text: football

text: manager

text: Skënderbeu Korçë

text: Skënderbeu Korçë

text: Teuta Durrës

text: Albanian Superliga

text: UEFA Cup

text: MFK Košice

text: Albanian Cup

text: KS Lushnja

text: Bylis Ballsh

text: KF Tirana

text: FK Senica

text: Albanian Cup

text: KS Lushnja

text: Intertoto Cup

text: IA Akranes

text: Albanian Cup

text: 2000 Albanian Supercup

text: KF Tirana

text: Indrit Fortuzi

text: UEFA Cup

text: Rapid Vienna

text: Dinamo Tirana

text: Valletta FC

text: Alfred Osmani

text: Vllaznia Shkodër

text: Partizani Tiranë

text: Besa Kavajë

text: Vllaznia Shkodër

text: Kastrioti Krujë

text: Oriand Abazaj

text: Gramozi Ersekë

text: Dinamo Tirana

text: final

text: Qemal Stafa Stadium

text: UEFA Europa League

text: second qualifying round

text: Olympiacos

text: Albanian Superliga

text: Skënderbeu Korçë

text: Besa Kavajë

text: Albanian Footballer of the Year

text: Chornomorets Odesa

text: Besa Kavajë

text: Teuta Durrës

text: Partizani Tirana

text: Stevan Račić

text: Bledi Shkëmbi

text: Champions League

text: 2016–17 season

text: UEFA

text: 2016 Albanian Supercup

text: Kukësi

text: Selman Stërmasi Stadium

text: Enea Koliçi

text: Korçë

text: Mladá Boleslav

text: Golgol Mebrahtu

text: group stage

text: Group B

text: Partizan Belgrade

text: Luftëtari Gjirokastër

text: 2018 Albanian Cup Final

text: domestic double

text: Court of Arbitration for Sport

text: UEFA

text: Albania national under-16 football team

text: Liechtenstein

text: Albania national under-21 football team

text: senior team

text: Astrit Hafizi

text: UEFA Euro 2000 qualifying

text: Georgia

text: Josip Kuže

text: Arjan Beqaj

text: Macedonia

text: 2014 FIFA World Cup qualification

text: 2014 FIFA World Cup

text: Group E

text: Samir Ujkani

text: Kosovo national team

text: Malta

text: San Marino

text: UEFA Euro 2016 qualifying

text: Group I

text: UEFA Euro 2016

text: Group A

text: Alban Hoxha

text: 2018 FIFA World Cup qualification

text: Group G

text: 2018–19 season

text: 2018 Albanian Supercup

text: Juventus

text: Gianluigi Buffon

text: Albanian Cup

text: Albanian Cup

text: Albanian Superliga

text: Albanian Cup

text: Albanian Supercup

text: Albanian Superliga Fair Play Award

text: Albanian Footballer of the Year

text: Albanian Supercup

text: Skënderbeu Korçë official profile

text: Profile

categories: KF Skënderbeu Korçë managers,Association football goalkeepers,KF Skënderbeu Korçë players,Association football goalkeepers who have scored,UEFA Euro 2016 players,Besa Kavajë players,KF Vllaznia Shkodër players,Albanian footballers,Albanian football managers,KF Teuta Durrës players,KS Bylis Ballsh players,1977 births,Albania international footballers,Albanian Superliga players,Footballers from Durrës,Living people,FK Partizani Tirana players

paragraph: Orges Shehi

paragraph: Orges Shehi (born 25 September 1977) is an Albanian professional football coach and former player who is the current manager of Skënderbeu Korçë.

paragraph: In July 2010, he joined Skënderbeu Korçë and won 6 consecutive league titles (2010–11, 2011–12, 2012–13, 2013–14, 2014–15, 2015–16).

paragraph: Section::::Club career.

paragraph: Section::::Club career.:Teuta Durrës.

