Seymour--"Chim."" ICP Library of Photographers Editors: Cornell Capa and Bhupendra Karia, New York City: Grossman Publishers, 1974.

paragraph: BULLET::::- "Front Populaire," photographs by Robert Capa and David Seymour-Chim, Paris, France: Chene-Magnum, 1976.

paragraph: BULLET::::- "Les Grandes Photos de la Guerre d'Espagne." Photographs by Robert Capa, David Seymour-Chim,' 1980.

paragraph: BULLET::::- "In Our Time. The World as Seen by Magnum Photographers." Text by William Manchester. Norton, New York City, 1989.

paragraph: BULLET::::- "Chim. The Photographs of David Seymour." Photographs by Chim (David Seymour). Bulfinch, Boston, 1996.

paragraph: BULLET::::- "Chim: The Photographs of David Seymour." Bondi, Inge. Boston, 1996.

paragraph: BULLET::::- "Magnum. Fifty Years at the Front Line." Text by Russell Miller. New York City, 1998.

paragraph: BULLET::::- "Close Enough. Photographs by Chim (David Seymour)." College Park, 1999.

paragraph: BULLET::::- "David Seymour, Chim." Valencia, 2003.

paragraph: BULLET::::- "David Seymour (Chim)." Beck, Tom. London and New York City, 2005.

paragraph: BULLET::::- "Chim: Children of War." Naggar, Carole. Umbrage Editions, 2013.

paragraph: BULLET::::- "David Seymour: Vies de Chim." Naggar, Carole. Contrejour, 2014.

paragraph: Section::::Filmography.

paragraph: BULLET::::- "The Mexican Suitcase." Dir. Trisha Ziff. 212 Berlin, 2011. Film.

paragraph: BULLET::::- "Chim's Children of Europe." 2013. 7-minute video.

paragraph: Section::::External links.

paragraph: BULLET::::- The Photographs of David Seymour

paragraph: BULLET::::- NPR Story: Reflections from the Heart

paragraph: BULLET::::- UMD Professor Ben Shneiderman on David "Chim" Seymour

paragraph: BULLET::::- Library of Congress blog and Video

paragraph: BULLET::::- Library of Congress website for David Seymour Collection

paragraph: BULLET::::- Chim Home Page

alias:
Dawid Szymin
Chim
David Seymour- Chim
David Szymin
David Seymour-Chim
David Chim-Seymour
Chim Seymour

description: Polish photographer and photojournalist

wikidata_label: David Seymour

wikipedia_title: David Seymour (photographer)


text: Shimoda

text: Izu Peninsula

text: Honshū

text: samurai

text: Edo

text: Tokyo

text: painting

text: daguerreotype

text: Holland

text: Tokugawa

text: Yokohama

text: camera

text: panoramic

text: Yokohama

text: portrait

text: Japan Photographic Society

text: Meiji era

text: Ukai Gyokusen

text: ambrotype

text: portrait

text: Edo

text: Ueno Hikoma

text: Nagasaki

text: Yokohama

text: Uchida Kuichi

text: Shima Kakoku

text: Yokoyama Matsusaburō

text: Esaki Reiji

text: Tokyo Digital Museum

paragraph: Shimooka Renjō

paragraph: Section::::Early life.

paragraph: He was born with the name Sakurada Hisanosuke in Shimoda on the Izu Peninsula in central Honshū to a samurai family. When he was thirteen years old he moved to Edo (Tokyo) to study painting and serve as an apprentice to a stock merchant. In 1843 he served as a samurai in the Shimoda artillery battery where he may have been first introduced to daguerreotypes from Holland. However, some accounts say that he was not exposed to photography until he returned to Edo to study art, becoming a student of Kanō Tōsen, the famous painter. These accounts report that he saw a Dutch photograph at the home of a Tokugawa clan member. He began studying photography when he could, and moved to Yokohama in 1859 or 1860 where he would begin his career in photography.

paragraph: Section::::Photography.

paragraph: Renjō acquired his first camera in 1861 from the American photographer John Wilson by trading it for a painting of a panoramic scene. Shortly thereafter he abandoned his studies in painting and pursued photography as a career. He opened a photographic studio in Yokohama in 1862, one of the first in the country. He continued to open studios in the city, primarily focusing on portraiture, and changed his name to Shimooka Renjō in 1865. He taught many photographic students and apprentices before leaving his businesses to his pupils in 1877. He was elected to the Japan Photographic Society in 1893.

paragraph: Section::::Photography.:Significance.

paragraph: Renjō’s significance to the history of photography lies in the fact that he helped introduce and spread photography throughout industrializing, Meiji era Japan. His commercial studio in Yokohama was thought to be the absolute first in the country for many years. Recent discoveries have found that Ukai Gyokusen had opened an ambrotype portrait studio in Edo only a year or two before Renjō opened his studio in 1862. Ueno Hikoma, a chemist, began operating a studio in Nagasaki later the same year. Despite this, Renjō was still one of the nation’s first professional photographers, and one of the most successful. He opened several additional studios and businesses across Yokohama during his career. (Other contemporaries of Renjō included Uchida Kuichi and Shima Kakoku.)

paragraph: In addition to being a pioneer of the art, Renjō also helped to establish photography in Japan by teaching it to many of his other countrymen. For example, he was the teacher of the great photographer Yokoyama Matsusaburō, starting in 1864. He also taught many other students including: Usui Shusaburo, Esaki Reiji, and Suzuki Shinichi I and II. He was honored by the government of Tokyo before his death for his influence, and was elected to join the Japan Photographic Society in 1893.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Morishige Kazuo, "Shimooka Renjo: Pioneer Of Japanese Photography (Japanese and English Edition)". Tokyo: Kokushokankokai (February 2, 2015). .

paragraph: BULLET::::- Ishiguro Keishō, ed., "Genteiban: Shimooka Renjō shashinshū" (Shimooka Renjō: The Pioneer Photographer in Japan) (Tokyo: Shinchōsha, 1999).

paragraph: BULLET::::- Kinoshita Naoyuki, "ShashingaronL Shashin to kaiga no kekkon" (On the Photographic Image: The Marriage of Photography and Painting) (Tokyo: Iwanami Shoten, 1996).

paragraph: BULLET::::- Worswick, Clark, ed., "Japan: Photographs, 1845-1905" (New York: Penwick/Knopf, 1979).

paragraph: BULLET::::- Yokohama Archives of History, "Yokohama shashin shōshi" (A Concise History of Yokohama Photographs), in "F. Beat bakumatsu Nihon shashinshū" (A Collection of Photographs from Mid-Eighteenth Century Japan by F. Beato) (Yokohama: Yokohama Kaikō Shiryōkan, 1987).

paragraph: BULLET::::- "Nihon no shashin: Uchinaru katachi. Sotonaru katachi, Dai-ichi bu: Torai kara 1945 nen made" (Japanese Photography: From In/Out, Part 1: From Its Introduction to 1945), exh. Cat. In Japanese and English (Tokyo: Tokyo Metropolitan Museum of Photography, 1996).

paragraph: BULLET::::- "Shashin torai no koro" (The Advent of Photography in Japan), exh. Cat. In Japanese and English (Tokyo: Tokyo Metropolitan Museum of Photography, and Hakodate: Hakodate Museum of Art, 1997).

paragraph: BULLET::::- Tokyo Metropolitan Museum of Photography, editor. 328 Outstanding Japanese Photographers (『日本写真家事典』 Nihon shashinka jiten). Kyoto: Tankōsha, 2000.

paragraph: BULLET::::- Rousmaniere, Nicole. C., & Hirayama, Mikiko, ed., "Reflecting Truth: Japanese Photography in the Nineteenth Century". Hotei Publishing: Amsterdam. 2004. .

paragraph: BULLET::::- March, Phillip, & Delank, Claudia, ed. "The Adventure of Japanese Photography 1860 – 1890".Kehrer Verlag Heidelberg, 2002. .

paragraph: Section::::External links.

paragraph: BULLET::::- Tokyo Digital Museum

paragraph: BULLET::::- Japan Times article - Shimooka Renjo: Back in Focus

alias:
Shimooka Renjo
Shimooka Renjou

description: Japanese photographer

wikidata_label: Shimooka Renjō

wikipedia_title: Shimooka Renjō


text:
Matsuzaki
Shizuoka
Shimoda
tsunami
Ansei great earthquakes
sericulture
Yokohama
Shimooka Renjō
J. R. Black
The Far East
Suzuki Shin'ichi II
Yokoyama Matsusaburō
Tokyo
Maruki Riyō
Emperor Meiji
Sargent, Farsari & Co.
Keeling's Guide to Japan
Japan Directory
daguerreotype
hand-coloured
albumen print
Izaburō
Suzuki

paragraph: Suzuki Shin'ichi I

paragraph: Suzuki was born as the third son of a family named Takahashi) in Iwashina () (now Matsuzaki, Shizuoka) in July 1835. Both his parents died when he was young, and in 1854 he moved into the Suzuki family (by the custom known as "muko-iri" []) in Shimoda when he married Suzuki Yoshichi's daughter, working in the family "aramono" business. The same year, a major tsunami (resulting from one of the Ansei great earthquakes) destroyed the building and ended the business.

paragraph: At first working in sericulture, Suzuki often traveled to Yokohama, where he soon apprenticed at the Yokohama photographic studio of Shimooka Renjō in 1867. In 1872–1873 he was commissioned by J. R. Black, publisher of "The Far East", to produce a photographic series documenting rural life. Images from this series continued to appear in Suzuki albums until the 1880s. In November 1873 Suzuki set up his own studio, producing portraits and souvenir albums. The same year, Okamoto Keizō , a successor of his at Shimooka's studio, married Suzuki's daughter, and Okamoto joined the Suzuki family ("muko-iri" again). Okamoto became Suzuki Shin'ichi II, and the older photographer thereupon changed his own name. About this time Suzuki may have studied photography under Yokoyama Matsusaburō. In 1884 he moved to a newly built, western-style two-storey studio. A branch studio was opened in Kudanzaka, Tokyo and operated by Suzuki II. Suzuki's photographs were highly acclaimed and he won an award for them in 1877, and in 1889 he and Maruki Riyō were commissioned to photograph Emperor Meiji and his wife. Purchasers of his works were mostly foreign residents and visitors, and in addition to sales from his own studio, Suzuki's photographs were distributed by Sargent, Farsari & Co. His studio was advertised as early as 1880, in "Keeling's Guide to Japan", and subsequently in the "Japan Directory" until 1908, offering daguerreotypes, photographs (including large format hand-coloured albumen prints), and Suzuki's innovation of photographs printed on porcelain, the latter selling for 12 yen each. These advertisements indicate that from 1893 the Yokohama studio was run by I. S. Suzuki, that is, Suzuki's son Izaburō. Suzuki Shin'ichi retired in 1892 and he died in December 1918 at the age of 83.