paragraph: Shehi began his career with local side Teuta Durrës as a teenager at age of 12, and made his professional debut for the club in the Albanian Superliga during the 1994–95 campaign. He had to wait another two seasons to become the regular second choice keeper, behind Kujtim Shtama. He made his Union of European Football Associations (UEFA) debut in the first qualifying round of the UEFA Cup on 24 July 1996 in the second leg against MFK Košice, coming on as an 88th-minute substitute for Shtama. Teuta ended up losing the game 2–1 and the tie 6–2 on aggregate. Overall, he ended up making 9 league appearances as his side finished in mid-table, as well as reaching the quarter-final of the Albanian Cup, narrowly being eliminated by KS Lushnja. He became the club's first choice keeper the following season, and made 32 appearances in the league, missing just two games throughout the season as his side finished 5th.

paragraph: He joined Bylis Ballsh on loan ahead of the 1997–98 season, and was an integral part of the club's highest finish, as they reached third place, just two points behind the eventual winners KF Tirana. He helped the club reach Europe for the first time in their history, and they were tied against Slovakian side FK Senica, to whom they lost 5–1 on aggregate, with Shehi playing in both games. He left Bylis Ballsh after their European experience, and returned to his parent club, Teuta.

paragraph: Upon his return to Teuta Durrës, Shehi immediately went back into the first team and played every game in the league, helping his side finish in third place, just 3 points behind top spot. He was also part of the Albanian Cup winning team, and played in the final against KS Lushnja which Teuta won 5–4 on penalties after a goal-less draw. They qualified for the Intertoto Cup and were drawn against Icelandic side IA Akranes, to whom Shehi's side lost 6–3 on aggregate. By this point, Shehi had been handed the captaincy as he had become one of the club's most consistent performers. In the league, Teuta failed to replicate the success of the previous season, as they only managed to finish in 6th place out of 14 teams. As Teuta had won the Albanian Cup the previous season, they qualified for the 2000 Albanian Supercup which was scheduled to be played against KF Tirana, but it was delayed and eventually played on 13 January 2001. Shehi played the game but his side lost after conceding a 54th-minute goal to Indrit Fortuzi. Shehi met KF Tirana once again at the end of the season, this time in the final of the Albanian Cup, which KF Tirana also won, this time more resoundingly as they put 5 goals past Shehi to win comfortably 5–0. In the UEFA Cup, Teuta were drawn against Austrian club Rapid Vienna, as Shehi captained his side to a 6–0 aggregate loss. He helped his side finish 4th in the league as well as reach the semi-final of the Albanian Cup, losing to runners-up Dinamo Tirana. His side qualified for the Intertoto Cup, and faced Maltese side Valletta FC, whom they defeated 2–1 at home and drew to 0–0 away, and qualified for the next round after some impressive displays from Shehi. Following the arrival of Alfred Osmani ahead of the 2003–04 season, Shehi faced greater competition, and Teuta struggled somewhat and only managed a mid-table finish. This would be his final season at Teuta, as after a difficult season he would leave the club and join their Albanian Superliga rivals Vllaznia Shkodër, after 168 league appearances and nearly 200 appearances in all competitions.

paragraph: Section::::Club career.:Partizani Tiranë.

paragraph: He experienced the "second spring" of his career after joining Partizani Tiranë in 2005, becoming the captain in 2008.

paragraph: Section::::Club career.:Besa Kavajë.

paragraph: Shehi left Partizani Tirana following a massive exodus after relegation from top flight. He then joined Besa Kavajë in July 2009 by penning a one-year contract. Shehi took squad number 1, and made his debut on 23 August in the opening day against Vllaznia Shkodër; Besa won 2–0. Shehi was in decent form at the start of the season, conceding only twice in the first 9 league matches, as Besa become a contender for the championship title; he went 731 minutes without conceding before being beaten by Kastrioti Krujë's Oriand Abazaj on 1 November 2009, which also ended Besa's undefeated streak. Later on 24 December, Shehi was sent-off in the 45th minute of the 1–0 controversial win versus newly promoted Gramozi Ersekë for a foul inside the zone on a Gramozi player; the referee Ervis Peza did not award a penalty but instead gave a free kick which created tension and harsh protests by Gramozi's staff.

paragraph: Shehi finished 2009–10 season by making 31 league appearances, being a strong instrument for Besa side which finished runner-up to Dinamo Tirana. He also made 7 cup appearances, including captaining the team in the final, which saw Besa lift the trophy after earning a 2–1 overturn win over Vllaznia Shkodër at Qemal Stafa Stadium. It was Besa's second ever Albanian Cup trophy and the first in Shehi's career. Shehi also received "Fair Play" Award by association "Sporti na Bashkon".