paragraph: Section::::References.

paragraph: BULLET::::- Bennett, Terry. "Old Japanese Photographs: Collector's Data Guide" London: Quaritch, 2006. (hard)

paragraph: BULLET::::- Bennett, Terry. "Photography in Japan: 1853–1912" Rutland, Vermont: Charles E. Tuttle, 2006. (hard)

paragraph: BULLET::::- "Nihon no shashinka" () / "Biographic Dictionary of Japanese Photography." Tokyo: Nichigai Associates, 2005. . Pp. 223–4. Despite the English-language alternative title, all in Japanese.

paragraph: BULLET::::- Kaneko Ryūichi. "Suzuki Shin'ichi". "Nihon shashinka jiten" () / "328 Outstanding Japanese Photographers." Kyoto: Tankōsha, 2000. . P.186. Despite the English-language alternative title, all in Japanese.

paragraph: BULLET::::- Yokoe, Fuminori. 'Part 3-3. Yokoyama Matsusaburo (1838-1884).' In "The Advent of Photography in Japan/Shashin torai no koro", Tokyo Metropolitan Museum of Photography, and Hakodate Museum of Art, Hokkaido, eds. (Tokyo: Tokyo Metropolitan Foundation for History and Culture; Tokyo Metropolitan Museum of Photography; Hokkaido: Hakodate Museum of Art, 1997).

paragraph: Section::::External links.

paragraph: BULLET::::- Suzuki within the Matsuzaki town site

alias:
S. Suzuki
Shinichi Suzuki
Shinichi Suzuki (I)

description: Japanese photographer

wikidata_label: Suzuki Shin'ichi I

wikipedia_title: Suzuki Shin'ichi I


text:
Italian
Italian Chamber of Deputies
Senator
Livorno
Napoleonic era
Jew
John Stuart Mill
liberal
problems of southern Italy
meridionalism
Sidney Sonnino
Sicily
the Mafia
Giovanni Falcone
Eritrea
rinderpest
1890s African rinderpest epizootic
Città di Castello
Alice Hallgarten
Villa della Montesca
Maria Montessori
Montessori Method
Caporetto
World War I

categories: Franchetti family,1847 births,Jewish Italian politicians,19th-century Sephardi Jews,1917 deaths,Jewish writers,19th-century Italian people,Historians of the Sicilian Mafia,Italian people of Tunisian-Jewish descent

paragraph: Leopoldo Franchetti

paragraph: Leopoldo Franchetti (; 31 May 1847 – 4 November 1917) was an Italian publicist and politician. He was a deputy in the Italian Chamber of Deputies and later became a Senator. He was very active in promoting education and concrete solutions for economic, social and political problems in Italy.

paragraph: Section::::Early life.

paragraph: Franchetti was born in Livorno into a family in good standing. The Franchetti family came to Livorno from Tunisia in the last decades of the eighteenth century. From the Napoleonic era to the second half of the 1830s they were one of the most important families in the local Jewish community.

paragraph: Leopoldo Franchetti was influenced by the ideas of John Stuart Mill and became a liberal. His relation with his Jewishness was so conflictual that no trace of it can be found in his public activity. In 1873 he took a sabbatical in southern Italy and became one of the foremost authorities regarding the "problems of southern Italy", and pioneer of meridionalism.

paragraph: Section::::Inquiry into the Mafia.

paragraph: In 1876, Franchetti travelled to Sicily with Sidney Sonnino to conduct an unofficial inquiry into the state of Sicilian society. In 1877, the two men published their research on Sicily in a substantial two-part report. In the first part Sonnino analysed the lives of the island's landless peasants. Franchetti's half of the report, "Political and Administrative Conditions in Sicily", was an analysis of the Mafia in the nineteenth century that is still considered authoritative today. Franchetti would ultimately influence thinking about the Mafia more than anyone else until Giovanni Falcone over a hundred years later. "Political and Administrative Conditions in Sicily" is the first convincing explanation of how the Mafia came to be.

paragraph: Franchetti saw the Mafia as an “industry of violence” and described the designation of the term “Mafia”: “the term mafia found a class of violent criminals ready and waiting for a name to define them, and, given their special character and importance in Sicilian society, they had the right to a different name from that defining vulgar criminals in other countries”. He saw the Mafia as deeply rooted in Sicilian society and impossible to quench unless the very structure of the island’s social institutions were to undergo a fundamental change. The Franchetti-Sonnino report was attacked, disbelieved and labelled as ‘unpatriotic’. It is now considered one of the most coherent and comprehensive accounts of the Sicilian mafia and its surroundings.

paragraph: Section::::In Eritrea.

paragraph: Franchetti, as an agricultural advisor of the Italian government in Eritrea, estimated that there was plenty of land and few people in Eritrea and recommended the colonisation of the highlands by Italian settlers. He undertook the first land expropriations in 1893 with the vision that two million Italian peasants would settle down in Eritrea. Large tracts of land were declared public and all grazing land was declared state owned, which was a clear interference with the traditional land right system in the highlands.

paragraph: However, the highlands were only sparsely populated because of the great famine in 1888–92 as a result of rinderpest (see 1890s African rinderpest epizootic) and subsequent epidemics. Returning to their villages they had abandoned because of the famine, they saw their land confiscated. Riots and revolts broke out. Most of the Italian settlers returned to Italy in dismay.

paragraph: Section::::Civil passion.

paragraph: In 1880 Franchetti moved to Città di Castello and in 1900 married Alice Hallgarten born in New York in 1874, with whom he moved into the recently completed Villa della Montesca. The educator and reformer Maria Montessori organised with her a seminar which gave life to the first publication of the Method for Scientific Pedagogy, universally known as the Montessori Method and held her first training course for teachers in 1909 at Villa della Montesca.

paragraph: Franchetti died of mysterious causes, perhaps suicide, after the dawn of the defeat in the Caporetto in World War I and left his estate to a charitable organization and his farm to the farmers who worked it.

paragraph: Section::::References.

paragraph: BULLET::::- Dickie, John (2004). "Cosa Nostra. A history of the Sicilian Mafia", London: Coronet

paragraph: BULLET::::- Gambetta, Diego (1993)."The Sicilian Mafia: The Business of Private Protection", London: Harvard University Press,

paragraph: BULLET::::- Servadio, Gaia (1976). "Mafioso. A history of the Mafia from its origins to the present day", London: Secker & Warburg

description: Italian writer

wikidata_label: Leopoldo Franchetti

wikipedia_title: Leopoldo Franchetti


text:
Sakata
Yamagata Prefecture
Tetsuro Watsuji
Nihon University
Nippon Kōbō
Nippon
Kokusai Bunka Shinkōkai
Ihei Kimura
Hiroshi Hamaya
Chikuhō
Kyūshū
Kōtō
Domon Ken Award
Mainichi Shimbun
Domon Ken Photography Museum
Sakata
Roy Andrew Miller
Teshigahara Sōfu
Shigeo Hayashi
Tadahiko Hayashi
Kōyō Ishikawa
Kōyō Kageyama
Shunkichi Kikuchi
Ihei Kimura
Kōji Morooka
Minoru Ōki
Maki Sekiguchi
Ginza
Shōtarō Akiyama
Hiroshi Hamaya
Ihei Kimura
Tadahiko Hayashi
Toshio Fukada
Kikujirō Fukushima
Shigeo Hayashi
Kenji Ishiguro
Shunkichi Kikuchi
Mitsugi Kishida
Eiichi Matsumoto
Yoshito Matsushige
Shōmei Tōmatsu
Hiromi Tsuchida
Yōsuke Yamahata
Natori Younosuke
Kimura Ihei
Miki Jun
Hiroshi Hamaya
Tadahiko Hayashi
Eikoh Hosoe
Yasuhiro Ishimoto
Kikuji Kawada
Ihei Kimura
Shigeichi Nagano
Ikkō Narahara
Takeyoshi Tanuma
Shōmei Tōmatsu
Yamaguchi Prefectural Museum of Art
Szarkowski, John
Shōji Yamagishi
Domon Ken Photography Museum
Domon Ken Photography Museum
Domon Ken
Review

categories: People from Yamagata Prefecture,Japanese photojournalists,1990 deaths,1909 births,Portrait photographers,Nihon University alumni,Street photographers

paragraph: Ken Domon

paragraph: Section::::Biography.

paragraph: Domon was born in Sakata, Yamagata Prefecture, and, as a young man, was deeply influenced by the philosophical writings of Tetsuro Watsuji. He studied law at Nihon University, but was expelled from the school due to his participation in radical politics. He moved from painting to portrait photography, and obtained a position with Kotaro Miyauchi Photo Studio in 1933. In 1935 he joined Nippon Kōbō to work on its magazine "Nippon." Four years later he moved to Kokusai Bunka Shinkōkai, a national propaganda organization; like Ihei Kimura and many other notable Japanese photographers, he helped the war effort.

paragraph: With the end of the war, Domon became independent and documented the aftermath of the war, focusing on society and the lives of ordinary people. He became known as a proponent of realism in photography, which he described as, "an absolute snapshot that is absolutely not dramatic." He was a prolific contributor to photographic magazines, revived or started afresh through the early 1950s. With Kimura, Hiroshi Hamaya and others, he rejected posed and other artful photographs; in his polemics in the photographic magazines, Domon was the most forceful exponent of this view. He famously defined his goal as "the direct connection between camera and motif."

paragraph: Among Domon's most powerful images are those taken in the first decade or so after the war, particularly those of the survivors of the atomic bombing of Hiroshima, the life and particularly the children in a poor coal-mining community in Chikuhō, Kyūshū), and the improvised play of children in Kōtō, Tokyo.

paragraph: In 1958 Domon was awarded the Mainichi Photography Award and the Photographer of the Year Award from the Japan Photo Critics Association. He was given the Award of Arts award from the Ministry of Education in 1959 and the Japan Journalist's Congress Award in 1960. Domon suffered strokes in 1960 and 1968, which eventually prevented him from holding a camera and confined him to a wheelchair. This did not deter him from photography, and in documenting the traditional culture of Japan. He traveled energetically around the country, photographing its Buddhist temples in what would become an imposing series of luxuriously produced books. In 1963 he began work on the major work of his life, "Koji junrei" (1963–1975). Concerning his photographs of Japan's traditional culture, Domon wrote, "I am involved with the social realities of today, at the same time that I am involved with the traditions and classical culture of Nara and Kyoto, and these two involvements are linked by their common search for the point in which they are related to the fate of the people, the anger, the sadness, the joys of the Japanese people."

paragraph: Domon's method of photographing these temples was to stay at the location for a time before taking the first photo. He would then begin photographing based not on a systematic, scholarly approach to the subject, but based on how his feelings towards the subjects moved him to record them. Domon prefaced the first volume of "Koji Junrei" with, "This is thus intended as a beloved book, a book which allows the individual Japanese to reconfirm the culture, the people which formed them."

paragraph: In 1976 Domon was completely incapacitated by a third stroke, and he died in Tokyo on 15 September 1990. In 1981 Mainichi Newspapers established the annual Domon Ken Award in celebration of the 110th birthday of the "Mainichi Shimbun"; two years later, the Domon Ken Photography Museum was opened in Sakata.

paragraph: Section::::Books by Domon.

paragraph: BULLET::::- "Nihon no chōkoku" (日本の彫刻). Tokyo: Bijutsushuppansha, 1952.

paragraph: BULLET::::- 2. "Asuka jidai" (飛鳥時代).

paragraph: BULLET::::- 5. "Heian jidai" (平安時代).

paragraph: BULLET::::- "Fūbō" (風貌). Tokyo: Ars, 1953.

paragraph: BULLET::::- "Murōji" (室生寺). Tokyo: Bijutsushuppansha, 1955.

paragraph: BULLET::::- "The Muro-ji, an eighth century Japanese temple: Its art and history." Tokyo: Bijutsu Shuppansha, c. 1954. Text by Roy Andrew Miller.

paragraph: BULLET::::- With 渡辺勉. "Gendai geijutsu kōza" (現代芸術講座 写真). 1956.

paragraph: BULLET::::- "Murōji" (室生寺). Tokyo: Bijutsushuppansha, 1957.

paragraph: BULLET::::- "Domon Ken sakuhinshū" (土門拳作品集). Gendai Nihon shashin zenshū 2. 創元社, 1958.

paragraph: BULLET::::- "Hiroshima" (ヒロシマ) / "Hiroshima." 研光社, 1958.

paragraph: BULLET::::- "Chūsonji" (中尊寺). Nihon no Tera 4. Tokyo: Bijutsushuppansha, 1959.

paragraph: BULLET::::- "Saihōji, Ryūanji" (西芳寺・竜安寺). Nihon no tera 10. Tokyo: Bijutsushuppansha, 1959.

paragraph: BULLET::::- "Chikuhō no kodomotachi: Ken Domon shashinshū" (筑豊のこどもたち：土門拳写真集). Patoria Shoten, 1960. 築地書館, 1977.

paragraph: BULLET::::- "Chikuhō no kodomotachi: Ken Domon shashinshū. Zoku: Rumie-chan ha otōsan ga shinda" (筑豊のこどもたち：土門拳写真集 続　るみえちゃんはお父さんが死んだ). Patoria Shoten, 1960.

paragraph: BULLET::::- "Hōryūji" (法隆寺). Nihon no Tera 6. Tokyo: Bijutsushuppansha, 1961.

paragraph: BULLET::::- "Murōji" (室生寺). Nihon no Tera 13. Tokyo: Bijutsushuppansha, 1961.

paragraph: BULLET::::- "Kyōto" (京都). Nihon no Tera. Tokyo: Bijutsushuppansha, 1961.

paragraph: BULLET::::- "Nara" (奈良). Nihon no Tera. Tokyo: Bijutsushuppansha, 1961.

paragraph: BULLET::::- "Masterpieces of Japanese sculpture" Tokyo: Bijutsuhuppansha; Rutland, Vt.: Tuttle, 1961. Text by J. E. Kidder.

paragraph: BULLET::::- "Kasuga" (春日). Nihon no Yashiro 4. Tokyo: Bijutsushuppansha, 1962.

paragraph: BULLET::::- "Koji junrei" (古寺巡礼). 5 vols. Tokyo: Bijutsushuppansha, 1963–75. International edition (with English texts added to the Japanese): "A Pilgrimage to Ancient Temples." Tokyo: Bijutsushuppansha, 1980.

paragraph: BULLET::::- "Tōji: Daishinomitera" (東寺: 大師のみてら). Tokyo: Bijutsushuppansha, 1965.

paragraph: BULLET::::- "Shigaraki Ōtsubo" (信楽大壷). Tokyo: Chūnichi Shinbun Shuppankyoku, 1965.

paragraph: BULLET::::- "Sōfū; his boundless world of flowers and form." Tokyo: Kodansha International, 1966. Text by Teshigahara Sōfu.

paragraph: BULLET::::- "Nihonjin no genzō" (日本人の原像). Tokyo: Heibonsha, 1966.

paragraph: BULLET::::- "Yakushiji" (薬師寺). Tokyo: Mainichi Shinbunsha, 1971.

paragraph: BULLET::::- "Bunraku" (文楽). Kyoto: Shinshindō, 1972.

paragraph: BULLET::::- "Tōdaiji" (東大寺). Tokyo: Heibonsha, 1973.

paragraph: BULLET::::- "Nihon meishōden" (日本名匠伝). Kyoto: Shinshindō, 1974. Portraits of the famous, mostly in color.

paragraph: BULLET::::- "Koyō henreki" (古窯遍歴). Tokyo: Yarai Shoin, 1974.

paragraph: BULLET::::- "Shinu koto to ikiru koto" (死ぬことと生きること). 築地書館, 1974.

paragraph: BULLET::::- "Watakushi no bigaku" (私の美学, My aesthetics). Kyoto: Shinshindō, 1975. Domon photographs Japanese arts and architecture (in both black and white and color), and writes commentary on these.

paragraph: BULLET::::- "Nihon no bi" (日本の美). Nishinomiya: Itō Hamu Eiyō Shokuhin, 1978.

paragraph: BULLET::::- "Shashin hihyō" (写真批評). Daviddosha, 1978.

paragraph: BULLET::::- "Nyoninkōya Murōji" (女人高野室生寺). Tokyo: Bijutsushuppansha, 1978.

paragraph: BULLET::::- "Fūkei" (風景). Tokyo: Yarai Shoin, 1976. Popular edition, Tokyo: Yarai Shoin, 1978.

paragraph: BULLET::::- "Gendai chōkoku: Chōkoku no Mori Bijutsukan korekushon" (現代彫刻: 彫刻の森美術館コレクション) / "Sculptures modernes: Collection de The Hakone Open-air Museum." Tokyo: Sankei Shinbunsha, 1979. With some French as well as Japanese text.

paragraph: BULLET::::- "Shashin zuihitsu" (写真随筆). Tokyo: Daviddosha, 1979.

paragraph: BULLET::::- "Domon Ken Nihon no Chōkoku"(土門拳日本の彫刻). Tokyo: Bijutsushuppansha.

paragraph: BULLET::::- 1. "Asuka, Nara" (飛鳥・奈良). 1979.

paragraph: BULLET::::- 2. "Heian zenki" (平安前期). 1980.

paragraph: BULLET::::- 3. "Heian kōki, Kamakura" (平安後期・鎌倉). 1980.

paragraph: BULLET::::- "Domon Ken: Sono shūi no shōgen" (土門拳：その周囲の証言). Tokyo: Asahi Sonorama, 1980.

paragraph: BULLET::::- "Nihon no bien" (日本の美艶). Gendai Nihon Shashin Zenshū 7. Tokyo: Shūeisha, 1980.

paragraph: BULLET::::- "Domon Ken Nihon no kotōji: Tanba, Imari, Karatsu, Eshino, Oribe, Tokoname, Atsumi, Shigaraki, Kutani, Bizen" (土門拳日本の古陶磁：丹波・伊万里・唐津・絵志野・織部・常滑・渥美・信楽・九谷・備前). Tokyo: Bijutsushuppansha, 1981.

paragraph: BULLET::::- "Domon Ken" (土門拳). Shōwa Shashin Zenshigoto 5. Tokyo: Asahi Shuppansha, 1982. A survey of Domon's work.

paragraph: BULLET::::- "Domon Ken zenshū" (土門拳全集). Tokyo: Shōgakukan.

paragraph: BULLET::::- 1. "Koji junrei" 1 "Yamato-hen jō" (古寺巡礼 1 大和篇 上). 1983. .

paragraph: BULLET::::- 2. "Koji junrei" 2 "Yamato-hen ge" (古寺巡礼 2 大和篇 下). 1984. .

paragraph: BULLET::::- 3. "Koji junrei" 3 "Kyōto-hen" (京都篇). .

paragraph: BULLET::::- 4. "Koji junrei" 4 "Zenkoku-hen" (古寺巡礼 4 全国篇). 1984. .

paragraph: BULLET::::- 5. "Nyonin Kōya Muroji" (女人高野室生寺). 1984. .

paragraph: BULLET::::- 6. "Bunraku" (文楽). 1985. .

paragraph: BULLET::::- 7. "Dentō no katachi" (伝統のかたち). 1984. .

paragraph: BULLET::::- 8. "Nihon no fūkei" (日本の風景). 1984. .

paragraph: BULLET::::- 9. "Fūbō" (風貌). 1984. .