paragraph: Shehi was part of Besa Kavajë squad in their UEFA Europa League campaign. "Verdhezinjtë" started their European campaign in the second qualifying round against Olympiacos. In the first leg on 15 July, Shehi played full-90 minutes and conceded 5 goals. Immediately after the loss, Shehi left the club to join Skënderbeu Korçë for the new season as the transfer was notified a day before.

paragraph: Section::::Club career.:Skënderbeu Korçë.

paragraph: In July 2010, Shehi completed a transfer to fellow Albanian Superliga side Skënderbeu Korçë. He was given squad number 1, and made his club debut on 23 August against his former employer, Besa Kavajë, in the opening league match.

paragraph: In December 2012, Shehi was named Albanian Footballer of the Year to become the first Skënderbeu Korçë to win the award.

paragraph: One of the highlights of his career was a presentation with the team in the 2013–14 UEFA Europa League play-off round, where they played against Chornomorets Odesa. After a final result of 1–1 in both legs and extra-time, they lost by penalties 6–7 when Shehi made 2 amazing penalty saves and also scored a penalty kick himself. Shehi played his 500th top flight match on 20 April 2014 in Skënderbeu's 1–0 defeat of Besa Kavajë in the matchday 29. Overall he made 32 league appearances, collecting 2880 minutes as Skënderbeu clinched the title for the 4th season in a row.

paragraph: On 6 December 2014, in the 3–2 league win against Teuta Durrës at home, Shehi scored his first professional goal by netting a penalty kick in the 41st minute. He was ever-present in the league during this season, appearing in all 36 matches, collecting 3168 minutes in total, helping Skënderbeu to win the league for the fifth consecutive season. At the end of the season Shehi earned "Fair Play" award for the second time in career.

paragraph: On 14 June 2015, Shehi agreed to a contract extension, signing a new one-year contract. During 2015–16 season, Shehi played a major role in the team's success, contributing to 35 league matches. On 14 March 2016, in the match against title rivals Partizani Tirana, Shehi, despite making a high-profile error which resulted in a goal by Stevan Račić early in the game, saved a penalty-kick from him in the 77th minute, allowing Skënderbeu to level the score in the last moments.

paragraph: In July 2016, following the retirement of long-time servant Bledi Shkëmbi, Shehi was named the new team captain. Shehi did not play any Champions League matches for the 2016–17 season as Skënderbeu was excluded from the competition by UEFA for match-fixing. He debuted in the new season on 24 August in the 2016 Albanian Supercup match against Kukësi, conceding three times in a 3–1 defeat at Selman Stërmasi Stadium.

paragraph: In July 2017, Shehi expressed his intention to retire after the club's UEFA Europea League campaign, after rumours linking Enea Koliçi with a possible transfer in Korçë.

paragraph: On 3 August 2017, in the returning leg of 2017–18 UEFA Europa League third qualifying round against Mladá Boleslav, Shehi made some crucial saves in the second half to help Skënderbeu win 2–1. As the first leg ended with the same result but for the opposite team, the match went to extra time and later penalty shootout. After scoring his team's first attempt, he saved Mladá's Golgol Mebrahtu attempt as Skënderbeu won 4–2 to progress to the play-off round. The club eventually achieved group stage for the second time ever after eliminating Dinamo Zagreb on play-off thanks to away goal rule (1–1 on aggregate).

paragraph: Shehi was ever-presented in all Group B fixtures as Skënderbeu finished last with 5 five points. He notably kept a clean sheet in the match 3 against Partizan Belgrade. Following the end of group stage, Shehi was ranked third by the number of saves, making 26 in total. He called 2017 as the best year of his career, adding that he is likely to retire at the end of the season. On 18 March 2018, Shehi was injured during the league match versus Luftëtari Gjirokastër and was replaced at 63rd minute; he suffered a knee ligament injury that will keep him sidelined for at least a month.