paragraph: BULLET::::- 10. "Hiroshima" (ヒロシマ). 1985. .

paragraph: BULLET::::- 11. "Chikuhō no kodomotachi" (筑豊のこどもたち). 1985. .

paragraph: BULLET::::- 12. "Kessakusen jō" (傑作選 上). 1985. .

paragraph: BULLET::::- 13. "Kessakusen ge" (傑作選 下). 1985. .

paragraph: BULLET::::- "Domon Ken no koji junrei" (土門拳の古寺巡礼). Tokyo: Shōgakukan, 1989–90.

paragraph: BULLET::::- 1. "Yamato" 1 (大和1). 1989. .

paragraph: BULLET::::- 2. "Yamato" 2 (大和2). 1990. .

paragraph: BULLET::::- 3. "Kyōto" 1. (京都1). 1989. .

paragraph: BULLET::::- 4. "Kyōto" 2. (京都2). 1990. .

paragraph: BULLET::::- 5. "Murōji" (室生寺). 1990. .

paragraph: BULLET::::- "Bessatsu" 1. "Higashi Nihon" (東日本). 1990. .

paragraph: BULLET::::- "Bessatsu" 2. "Nishi Nihon" (西日本). 1990. .

paragraph: BULLET::::- "Domon Ken Nihon no butsuzō" (土門拳日本の仏像). Tokyo: Shōgakukan, 1992. .

paragraph: BULLET::::- "Murōji" (室生寺). Nihon Meikenchiku Shashinsenshū 1. Tokyo: Shinchōsha, 1992. .

paragraph: BULLET::::- "Domon Ken no Shōwa" (土門拳の昭和). Tokyo: Shōgakukan, 1995.

paragraph: BULLET::::- 1. "Fūbō" (風貌). .

paragraph: BULLET::::- 2. "Kodomotachi" (こどもたち). .

paragraph: BULLET::::- 3. "Nihon no fūkei" (日本の風景). .

paragraph: BULLET::::- 4. "Dokyumento Nihon 1935–1967" (ドキュメント日本 1935–1967). .

paragraph: BULLET::::- 5. "Nihon no butsuzō" (日本の仏像). .

paragraph: BULLET::::- "Koji junrei" (古寺巡礼). Tokyo: Mainichi Shinbunsha, c1995.

paragraph: BULLET::::- "Domon Ken Koji Junrei" (土門拳古寺巡礼). Tokyo: Bijutsu Shuppansha, 1996. .

paragraph: BULLET::::- "Shashin to jinsei: Domon Ken esseishū" (写真と人生：土門拳エッセイ集). Dōjidai Raiburarī. Tokyo: Iwanami, 1997.

paragraph: BULLET::::- "Domon Ken" (土門拳). Nihon no Shashinka. Tokyo: Iwanami, 1998. .

paragraph: BULLET::::- "Koji junrei" (古寺巡礼). Tokyo: Shōgakukan, 1998. .

paragraph: BULLET::::- 風貌 愛蔵版 Tokyo: Shōgakukan, 1999. .

paragraph: BULLET::::- "Domon Ken kottō no bigaku" (土門拳骨董の美学). Korona Bukkusu 69. Tokyo: Heibonsha, 1999. .

paragraph: BULLET::::- "Domon Ken no tsutaetakatta Nihon" (土門拳の伝えたかった日本) Tokyo: Mainichi Shuppansha, 2000. .

paragraph: BULLET::::- "Domon Ken Nihon no chōkoku" (土門拳日本の彫刻 Tokyo: Mainichi Shinbunsha, c2000. Exhibition catalogue.

paragraph: BULLET::::- "Kengan" (拳眼). Tokyo: Sekai Bunkasha, 2001. .

paragraph: BULLET::::- "Kenshin" (拳心). Tokyo: Sekai Bunkasha, 2001. .

paragraph: BULLET::::- "Kenkon" (拳魂). Tokyo: Sekai Bunkasha, 2002. .

paragraph: BULLET::::- 逆白波のひと・土門拳の生涯 / 佐高信∥ Āto Serekushon. Tokyo: Shōgakukan, 2003.

paragraph: BULLET::::- "Domon Ken tsuyoku utsukushii mono: Nihon bitanbō" (土門拳強く美しいもの：日本美探訪) Shōgakukan Bunko. Tokyo: Shōgakukan, 2003. .

paragraph: Section::::Books with works by Domon.

paragraph: BULLET::::- Association to Establish the Japan Peace Museum, ed. "Ginza to sensō" (銀座と戦争) / "Ginza and the War." Tokyo: Atelier for Peace, 1986. . Domon is one of ten photographers — the others are Shigeo Hayashi, Tadahiko Hayashi, Kōyō Ishikawa, Kōyō Kageyama, Shunkichi Kikuchi, Ihei Kimura, Kōji Morooka, Minoru Ōki, and Maki Sekiguchi — who provide 340 photographs for this well-illustrated and large photographic history of Ginza from 1937 to 1947. Captions and text in both Japanese and English.

paragraph: BULLET::::- (Joint work) "Bunshi no shōzō hyakujūnin" (文士の肖像一一〇人, Portraits of 110 literati). Tokyo: Asahi Shinbunsha, 1990. . Domon is one of five photographers — the others are Shōtarō Akiyama, Hiroshi Hamaya, Ihei Kimura and Tadahiko Hayashi.

paragraph: BULLET::::- "Kaku: Hangenki" (核：半減期) / "The Half Life of Awareness: Photographs of Hiroshima and Nagasaki." Tokyo: Tokyo Metropolitan Museum of Photography, 1995. Exhibition catalogue; captions and text in both Japanese and English. There are 12 pages of photographs taken by Domon in 1957 and 1967 of Hiroshima, particularly of medical treatment; (other works are by Toshio Fukada, Kikujirō Fukushima, Shigeo Hayashi, Kenji Ishiguro, Shunkichi Kikuchi, Mitsugi Kishida, Eiichi Matsumoto, Yoshito Matsushige, Shōmei Tōmatsu, Hiromi Tsuchida and Yōsuke Yamahata). Text and captions in both Japanese and English.

paragraph: BULLET::::- Mishima Yasushi (三島靖). "Kimura Ihee to Domon Ken: Shashin to sono shōgai" (木村伊兵衛と土門拳：写真とその生涯, Ihei Kimura and Ken Domon: Photography and biography). Tokyo: Heibonsha, 1995. . Reprint. Heibonsha Library. Tokyo: Heibonsha, 2004. .

paragraph: BULLET::::- "Dokyumentarī no jidai: Natori Yōnosuke, Kimura Ihee, Domon Ken, Miki Jun no shashin kara" (ドキュメンタリーの時代：名取洋之助・木村伊兵衛・土門 拳・三木淳の写真から) / "The Documentary Age: Photographs by Natori Younosuke, Kimura Ihei, Domon Ken, and Miki Jun." Tokyo: Tokyo Metropolitan Museum of Photography, 2001. An exhibition catalogue. Captions in both Japanese and English, other text in Japanese only.

paragraph: BULLET::::- Hiraki, Osamu, and Keiichi Takeuchi. "Japan, a Self-Portrait: Photographs 1945–1964." Paris: Flammarion, 2004. . Domon is one of eleven photographers whose works appear in this large book (the others are Hiroshi Hamaya, Tadahiko Hayashi, Eikoh Hosoe, Yasuhiro Ishimoto, Kikuji Kawada, Ihei Kimura, Shigeichi Nagano, Ikkō Narahara, Takeyoshi Tanuma, and Shōmei Tōmatsu).

paragraph: BULLET::::- "Kindai shashin no umi no oya: Kimura Ihee to Domon Ken" (近代写真の生みの親：木村伊兵衛と土門拳) / "Kimura Ihei and Domon Ken." Tokyo: Asahi Shinbunsha and Mainichi Shinbunsha, 2004. Catalogue of an exhibition.

paragraph: BULLET::::- "Sengo shashin / Saisei to tenkai" (戦後写真・再生と展開) / "Twelve Photographers in Japan, 1945–55." Yamaguchi: Yamaguchi Prefectural Museum of Art, 1990. Despite the alternative title in English, almost exclusively in Japanese (although each of the twelve has a potted chronology in English). Catalogue of an exhibition held at Yamaguchi Prefectural Museum of Art. Twenty of Domon's photographs of children in Tokyo appear on pp. 18–28.

paragraph: BULLET::::- Szarkowski, John, and Shōji Yamagishi. "New Japanese Photography." New York: Museum of Modern Art, 1974. (hard), (paper).

paragraph: Section::::Books on Domon.

paragraph: BULLET::::- Satake Makoto (佐高信). "Sakashiranami no hito: Domon Ken no shōgai" (逆白波のひと・土門拳の生涯). Tokyo: Shōgakukan, 2003. .

paragraph: Section::::External links.

paragraph: BULLET::::- Domon Ken Photography Museum in the Sakata municipal site

paragraph: BULLET::::- Domon Ken Photography Museum requires Javascript and Flash

paragraph: BULLET::::- Ono, Philbert. Domon Ken.

paragraph: BULLET::::- Ono, Philbert. Review of "Domon Ken no tsutaetakatta Nihon."

paragraph: English Website

description: Japanese photographer

wikidata_label: Ken Domon

wikipedia_title: Ken Domon


text:
Yanagawa, Fukuoka
Tokyo University of the Arts
California State University
New York City
Europe
Paris
Man Ray
László Moholy-Nagy
Kobe
avant-garde
Asahi Camera
montage
Yasuzō Nojima
Nobuo Ina
World War II
Japanese Photography Association

paragraph: Iwata Nakayama

paragraph: Section::::Biography.

paragraph: Nakayama was born in Yanagawa, Fukuoka (Japan). His father was an inventor who held a patent for a fire extinguisher. Iwata moved to Tokyo and was educated at the private school Kyohoku-Chūgakkō. After graduating from that school, he entered Tokyo University of the Arts as the first student of its photography course. After learning artistic and commercial techniques there, he moved to the United States in 1918 as an overseas student of California State University, sent by the Japanese government. However he quit studying and began to work at a photo studio run by Tōyō Kikuchi () in New York City. With his practical skills, he established his own studio, Laquan Studio, in New York.