paragraph: He concluded the 2017–18 season by making 28 league appearances as Skënderbeu won the championship for the 8th in history. He played his final match on 27 May, the 2018 Albanian Cup Final versus Laçi, keeping a clean-sheet with Skënderbeu winning 1–0 and completing the domestic double for the first time in history. In June, after Court of Arbitration for Sport uphold UEFA's decision to exclude Skënderbeu from UEFA competitions for the next 10 years, Shehi announced his retirement from football.

paragraph: Section::::International career.

paragraph: Section::::International career.:Youth.

paragraph: Shehi was capped for the first time in international level with the Albania national under-16 football team, making his debut in the 1994 UEFA European Under-16 Championship against Liechtenstein in a 1–0 win. He made seven appearances for the Albania national under-21 football team from 1997 to 1999 between the 1998 and 2000 UEFA European Under-21 Championship qualification.

paragraph: Section::::International career.:Senior.

paragraph: Shehi was first approached to the senior team in September 1998 by then-coach Astrit Hafizi for the UEFA Euro 2000 qualifying fixture versus Georgia. He didn't make his debut however.

paragraph: Shehi's good run with Skënderbeu Korçë in the 2010–11 season earned him a return to the national team after more than a decade, receiving a call-up by manager Josip Kuže as a replacement for the injured Arjan Beqaj for the friendly against Macedonia on 17 November 2010. He earned his first cap by appearing as a substitute in the second half as the match finished in a goalless draw.

paragraph: Shehi was regular member of Albania team during the 2014 FIFA World Cup qualification campaign. He served as the third goalkeeper, sitting on bench during the whole qualifiers as Albania falied to secure a spot to the 2014 FIFA World Cup by finishing 5th in Group E.

paragraph: In March 2014, he became the second choice following the departure of Samir Ujkani to represent the newly-accepted Kosovo national team. During this year, Shehi earned two other caps, making two substitute appearances in the friendlies versus Malta and San Marino.

paragraph: Despite at 37 years, Shehi continued to be a back-up even in the UEFA Euro 2016 qualifying campaign. Albania eventually finished second in Group I which ment qualification in the final stage; Albania's first ever appearance at a major men's football tournament. On 21 May 2016, Shehi was named in Albania's preliminary 27-man squad for UEFA Euro 2016, and in Albania's final 23-man UEFA Euro 2016 squad on 31 May. He was an unused substitute in all Group A matches as Albania were eliminated by ranked last in the third-placed teams.

paragraph: Just like in the previous campaigns, Shehi remained as a substitute, now third choice behind Alban Hoxha in Albania's 2018 FIFA World Cup qualification campaign. Albania failed to secure a spot to the World Cup by finishing third in the Group G, which was however their best-ever result.

paragraph: Section::::Managerial career.

paragraph: On 5 July 2018, Shehi was presented as the new coach of Skënderbeu Korçë for the 2018–19 season. He made his senior managerial debut on 12 August where he oversaw Skënderbeu to a 3–2 win over Laçi in the 2018 Albanian Supercup match, thus winning his first silverware as manager. Five days later, Shehi managed his first match in the Albanian Superliga, the opening match of the 80th championship against Partizani Tirana, with Skënderbeu winning 1–0 thanks to an injury-time penalty scored by Gjergji Muzaka.

paragraph: Section::::Personal life.

paragraph: Shehi is married to his long partner Elisabeta Shehi; the two met since the early youth years and together have two children, a boy named Aris and a girl named Serena. His favourite footballer is Juventus goalkeeper Gianluigi Buffon.

paragraph: Section::::Honours.

paragraph: Section::::Honours.:Player.

paragraph: BULLET::::- Teuta Durrës

paragraph: BULLET::::- Albanian Cup: 1994–95, 1999–2000

paragraph: BULLET::::- Besa Kavajë

paragraph: BULLET::::- Albanian Cup: 2009–10

paragraph: BULLET::::- Skënderbeu Korçë

paragraph: BULLET::::- Albanian Superliga: 2010–11, 2011–12, 2012–13, 2013–14, 2014–15, 2015–16, 2017–18

paragraph: BULLET::::- Albanian Cup: 2017–18

paragraph: BULLET::::- Albanian Supercup: 2013, 2014

paragraph: BULLET::::- Individual

paragraph: BULLET::::- Albanian Superliga Fair Play Award: 2009–10, 2014–15

paragraph: BULLET::::- Albanian Footballer of the Year: 2012

paragraph: Section::::Honours.:Manager.