paragraph: Nakayama succeeded as an artisan, and traveled around Europe with his wife Masako () and his son Iwao (). He stayed in Paris and he came to know Man Ray and László Moholy-Nagy and their works (but he wrote that he didn't follow their style). He and his family went back to Japan in 1927.

paragraph: After getting back to Japan, he began to work as a professional photographer in Kobe and helped propel Japanese avant-garde photography. He was associated with the Ashiya Camera Club () and educated some his juniors. He released some works in such magazines as "Asahi Camera" and "Nihon Shashin Nenkan" (). Furthermore, he produced one of the first examples of commercial montage photography in 1930.

paragraph: Starting in 1932, he, Yasuzō Nojima and Nobuo Ina published the monthly magazine "Kōga" (光画). The magazine was a critical turning point in Japanese artistic photography. Nakayama was a pioneer of Japanese avant-garde photography and inspired many Japanese photographers through his works.

paragraph: During World War II, he couldn't work to the full. His works became more and more abstract. When the war was over, he resumed his professional work and created new artistic pieces, but in 1949, he suddenly died (at age 54). It was just a few days after he was selected as a trustee of the Japanese Photography Association.

paragraph: Section::::References.

paragraph: BULLET::::- "Nihon shashinka jiten" () / "328 Outstanding Japanese Photographers." Kyoto: Tankōsha, 2000. . Despite the English-language alternative title, all in Japanese.

paragraph: BULLET::::- "Modern Photography Iwata Nakayama Retrospective/96-97" () Kyoto: Kōrinsha, 1996. Despite the English-language alternative title, all in Japanese.

description: Japanese photographer

wikidata_label: Iwata Nakayama

wikipedia_title: Iwata Nakayama


text:
assumed the title
Roman emperor
Diocletian
Egypt
Domitius Domitianus
papyrological
Corrector
Alexandria

categories: Executed ancient Roman people,3rd-century people of Roman Egypt,Tetrarchy,Year of birth unknown,3rd-century Roman usurpers,3rd-century executions,298 deaths,People executed by the Roman Empire

paragraph: Achilleus (Roman usurper)

paragraph: Aurelius Achilleus (fl. 3rd century AD) assumed the title of Roman emperor under Diocletian and reigned over Egypt after a revolt in 297 AD.

paragraph: It is uncertain whether the revolt was led by Achilleus or Domitius Domitianus; while papyrological evidence indicates that the leader was Domitianus, there is literary evidence attributing the revolt to Achilleus. Achilleus was possibly the "Corrector" of Domitianus, and seems to have succeeded to leadership after the latter died in December 297.

paragraph: Achilleus was at length taken by Diocletian after a siege of eight months in Alexandria, and put to death in 298 AD.

description: Roman emperor

wikidata_label: Achilleus

wikipedia_title: Achilleus (Roman usurper)


text:
Brastrup
Denmark
motorcycle speedway
Denmark speedway team
1991
World Team Cup
World Under-21 Championship
UK
Cradley Heath Heathens
1991
Göteborg
Ullevi
1992
Wrocław
Olympic Stadium
1989
Bradford
Odsal Stadium
Hans Nielsen
Erik Gundersen
John Jørgensen
Brian Karger

categories: 1969 births,Living people,Cradley Heath Heathens riders,Danish speedway riders

paragraph: Gert Handberg

paragraph: Gert Handberg (born 30 May 1969 in Brastrup, Denmark) is a former international motorcycle speedway rider. Gert joined Cradley Speedway in 1988 on a recommendation after winning the Danish Junior Championship. He was a member of the Denmark speedway team when they won the 1991 World Team Cup. He also won the World Under-21 Championship in 1989 and finished 3rd in the 1992 senior world final.

paragraph: He rode in the UK for the Cradley Heath Heathens.

paragraph: Section::::World Final Appearances.

paragraph: Section::::World Final Appearances.:Individual World Championship.

paragraph: BULLET::::- 1991 - Göteborg, Ullevi - Reserve - did not ride

paragraph: BULLET::::- 1992 - Wrocław, Olympic Stadium - 3rd - 10pts

paragraph: Section::::World Final Appearances.:World Team Cup.

paragraph: BULLET::::- 1989 - Bradford, Odsal Stadium - (with Hans Nielsen / Erik Gundersen / John Jørgensen / Brian Karger) - 2nd - 34pts (9)

description: Danish former motorcycle speedway rider

wikidata_label: Gert Handberg

wikipedia_title: Gert Handberg


text:
Malves-en-Minervois
mathematician
analytical geometry
differential calculus
tangent
asymptote
singular points
algebraic curve
isolated loop
conical projection
Descartes's rule of signs
Newton
Ancien Régime
Encyclopédie
Condorcet
Diderot
Jean le Rond d'Alembert
Fellow of the Royal Society
De Gua's theorem
Nicolas de Condorcet
online copy
"Gua De Malves, Jean Paul De"

categories: People from Carcassonne,Contributors to the Encyclopédie (1751–72),Fellows of the Royal Society,English–French translators,1785 deaths,18th-century French mathematicians,Members of the French Academy of Sciences,1713 births

paragraph: Jean Paul de Gua de Malves

paragraph: Jean Paul de Gua de Malves (1713, Malves-en-Minervois (Aude) – June 2, 1785, Paris) was a French mathematician who published in 1740 a work on analytical geometry in which he applied it, without the aid of differential calculus, to find the tangents, asymptotes, and various singular points of an algebraic curve.

paragraph: He further showed how singular points and isolated loops were affected by conical projection. He gave the proof of Descartes's rule of signs which is to be found in most modern works. It is not clear whether Descartes ever proved it strictly, and Newton seems to have regarded it as obvious.

paragraph: De Gua de Malves was acquainted with many of the French philosophes during the last decades of the Ancien Régime. He was an early, short-lived, participant, then editor (later replaced by Diderot) of the project that ended up as the "Encyclopédie". Condorcet claimed that it was in fact the de Gua who recruited Diderot to the project, though this claim has never been verified. In either case, Jean-Paul and Jean le Rond d'Alembert, also thought to have been recruited by the de Gua, first show up on the December 1746 payroll of the publishers who were backing the Encyclopédie project. Diderot was added just weeks later and took over as editor on 16 October 1747. At the funeral of the "profound geometrician", as Diderot called him, the eulogy was given by Condorcet.

paragraph: He was elected a Fellow of the Royal Society in 1743.

paragraph: Section::::See also.

paragraph: BULLET::::- De Gua's theorem

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Arthur M. Wilson: "Diderot". Oxford University Press, New York, 1972, pp. 79–81.

paragraph: BULLET::::- Nicolas de Condorcet, « Éloge de M. l’abbé de Gua », "Œuvres de Condorcet", Firmin Didot frères, 1847-1849, Paris, p. 241-58. (online copy)

paragraph: BULLET::::- Rene Taton: "Gua De Malves, Jean Paul De". Complete Dictionary of Scientific Biography, 2008.

description: French mathematician

wikidata_label: Jean Paul de Gua de Malves

wikipedia_title: Jean Paul de Gua de Malves


text: Austin

text: sound artist

text: conceptual artist

text: filmmaker

text: paintings

text: sound art

text: videos

text: installations

text: Institute of Contemporary Arts

text: Dunaújváros

text: Hungary

text: São Paulo

text: Brazil

text: Rome

text: Italy

text: Venice

text: Italy

text: Walker Art Center

text: Minneapolis

text: Berlin

text: Irish Museum of Modern Art

text: Dublin

text: Ireland

text: Belfast

text: Northern Ireland

text: Liverpool

text: Madrid

text: Spain

text: ephemeral

text: social context

text: Butoh

text: University of Northern Iowa

text: University of Minnesota

text: Minneapolis

text: SCI-Arc

text: Los Angeles

text: University of Houston

text: Rome Prize

text: American Academy in Rome

text: Interview, Arts+Culture Texas, 2014

text: Bio information, Art News

categories: American sound artists,American filmmakers,American contemporary artists,American conceptual artists,Southern California Institute of Architecture alumni,American video artists,University of Minnesota alumni,American installation artists,Living people

paragraph: Abinadi Meza

paragraph: Abinadi Meza (born 1977 in Austin, Texas) is a contemporary visual artist, sound artist, conceptual artist and filmmaker whose work references spatial and temporal perception, politics, and transformation. His paintings, sound art, videos, and installations have been presented at venues across North America and Europe, including the Institute of Contemporary Arts, Dunaújváros, Hungary; FILE Festival, São Paulo, Brazil; MAXXI, Rome, Italy; Helicotrema Festival, Venice, Italy; Walker Art Center, Minneapolis; Team Titanic, Berlin; Irish Museum of Modern Art, Dublin, Ireland; Sonorities Festival, Belfast, Northern Ireland; FACT, Liverpool; La Casa Encendida, Madrid, Spain; Minneapolis Institute of Arts; and Lisbon Architecture Triennale, Portugal. Meza uses ephemeral materials such as text and sound to create transformative spaces and explore relationships regarding individuals and social context.

paragraph: As a young artist Meza studied Butoh with master teachers from Japan, Europe and South America. Later he earned a Bachelor of Arts degree from the University of Northern Iowa, Cedar Falls (1999); a Master of Fine Arts degree from the University of Minnesota, Minneapolis (2004); and an Master of Architecture degree from SCI-Arc, the Southern California Institute of Architecture, Los Angeles (2009).

paragraph: Meza is currently a professor of Interdisciplinary Practices and Emerging Forms in the School of Art at the University of Houston. In 2014 he was awarded a Rome Prize in Visual Art by the American Academy in Rome.

paragraph: Meza has said he sometimes approaches sound "as material...it’s plastic – you can smear it, stretch it, sharpen it...I treat it like clay."

paragraph: Section::::Film Exhibitions.