paragraph: BULLET::::- Skënderbeu Korçë

paragraph: BULLET::::- Albanian Supercup: 2018

paragraph: Section::::External links.

paragraph: BULLET::::- Skënderbeu Korçë official profile

paragraph: BULLET::::- Profile at Soccer Association

description: Albanian association football player

wikidata_label: Orges Shehi

wikipedia_title: Orges Shehi


text:
Bishop of Finland
Paulus Juusten
Västergötland
Second Swedish Crusade
Bishop Thomas
Räntämäki
Koroinen
Turku
Aura river
Nousiainen
Saint Mary
Old Castle of Lieto
Dominican
convent
Skänninge
Cathedral of Turku
Saint Olav
Bishop Ragvald
Bishop of Turku
Archbishop of Uppsala

categories: Church of Finland,Swedish Roman Catholics,Finnish Roman Catholics

paragraph: Bero (bishop of Finland)

paragraph: Bero ("Björn") was the first certainly Swedish Bishop of Finland in the mid-13th century. His historicity is not questioned.

paragraph: Section::::Background.

paragraph: According to Paulus Juusten's chronicle "Chronicon episcoporum Finlandensium" from the mid-16th century, Bero was in office during 1248-58. He is also mentioned in another mid-15th century chronicle of the same name. Presumably from Västergötland, Bero was said to have given "Finns' tax to the king". It is assumed, that he was installed as the bishop during the so-called Second Swedish Crusade around 1249 and was not only religious, but also the secular leader of the conquered Finland. He succeeded in office Bishop Thomas, who had resigned three years earlier.

paragraph: Bero seems to have been the same "Bishop B. of Finland" ("B episcopus de Finlandia") who is listed among other Swedish bishops in a document from 1253, the first so appearing. The original letter has survived, with bishop's seal. No other records of the bishop remain.

paragraph: Section::::Residence in Koroinen.

paragraph: According to the older "Chronicon", Bero was the first bishop to be buried in Räntämäki, apparently in Koroinen, the semi-fortified episcopal residence near Turku along the Aura river. Archaeological excavations have revealed three episcopal graves from the church ruins, rather certainly belonging to Bero and his two successors that were all claimed to have been buried there. It is not known, when the see was moved to Koroinen, but Bishop Thomas is known to have worked in Nousiainen still in 1234. Some historians believe that the see was moved to Koroinen already before Bero, even as early as 1229, but that remains speculative.

paragraph: The modest cathedral in Koroinen, entirely made of wood at the time of Bero, was dedicated to Saint Mary, like the previous see in Nousiainen. Cathedral's dedication to Saint Mary continued also later, when it was moved to its current location in Turku at the end of the 13th century.

paragraph: In addition to Koroinen, there were larger Swedish garrisons four kilometers along the Aura river inland, later known as the "Old Castle of Lieto".

paragraph: Section::::Dominicans.

paragraph: Koroinen was also the home of the first Dominican convent in Finland. According to Dominican annals of their Skänninge abbey, the brotherhood seems to have arrived to the country with Bero and his retinue in 1249. Dominicans also left Koroinen with the bishop at the end of the 13th century, moving close to the new Cathedral of Turku. Their convent in Turku was dedicated to Saint Olav.

paragraph: Section::::Legacy.

paragraph: Bero was succeeded by Bishop Ragvald. Bero appears to have been the last Bishop of Finland, since his successors were referred to as the Bishop of Turku, first mentioned in 1259 ("episcopo et dilectis filiis capitulo Aboensi"). Naming the bishopric by the see harmonized its name with other Swedish dioceses, in a way a milestone in Finland's integration to Sweden. Counting from Bero, the Finnish church remained under Archbishop of Uppsala for 560 years.