paragraph: BULLET::::- Salt Lake City Film Festival (US)

paragraph: BULLET::::- Aesthetica Short Film Festival (UK)

paragraph: BULLET::::- Sheffield Fringe: "Film At The Intersection of Art & Documentary" (UK)

paragraph: BULLET::::- Kassel Documentary Film and Video Festival (Germany)

paragraph: BULLET::::- Simultan Festival (Romania)

paragraph: BULLET::::- Dingle International Film Festival (Ireland)

paragraph: BULLET::::- Videomedeja Festival (Serbia)

paragraph: BULLET::::- Atlanta Film Festival (US)

paragraph: BULLET::::- New Filmmakers New York (US)

paragraph: BULLET::::- Cannes Art Film Festival (France)

paragraph: BULLET::::- Wellington Underground Film Festival (New Zealand)

paragraph: BULLET::::- Athens International Film + Video Festival (US)

paragraph: BULLET::::- Noordelijk Film Festival (Netherlands)

paragraph: Section::::Performance, Sound Festivals.

paragraph: BULLET::::- FILE Festival (São Paulo)

paragraph: BULLET::::- Hipersonica (São Paulo)

paragraph: BULLET::::- Scaniaparken (Mälmo)

paragraph: BULLET::::- ANTI Festival (Finland)

paragraph: BULLET::::- Spark Festival (Minneapolis)

paragraph: BULLET::::- Sonorities Festival (Belfast)

paragraph: BULLET::::- Ende Tymes Festival of Noise and Experimental Liberation (Brooklyn)

paragraph: BULLET::::- Northern Spark Festival (Minneapolis)

paragraph: BULLET::::- Helicotrema Festival (Venice)

paragraph: Section::::External links.

paragraph: BULLET::::- Interview, Arts+Culture Texas, 2014

paragraph: BULLET::::- Sound Art project at 3rd Lisbon Architecture Triennale, 2013

paragraph: BULLET::::- "Murmur" project, Finland. Commissioned by the Culture Programme of the European Commission

paragraph: BULLET::::- Abinadi Meza sound project at Irish Museum of Modern Art

paragraph: BULLET::::- article in Body, Space & Technology Journal, West London, UK

paragraph: BULLET::::- 10/20/05 Radio interview with Abinadi Meza

paragraph: BULLET::::- Underwater sound installation, Malmö Sweden

paragraph: BULLET::::- 'The Prisoner' animation based on Carl Dreyer's 'La Passion de Jeanne d'Arc'

paragraph: BULLET::::- Bio information, Art News

paragraph: BULLET::::- All Things Considered: National Public Radio Feature

paragraph: BULLET::::- Exhibition at Minneapolis Institute of Arts, 2008

paragraph: BULLET::::- 'Sound Sweep' mobile radio project in Los Angeles. Vague Terrain Journal, Toronto, 2009

paragraph: BULLET::::- "Debating the Darkness: Talking Film with Abinadi Meza," NY Arts Magazine, print and online edition, winter 2013

description: American sound artist and filmmaker

wikidata_label: Abinadi Meza

wikipedia_title: Abinadi Meza


text:
Canadian
American
vaudeville
Rose Thompson Hovick
Broadway
story arc
soap opera
General Hospital
burlesque
striptease
Gypsy Rose Lee
Vancouver
child labor laws
Gypsy Rose Lee
vaudeville
Alexander Pantages
Seattle, Washington
Topeka, Kansas
Paris, France
Sigmund Romberg
Rodgers
Hart
Pal Joey
Gentleman's Agreement
Jule Styne
Stephen Sondheim
Arthur Laurents
They Shoot Horses, Don't They?
Julie Harris
August Wilson Theatre
William Spier
Gypsy Rose Lee
Inglewood, California
Wilton, Connecticut
Democrat
Adlai Stevenson
1952 presidential election
Stamford, Connecticut
Hollywood Walk of Fame
Tony Award for Best Direction of a Play
American Theatre Hall of Fame
Four Jacks and a Jill
Powder Town
My Sister Eileen
Sing Your Worries Away
Hello, Frisco, Hello
No Time for Love
Hi Diddle Diddle
Brewster's Millions
Gentleman's Agreement
The Iron Curtain
When My Baby Smiles at Me
Chicago Deadline
Red, Hot and Blue
The Story of Molly X
Once a Thief
Mother Didn't Tell Me
Follow the Sun
Lady Possessed
Can't Stop the Music
A Return to Salem's Lot
Hey There!
On the Jump
Hedda Hopper
Willy
What's My Line?
The Name's the Same
The Untouchables
The Outer Limits
Cry of Silence
Eddie Albert
Arthur Hunnicutt
McMillan and Wife
The Paper Chase
Search for Tomorrow
Murder, She Wrote
General Hospital

categories: 20th-century American actresses,Women theatre directors,American stage actresses,American soap opera actresses,American child actresses,1912 births,American television actresses,2010 deaths,Vaudeville performers,American film actresses,American people of German descent,People from Fairfield County, Connecticut,American memoirists,Donaldson Award winners,American Theater Hall of Fame inductees,Connecticut Democrats,Age controversies,American musical theatre actresses,American people of Norwegian descent,Actresses from Vancouver,Disease-related deaths in Connecticut,American silent film actresses

paragraph: June Havoc

paragraph: June Havoc (born Ellen June Evangeline Hovick, November 8, 1912 – March 28, 2010) was a Canadian-born American actress, dancer, writer, and stage director.

paragraph: Havoc was a child vaudeville performer under the tutelage of her mother Rose Thompson Hovick. She later acted on Broadway and in Hollywood, and stage-directed, both on and off-Broadway. She last appeared on television in 1990 in a story arc on the soap opera "General Hospital". Her elder sister Louise gravitated to burlesque and became the well-known striptease performer Gypsy Rose Lee.

paragraph: Section::::Early life.

paragraph: She was born in Vancouver, British Columbia, Canada, in 1912, according to the "Connecticut Death Index, 1949-2012" (state file #06956). Various reliable sources cite 1913. For many years, however, 1916 was cited as her year of birth. Havoc acknowledged in her later years that 1912 was likely the correct year.

paragraph: She was reportedly uncertain of the year. Her mother forged various birth certificates for both her daughters to evade child labor laws. Her life-long career in show business began when she was a child, billed as "Baby June."

paragraph: Her sister, entertainer Gypsy Rose Lee (born as Rose Louise Hovick), was called "Louise" by her family members. Their parents were Rose Thompson Hovick, of German descent, and John Olaf Hovick (c. 1885-1952), the son of Norwegian immigrants, who worked as an advertising agent and reporter at "The Seattle Times".

paragraph: Section::::Career.

paragraph: Section::::Career.:Vaudeville.

paragraph: Following their parents' divorce, the two sisters earned the family's income by appearing in vaudeville, where June's talent often overshadowed Louise's. Baby June got an audition with Alexander Pantages (1876–1936), who had come to Seattle, Washington in 1902 to build theaters up and down the west coast of the United States. Soon, she was launched in vaudeville and also appeared in Hollywood movies. She could not speak until the age of three, but the films were all silent. She would cry for the cameras when her mother told her that the family's dog had died.

paragraph: In December 1928, Havoc, in an effort to escape her overbearing mother, eloped with Bobby Reed, a boy in the vaudeville act. Weeks later after performing at the Jayhawk Theatre in Topeka, Kansas on December 29, 1928, Rose reported Reed to the Topeka Police, and he was arrested. Rose had a concealed gun on her when she met Bobby at the police station. She pulled the trigger, but the safety was on. She then physically attacked her soon-to-be new son-in-law, and the police had to pry her off the hapless Reed. June soon married him, leaving both her family and the act. The marriage did not last, but the two remained on friendly terms. June's only child was a daughter, born April Rose Hyde (April 2, c. 1932, New York City December 28, 1998, Paris, France). A marriage license, dated November 30, 1928 for Ellen Hovick and Weldon Hyde, would seem to indicate that Bobby Reed's real name was Weldon Hyde. April became an actress in the 1950s known as April Kent. She predeceased her mother, dying in Paris in 1998.

paragraph: Section::::Career.:Film and stage.

paragraph: She adopted the surname of Havoc, a variant of her birth name. She got her first acting break on Broadway in Sigmund Romberg's "Forbidden Melody" in 1936. She later appeared in Rodgers and Hart's "Pal Joey" on Broadway. Havoc moved to Hollywood in the late 1940s, and had roles in movies such as "Gentleman's Agreement". Havoc and her sister continued to get demands for money and gifts from their mother until her death in 1954.

paragraph: After their mother's death, the sisters then were free to write about her without risking a lawsuit. Lee's memoir, titled "Gypsy", was published in 1957 and was taken as inspirational material for the Jule Styne, Stephen Sondheim, and Arthur Laurents Broadway musical "". Havoc did not like the way she was portrayed in the piece, which became a source of contention between the two, but gave her agreement in her sister's financial interest. Havoc and Lee reportedly were estranged for more than a decade, but reconciled shortly before Lee's death in 1970.

paragraph: Havoc wrote two memoirs, "Early Havoc" and "More Havoc". She also wrote a play entitled "Marathon '33", based on "Early Havoc" with elements of "They Shoot Horses, Don't They?" The play starred Julie Harris, and was directed and choreographed by June Havoc and opened the ANTA Playhouse (now the August Wilson Theatre) in December 1963, running for 48 performances and receiving four Tony Award nominations.

paragraph: Section::::Personal life.

paragraph: Havoc was married three times. Her first marriage, at age 16, was in December 1928 to Bobby Reed, a boy in her vaudeville act. Her second marriage was in 1935 was to Donald S. Gibbs; they later divorced. Her third marriage, to radio and television director and producer William Spier (1906–1973), lasted from January 25, 1948 until his death. Havoc's sister Gypsy Rose Lee died of lung cancer in 1970, aged 59, and is interred at Inglewood Park Cemetery in Inglewood, California.

paragraph: In the mid-1970s, Havoc purchased an abandoned train depot and various 19th-century buildings in Wilton, Connecticut called Cannon Crossing. Restoring, rebuilding and repurposing several small buildings from other locations, she worked hands-on and successfully completed this vast restoration project, which remains a popular destination today. It is home to artisan shops, galleries, boutiques, a cafe and a restaurant.