description: bishop of Finland

wikidata_label: Bero

wikipedia_title: Bero (bishop of Finland)


text:
Horka
Upper Lusatia
Sorbian
Sorbian
quarry
Crostwitz
Czechoslovakia
Bautzen
Cottbus
University of Leipzig
Ćišinski Award
Carl Blechen Award

categories: People from Bautzen (district),Sorbian-language writers,1936 births,Writers from Saxony,Sorbian people,Living people

paragraph: Jurij Koch

paragraph: Jurij Koch (born 15 September 1936 in Horka, Upper Lusatia) is a Sorbian writer. He writes in both Sorbian languages as well as German.

paragraph: Koch's father worked in the nearby quarry, his mother worked several jobs at different farms. Jurij Koch went to school in Crostwitz, northern Czechoslovakia, Bautzen and Cottbus, and studied at the University of Leipzig.

paragraph: He has worked as an editor and reporter.

paragraph: Section::::Awards.

paragraph: BULLET::::- Ćišinski Award, 1976

paragraph: BULLET::::- Carl Blechen Award, 1983

paragraph: BULLET::::- Literature award "Umwelt" by the federal state of North Rhine-Westphalia, 1992

description: Sorbian writer

wikidata_label: Jurij Koch

wikipedia_title: Jurij Koch


text: graphic designer

text: Sergei Eisenstein

text: Charlie Chaplin

text: Greta Garbo

text: Dutch East Indies

text: Indonesia

text: Netherlands

text: medium

text: twenties

text: Second World War

text: Nazis

text: Salatiga

text: Batavia

text: Dutch East Indies

text: The Hague

text: Indonesia

text: high school

text: Hague Drawing Institute

text: Royal Academy of Art

text: portraiture

text: The Hague

text: Charles Exeter Devereux Crombie

text: studio

text: Cossack

text: Eisenstein's

text: Battleship Potemkin

text: Cassandre

text: Marlene Dietrich

text: "Dishonored"

text: Greta Garbo

text: Asta Nielsen

text: Charlie Chaplin

text: City Lights

text: Buster Keaton

text: "The General"

text: Dolores del Río

text: "The Loves of Carmen"

text: "Ramona"

text: International Film Exhibition

text: The Hague

text: Groningen

text: interior design

text: Het Rijk der Vrouw

text: war

text: chocolate boxes

text: letterheads

text: wall calendar

text: Hotel Krasnapolsky

text: Peace Palace

text: guilders

text: World War II

text: Unilateral Disarmament

text: deported

text: Nazi occupation of Holland

text: Amsterdam

text: allied

text: bombing raids

text: Jewish

text: Rubens

text: hare

text: postcard

text: watercolours

text: Golden Age

text: Organon

text: Oss

text: decal

text: picture book

text: Hans Christian Andersen

text: "Fairy Tales"

text: pulmonary emphysema

text: obituaries

text: futuristic

text: German Expressionism

text: film still

text: Ludwig Hohlwein

text: Hap Hadley

text: Stenberg brothers

text: Odessa

text: Scheveningen

text: La Argentina

text: Ministry of Agriculture

text: A. M. Cassandre

text: Hollywood

text: Josephine Baker

text: Al Johnson

text: minstrel

text: United States

text: Feodor Chaliapin

text: skirt

text: fabric

categories: 1980 deaths,20th-century women artists,People from Salatiga,Royal Academy of Art, The Hague alumni,1902 births,Dutch graphic designers

paragraph: Dolly Rudeman

paragraph: Dolly Rudeman (born Gustave Adolphine Wilhelmina Rüdemann, 3 February 1902 – 26 January 1980) was a Dutch graphic designer who produced posters for some of the most famous directors and film stars of her day, including Sergei Eisenstein, Charlie Chaplin, and Greta Garbo.

paragraph: Born in the Dutch East Indies (now Indonesia) to Dutch parents, her father died before she was born and her mother took the family back to the Netherlands when Rudeman was in her teens. Rudeman studied art and drawing from an early age, and in the early 1930s embarked on a career in design. Concerned that there was little financial stability in art, she turned towards the medium of poster design. In the twenties, she was the only woman designing posters for the film industry, and was a prolific designer of posters and printed programs for the Netherlands Cinema Trust.

paragraph: Although work dried up during the Second World War—during which she aided Jews hiding from the occupying Nazis—she returned to poster design after the war. The 1950s have been termed her 'golden age', and during this decade she expanded into other forms of design such as for postcards, chocolate boxes, and ceramics. She never achieved the fame that she had before the war, however, and died in relative obscurity in Amsterdam in 1980.