paragraph: A long-time resident of Fairfield County (Weston, Wilton and lastly North Stamford) Connecticut, Havoc was fiercely devoted to the care and well-being of animals. Her homes were a nurturing and loving sanctuary to many orphaned geese, donkeys, cats, and dogs over the decades.

paragraph: Havoc was a Democrat and supported Adlai Stevenson in the 1952 presidential election.

paragraph: Section::::Death.

paragraph: Havoc died at her home in Stamford, Connecticut, on March 28, 2010, from unspecified natural causes. She was believed to be 97 at the time of her death.

paragraph: Section::::Honors.

paragraph: In 1960, Havoc was honored with two stars on the Hollywood Walk of Fameone at 6618 Hollywood Boulevard for her contributions to the motion picture industry, and the other at 6413 Hollywood Boulevard for television.

paragraph: Havoc was nominated for the Tony Award for Best Direction of a Play in 1964 for "Marathon '33", which she wrote.

paragraph: In 2000, Havoc was inducted into the American Theatre Hall of Fame.

paragraph: Section::::Legacy.

paragraph: The June Havoc Theatre, housed at the Abingdon Theatre in New York City, was named for her in 2003.

paragraph: Section::::Select filmography.

paragraph: Section::::Select filmography.:Features.

paragraph: BULLET::::- "Four Jacks and a Jill" (1942)

paragraph: BULLET::::- "Powder Town" (1942)

paragraph: BULLET::::- "My Sister Eileen" (1942)

paragraph: BULLET::::- "Sing Your Worries Away" (1942)

paragraph: BULLET::::- "Hello, Frisco, Hello" (1943)

paragraph: BULLET::::- "No Time for Love" (1943)

paragraph: BULLET::::- "Hi Diddle Diddle" (1943)

paragraph: BULLET::::- "Brewster's Millions" (1945)

paragraph: BULLET::::- "Gentleman's Agreement" (1947)

paragraph: BULLET::::- "The Iron Curtain" (1948)

paragraph: BULLET::::- "When My Baby Smiles at Me" (1948)

paragraph: BULLET::::- "Chicago Deadline" (1949)

paragraph: BULLET::::- "Red, Hot and Blue" (1949)

paragraph: BULLET::::- "The Story of Molly X" (1949)

paragraph: BULLET::::- "Once a Thief" (1950)

paragraph: BULLET::::- "Mother Didn't Tell Me" (1950)

paragraph: BULLET::::- "Follow the Sun" (1951)

paragraph: BULLET::::- "Lady Possessed" (1952)

paragraph: BULLET::::- "Can't Stop the Music" (1980)

paragraph: BULLET::::- "A Return to Salem's Lot" (1987)

paragraph: BULLET::::- "" (2003)

paragraph: Section::::Select filmography.:Short subjects.

paragraph: BULLET::::- "Hey There!" (1918)

paragraph: BULLET::::- "On the Jump" (1918)

paragraph: BULLET::::- "Hedda Hopper's Hollywood No. 6" (1942)

paragraph: Section::::Selected television work.

paragraph: BULLET::::- "Willy" (1954–55)

paragraph: BULLET::::- "What's My Line?" January 18, 1953 (as Mystery Guest)

paragraph: BULLET::::- "The Name's the Same April 26, 2018 (replay) (as Guest)

paragraph: BULLET::::- "The Untouchables" ("The Larry Fay Story"; 1960)

paragraph: BULLET::::- "The June Havoc Show" (1964) (cancelled after a few weeks)

paragraph: BULLET::::- "The Outer Limits: Cry of Silence" (1964) with Eddie Albert and Arthur Hunnicutt

paragraph: BULLET::::- "McMillan and Wife" ("The Easy Sunday Murder Case", 1971)

paragraph: BULLET::::- "The Paper Chase" (episode "The Clay Footed Idol", as Mrs Margaret Peters; 1979)

paragraph: BULLET::::- "Search for Tomorrow" (cast member in 1986)

paragraph: BULLET::::- "Murder, She Wrote" ("The Grand Old Lady", 1989)

paragraph: BULLET::::- "General Hospital" (1990)

description: American actress, vaudeville performer, and memoirist

wikidata_label: June Havoc

wikipedia_title: June Havoc


text:
Cubist
Hesdin
Jean Metzinger
Albert Gleizes
Fernand Léger
Robert Delaunay
Wassily Kandinsky
Neue Künstlervereinigung
Der Blaue Reiter Almanach
Jean-Paul Laurens
Academie Julian
Salon des Indépendants
Henri Matisse
Brittany
proto-Cubist
Pierre Jean Jouve
Musée National d'Art Moderne
Paul Cézanne
Cubism
Paul Fort
Montparnasse
Constantin Brâncuși
Jean Metzinger
Fernand Léger
Louis Vauxcelles
Albert Gleizes
Robert Delaunay
Fernand Léger
Wassily Kandinsky
Jacques-Émile Blanche
avant-garde
Académie de La Palette
Jean Metzinger
André Dunoyer de Segonzac
Galeries Dalmau
Jean Metzinger
Albert Gleizes
Marcel Duchamp
Juan Gris
Marie Laurencin
Section d'Or
World War I
Expressionism
Paris
Lyon, Musée des Beaux-Arts

wikipedia_title:
Cubism
Hesdin
Jean Metzinger
Albert Gleizes
Fernand Léger
Robert Delaunay
Wassily Kandinsky
Neue Künstlervereinigung München
Der Blaue Reiter
Jean-Paul Laurens
Académie Julian
Société des Artistes Indépendants
Henri Matisse
Brittany (administrative region)
Proto-Cubism
Pierre Jean Jouve
Musée National d'Art Moderne
Paul Cézanne
Cubism
Paul Fort
Montparnasse
Constantin Brâncuși
Jean Metzinger
Fernand Léger
Louis Vauxcelles
Albert Gleizes
Robert Delaunay
Fernand Léger
Wassily Kandinsky
Jacques-Émile Blanche
Avant-garde
Académie de La Palette
Jean Metzinger
André Dunoyer de Segonzac
Galeries Dalmau
Jean Metzinger
Albert Gleizes
Marcel Duchamp
Juan Gris
Marie Laurencin
Section d'Or
World War I
Expressionism
Paris
Museum of Fine Arts of Lyon

categories: 1946 deaths,19th-century French painters,1881 births,French male painters,Cubist artists,20th-century French painters

paragraph: Henri Le Fauconnier

paragraph: Henri Victor Gabriel Le Fauconnier (July 5, 1881 – December 25, 1946) was a French Cubist painter born in Hesdin. Le Fauconnier was seen as one of the leading figures among the Montparnasse Cubists. At the 1911 Salon des Indépendants Le Fauconnier and colleagues Jean Metzinger, Albert Gleizes, Fernand Léger and Robert Delaunay caused a scandal with their Cubist paintings. He was in contacts with many European avant-garde artists such as Wassily Kandinsky, writing a theoretical text for the catalogue of the Neue Künstlervereinigung in Munich, of which he became a member. His paintings were exhibited in Moscow reproduced as examples of the latest art in "Der Blaue Reiter Almanach" ("The Blue Rider Almanac").

paragraph: Section::::Career.

paragraph: In 1901 Henri Le Fauconnier moved from northern France to Paris, where he studied law, then attended painting classes in the studio of Jean-Paul Laurens, then in the Academie Julian. He changed his from Fauconnier to "Le" Fauconnier and exhibited at the Salon des Indépendants in 1904 and 1905, implementing bold colors in line with Henri Matisse. He moved to Brittany in 1907 and painted the rocky landscapes of Ploumanac'h in a proto-Cubist style characterized by chastened tones of brown and greens with thick outlines delimiting the simplified forms.

paragraph: He explored a personal style and put it into practice; painting nudes or portraits (such as that of the poet Pierre Jean Jouve in 1909 (Musée National d'Art Moderne). Under the influence of Paul Cézanne he developed his own form of Cubism. Back in Paris, he mingles with the artistic and literary gathered around Paul Fort at the Closerie des Lilas in Montparnasse.

paragraph: At the 1909 Salon d’Automne Le Fauconnier exhibited alongside Constantin Brâncuși, Jean Metzinger and Fernand Léger.

paragraph: Louis Vauxcelles, in his review of the 1910 Salon des Indépendants, made a passing and inaccurate reference to Le Fauconnier, Jean Metzinger, Albert Gleizes, Robert Delaunay and Fernand Léger, as "ignorant geometers, reducing the human body, the site, to pallid cubes."

paragraph: Metzinger had written in 1910 of 'mobile perspective' as an interpretation of what would soon become known as "Cubism" with respect to Picasso, Braque, Delaunay and Le Fauconnier.

paragraph: At the invitation of Wassily Kandinsky, Le Fauconnier published a theoretical text in the catalog of the Neue Künstlervereinigung (Munich, 1910). He opened his Rue Visconti studio in Paris to artists eager like him to apply the lessons of Cézanne. With Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay, he contributed to the Cubist scandal of the 1911 Salon des Indépendants. Le Fauconnier exhibited his vast "Les Montagnards attaqués par des ours" ("Mountaineers Attacked by Bears") at the Salon d'Automne of 1912 (Paris).

paragraph: February 1912 Henri Le Fauconnier was appointed to succeed Jacques-Émile Blanche as "chef d'atelier" of the avant-garde school of art Académie de La Palette. Le Fauconnier commissioned Jean Metzinger and André Dunoyer de Segonzac as full-time instructors for the morning sessions; Eugeniusz Żak (Eugène Zak) and took over in the afternoon.

paragraph: In 1912, Le Fauconnier participated in the first exhibition of Cubism in Spain, at Galeries Dalmau, Barcelona, with Jean Metzinger, Albert Gleizes, Marcel Duchamp, Juan Gris, Marie Laurencin, and August Agero.

paragraph: Le Fauconnier was a contributing member of the Section d'Or (Puteaux Group).

paragraph: At the outset of World War I Le Fauconnier moved to the Netherlands where he stayed for six years. His work at this time combined Cubism and Expressionism, which generated considerable success and influence in the Netherlands. He returned to France in 1920 where his paintings became more realistic.

paragraph: He died of a heart attack in Paris (1946).

paragraph: Section::::Works.

paragraph: BULLET::::- "Femme nue dans un intérieur", Lyon, Musée des Beaux-Arts

paragraph: BULLET::::- "L’Église de Grosrouvre", Lyon, Musée des Beaux-Arts

paragraph: BULLET::::- "L’Enfant breton", Lyon, Musée des Beaux-Arts

paragraph: BULLET::::- "Nature morte aux fleurs", Beauvais, Musée Départemental de l’Oise

paragraph: BULLET::::- "Paysage", Lyon, Musée des Beaux-Arts

paragraph: BULLET::::- "Portrait de vieille femme", Lyon, Musée des Beaux-Arts

paragraph: BULLET::::- "Maisons dans les rochers à Ploumanac'h", Brest, Musée des Beaux-Arts

paragraph: Section::::External links.

paragraph: BULLET::::- Hermitage Museum, Saint Petersburg, Russia, "The Lake", 1911, "Village among the Rocks", ca.1910, "Little Schoolgirl", 1907, "The Signal", 1915

paragraph: BULLET::::- "The Huntsman" (Le chasseur), 1912

paragraph: BULLET::::- Henri le Fauconnier (1881-1946)

paragraph: BULLET::::- The Modernist Journals Project

alias:
Henri Victor Gabriel Le Fauconnier
Henri le Fauconnier
Henri LeFauconnier
Henri Victor Gabriel Lefauconnier

description: French painter

wikidata_label: Henri Le Fauconnier

wikipedia_title: Henri Le Fauconnier


text:
Lancastrian
Wars of the Roses
John Holland, 2nd Duke of Exeter
Edmund Stafford, 5th Earl of Stafford
Anne of Gloucester
Dukedom of Exeter
John of Gaunt
Henry VI
Constable of the Tower of London
rack
Anne
Richard of York
Wars of the Roses
Henry VI
Yorkists
Wallingford Castle
First Battle of St Albans
The Love Day
Battle of Wakefield
Second Battle of St Albans
Towton
Queen Margaret
attainted
Battle of Barnet
drowned
Duke Charles
King of England
Anne of York
Richard Plantagenet, 3rd Duke of York
Lady Cecily Neville
Edward IV
Richard III
Anne Holland
Thomas Grey, 1st Marquess of Dorset
Duchess of Exeter

categories: Earls of Huntingdon,People of the Wars of the Roses,1475 deaths,People lost at sea,Dukes of Exeter,Lord High Admirals of England,15th-century English Navy personnel,1430 births,Heirs to the English throne

paragraph: Henry Holland, 3rd Duke of Exeter

paragraph: Henry Holland, 3rd Duke of Exeter (27 June 1430 – September 1475) was a Lancastrian leader during the English Wars of the Roses. He was the only son of John Holland, 2nd Duke of Exeter, and his first wife, Lady Anne Stafford. His maternal grandparents were Edmund Stafford, 5th Earl of Stafford, and Anne of Gloucester.

paragraph: He inherited the Dukedom of Exeter when his father died in 1447. A great-grandson of John of Gaunt, he might have had a plausible claim to the throne after the death of Henry VI. However, he was cruel, savagely temperamental and unpredictable, and so had little support. P.M. Kendall describes him as "dangerous", and was seen as "cruel and fierce" by contemporary Italian observers.

paragraph: Exeter was for a time Constable of the Tower of London, and afterwards the rack there came to be called "the Duke of Exeter's daughter".

paragraph: In 1447 he married Anne, the eight-year-old daughter of Richard of York. However, in the Wars of the Roses, he remained loyal to Henry VI against the Yorkists. He was imprisoned at Wallingford Castle when York briefly seized power after the First Battle of St Albans in 1455. In 1458 he participated in The Love Day, an attempt at reconciliation between the rival factions. He was a commander at the Lancastrian victories at the Battle of Wakefield in 1460 and the Second Battle of St Albans in 1461, and in the decisive defeat at Towton in 1461. He fled to Scotland after the battle, and then joined Queen Margaret in her exile in France. He was attainted in 1461, and his estates were given to his wife, who separated from him in 1464. During the brief period of Henry VI's restoration he was able to regain many of his estates and posts.

paragraph: At the Battle of Barnet, Exeter commanded the Lancastrian left flank. He was badly wounded and left for dead, but survived. Afterwards he was imprisoned, and Anne divorced him in 1472. He "volunteered" to serve on Edward's 1475 expedition to France. On the return voyage he fell overboard and drowned, his body being found in the sea between Dover and Calais, Fabyan saying "but how he drowned, the certainty is not known". However, Giovanni Panicharolla, the Milanese envoy to the Burgundian court, was told by Duke Charles that the King of England had given specific orders for the sailors to throw his former brother-in-law overboard.

paragraph: Section::::Family.

paragraph: Before 30 July 1447, he married Anne of York, the eldest child of Richard Plantagenet, 3rd Duke of York, and Lady Cecily Neville. She was an older sister of Edward IV and Richard III.

paragraph: He had one legitimate child:

paragraph: BULLET::::- Lady Anne Holland (1461 – between 26 August 1467 and 6 June 1474), who married Thomas Grey, 1st Marquess of Dorset.

paragraph: Since Henry had no legitimate male issue the disposition of his estates became a complex matter for his widow, the dowager Duchess of Exeter.

description: English admiral

wikidata_label: Henry Holland, 3rd Duke of Exeter

wikipedia_title: Henry Holland, 3rd Duke of Exeter


text: librettist

text: cantata

text: Johann Sebastian Bach

text: Stolpen

text: Wittenberg

text: Leipzig

text: Chorale cantata cycle

text: Lutheran

text: St Matthew Passion

text: Shepherds' Cantata

text: Coffee Cantata

text: Peasant Cantata

text: St Matthew Passion

text: "Ehre sei Gott in der Höhe", BWV 197a

text: St Mark Passion

categories: 1700 births,1764 deaths,German cantata librettists,Leipzig University alumni,German oratorio and passion librettists,German poets,Pseudonymous writers

paragraph: Picander

paragraph: Christian Friedrich Henrici (January 14, 1700 – May 10, 1764), writing under the pen name Picander, was a German poet and librettist for many of the cantatas which Johann Sebastian Bach composed in Leipzig.

paragraph: Henrici was born in Stolpen. He studied law at Wittenberg and Leipzig. He wrote to supplement his income from tutoring and continued even after obtaining regular employment as a civil servant.

paragraph: Bach moved to Leipzig in 1723. There is uncertainty as to who was writing the libretti he set during his first years in the city. The libretti for the Chorale cantata cycle of 1724/25 are anonymous. By 1725, Henrici and Bach were working together. Some of Bach's most important works used Henrici's libretti. Most notably their collaboration was on religious works in a Lutheran tradition such as the "St Matthew Passion" (BWV 244). However, they also produced secular works such as the "Shepherds' Cantata" of 1725 and the later "Coffee Cantata" and "Peasant Cantata".

paragraph: Section::::Librettist for Johann Sebastian Bach.:"Sammlung Erbaulicher Gedanken".

paragraph: For a year from the start of Advent 1724 Picander had published spiritual poetry in weekly editions, which he collected in 1725 as "Sammlung Erbaulicher Gedanken". This caught Bach's eye who started using Picander's poetry for his cantatas from 1725, and used poems from Picander's first collection in his "St Matthew Passion".

paragraph: Section::::Librettist for Johann Sebastian Bach.:"Ernst-Schertzhaffte und Satyrische Gedichte".

paragraph: All volumes of Picander's "" (Leipzig, 1727–51) contain texts set to music by J. S. Bach, including those for the "St Matthew Passion" and its associated funeral music for Prince Leopold of Anhalt-Cöthen ("Klagt, Kinder, klagt es aller Welt", BWV 244a).

paragraph: Volumes and editions:

paragraph: BULLET::::- Vol. I: 1727, reprinted in 1732 and 1736.

paragraph: BULLET::::- Vol. II: 1729, reprinted in 1734.

paragraph: BULLET::::- Vol. III: 1732, reprinted in 1737. This volume contained texts published in 1728 as "Cantaten auf die Sonn- und Fest-Tage durch das gantze Jahr".

paragraph: BULLET::::- Vol. IV: 1737.

paragraph: BULLET::::- Reworked fourth edition, containing a selection of previous editions, in two volumes: 1748.

paragraph: BULLET::::- Vol. V: 1751.

paragraph: In some cases, Henrici's texts have survived and Bach's settings have not. The lost scores include cases where the music has vanished without trace and others where there are clues as to what music Bach used to set the words, allowing the possibility of reconstruction.

paragraph: Section::::Librettist for Johann Sebastian Bach.:Lost scores and reconstructions.:Lost scores.

paragraph: In the preface to the third volume (1732) Picander claimed that J. S. Bach set a whole cycle of his cantata texts in 1729. Only nine of J. S. Bach's settings are known to have survived (they include the cantatas for Christmas "Ehre sei Gott in der Höhe", BWV 197a, New Year "Gott, wie dein Name, so ist auch dein Ruhm", BWV 171, Whit Monday "Ich liebe den Höchsten von ganzem Gemüte", BWV 174, and the feast of St Michael "Man singet mit Freuden vom Sieg", BWV 149) the statement made in the preface has been debated.

paragraph: Section::::Librettist for Johann Sebastian Bach.:Lost scores and reconstructions.:Reconstructed scores.

paragraph: Examples of reconstructions include the funeral music for Prince Leopold and the "St Mark Passion" (BWV 247) where Bach's music can be reconstructed because it is known to have been used in surviving pieces. Bach sometimes returned to compositions commissioned for one-off occasions and recycled the music. Picander was able to help the composer in this process by providing metrically similar new texts, effectively setting words to Bach's music.

paragraph: Section::::Sources.

paragraph: BULLET::::- Paul Flossman. "Picander (Christian Friedrich Henrici)". Leipzig: Liebertwolkwitz (1899)

paragraph: Section::::External links.

paragraph: BULLET::::- "Henrici, Christian Friedrich (Pseudonym: Picander)", Biographisch-Bibliographisches Kirchenlexikon

description: German poet

wikidata_label: Christian Friedrich Henrici

wikipedia_title: Picander