paragraph: Section::::Early life.

paragraph: Dolly Gustave Adolphine Wilhelmina Rüdeman was born on 3 February 1902 in Salatiga, Java. She was the second child to Adolf Rudeman, a sugar factory proprietor, who died six months before Dolly's birth, and his wife, Gerardina van Elsbroek. After Adolf's death Gerardina remarried, and the family moved to Batavia, in the Dutch East Indies. By 1916 they had moved to The Hague. Rudeman had one sister, who spent much of her life in Indonesia; they had very little contact in adulthood.

paragraph: Rudeman attended high school for two years before joining the Hague Drawing Institute where she studied art. She later moved to The Hague's Royal Academy of Art, where, in August 1922, she obtained a teaching certificate in drawing. A classmate of Rudeman's later recalled that most of the class "went on to be more or less unknown" and "became housewives", while Rudeman, now in her twenties, was "already riding around on a motorbike". Initially, she considered a career in portraiture, but decided against it on the grounds, as she explained some years later, that she was "not well-off, and most Dutch people consider it a scandalous waste of money to have yourself painted."

paragraph: Section::::Early career.

paragraph: Rudeman enrolled at the Koninklijke Academie van Beeldende Kunsten (the Royal Academy of Art) in The Hague and studied drawing, graduating in 1922. Wanting to design posters, she travelled to England to study under the illustrator and cartoonist, Charles Exeter Devereux Crombie. In the mid-1920s, having returned to the Netherlands, she began drawing posters for the Netherlands Cinema Trust. Having moved into her own studio, she taught private pupils and produced general illustrations.

paragraph: Rudeman's first poster—and one of the most famous of this period, which made her name—was the "vicious Cossack" for Eisenstein's 1925 movie "Battleship Potemkin". A then-unheard of 7,500 copies were printed for the film's promotion. At the time it was "virtually unheard of" for Dutch film promoters to produce a particular poster for a single show, and they often resorted to the expediency of merely painting over the titles of foreign-produced posters. "Het Vaderland", a Dutch evening newspaper, published from 1869 to 1982, declared that the "designer of the poster must be of the same persuasion [gender] as the director of the film." That same year, Rudeman was offered a permanent contract with the Netherlands Cinema Trust, and so achieved financial security.

paragraph: Rudeman also designed many program covers, producing about seventy between 1926 and 1927. In 1928 she left for Paris, where she worked under the painter Cassandre. The following year saw her travel to Berlin. In the course of her career she created posters for Marlene Dietrich (in "Dishonored"), Greta Garbo, and Asta Nielsen, comedians Charlie Chaplin (for "City Lights") and Buster Keaton's "The General", as well as for some who declined into obscurity, such as Dolores del Río ("The Loves of Carmen" and "Ramona").

paragraph: In 1928 Rudeman attended the International Film Exhibition at The Hague, and that same year she received a major commission to redesign the many wall paintings and lampshades at the Cinéma Palace, a movie theatre in Groningen. This was despite her complete lack of experience with interior design. The results were well received; coverage ranged from in-house, cinematic trade publications to popular women's magazines such as "Het Rijk der Vrouw". The latter wrote that although the local community was "highly conservative in their taste [they] learned to appreciate her ultra-modern work." The magazine also wrote that although in post-war Europe they were "used to seeing women in men's jobs... It was a surprise... when we saw Dolly Rudeman's posters and learnt that this was the work of a woman!" The same year her poster for Charlie Chaplin's "The Circus" became the flrst poster to win the Dutch government's official seal of approval.

paragraph: The Cinema Trust commissions dried up for Rudeman when Barend Lugend, from whom Rudeman had received some of her earliest commissions, left the organisation in 1929. Of her work until 1932, an estimated 150 posters and 70 programs remain. She continued to produce special assignments, and was exhibited as a solo artist and in group shows.

paragraph: Rudeman had to work quickly in producing her posters. She had no time to actually see the films she was illustrating because her posters had to be out before the films they depicted. All she had to work with was a script scenario and sometimes a photograph of the stars. Sometimes she had to work on two or three posters per week, in addition to other work designing chocolate boxes, letterheads, packaging and magazine designs, and on one occasion, a luxury wall calendar.

paragraph: Section::::Early career.:Exhibitions.

paragraph: The first time Rudeman's work was exhibited was in a one-day exhibition on 17 October 1927 in Amsterdam. The show was a success, to such an extent that trade paper "De Reclame" lamented the fact that it was so short. A follow-up exhibition opened on 31 October 1927 in the Hotel Krasnapolsky.

paragraph: One of the major exhibitions of her career was held in February 1931 at the White House, opposite the Peace Palace, also in Amsterdam. This was an "extremely exclusive" gallery operating on an invitation-only basis, and had the benefit of not only promoting Rudeman and her work, but the cinema poster as a form of art in itself. Rudeman was, a contemporary commented, "mounting a courageous front against the bad taste of the film poster." Her original work was on sale for between 75 and 500 guilders .

paragraph: Section::::Post-war career and death.

paragraph: One of her last works before the outbreak of World War II was a work commissioned by the Committee for Warning Against Unilateral Disarmament. This was an evocative piece, illustrating "a pale man, symbolising the despair, fear and self-reproach of a defenceless war victim. A slipping national flag is the only thing covering his naked body. Behind him stand ruined, burning buildings." During the war, poster production was halted, partly due to a lack of basic materials but also because a number of people in the industry were deported under the Nazi occupation of Holland. Rudeman continued to live in The Hague, but was forced to relocate temporarily to Amsterdam twice, in 1941 and 1944, due to allied bombing raids. The second occasion saw her remain in Amsterdam for good.

paragraph: In Amsterdam, Rudeman lived with her cousin, Prul Rudeman. During the occupation, they took in a Jewish man named Rubens, who hid behind one of the Rudemans' cupboards when there was a police raid. They successfully kept him hidden from the Nazis until the end of the war. She stayed in touch with Lugend too, who would bring a hare for their annual Christmas meal; friends of Rudeman's from her early days at the Academy also joined them.

paragraph: Rudeman's post-war career was mainly built around postcards, portraits and watercolours, as well as some posters, particularly for the K.N.M.V Motor Races. The 1950s, in fact, have been described as Rudeman's Golden Age; she received many good commissions, and worked for Organon (in Oss) and Mulder and Zoon in Amsterdam, which further spread her work in America. Her work at this time included decals for porcelain, jugs, vases, and the like. She also contributed illustrations for picture books (not only works such as Hans Christian Andersen's "Fairy Tales", but her own children's publications). Her partnership with Mulder ended in the 1970s, and Rudeman concentrated on children's portraits on private commission. She never again, however, received the national publicity and attention that she had before the war; likewise, it has been suggested, she never found the artistic freedom she wanted.

paragraph: Rudeman died in Amsterdam on 21 January 1980 of pulmonary emphysema. There were no obituaries.

paragraph: Section::::Post-war career and death.:Late twentieth-century popularity.

paragraph: Although Rudeman died in relative obscurity—"and her interesting work, her hundreds of film posters, seemed lost"—towards the end of the century the Dutch film poster archives received a thorough inventory, in which many of her pieces were rediscovered. This led to renewed interest in her work and a major 1985 exhibition in the United States, "The Modern Dutch Poster: The First Fifty Years", at which her "Battleship Potemkin" was displayed.

paragraph: Rudeman was known for her "bold, futuristic style", being both "austere and dynamic," and the influence of early German Expressionism on her work has been noted. Although constrained by being able to work only from film stills, her portrait style has been described as "exchanging realism... for a suggestive atmosphere." In 1929, contemporary journalist Kate de Ridder wrote of Rudeman's work that, whereas a female artist's work usually demonstrated a feminine touch, Rudeman's bold style was far less so. "De Groene Amsterdammer" described her design for Battleship Potemkin as making "a strong impression," whilst "Het Vaderland", from The Hague, noted how "boldly drawn" it was, suggestive of the work of as much an artist as those who made the film itself. The same newspaper incorrectly ascribed the poster for "Potemkin" to a man, and corrected this in a lengthy article describing the artist and her work, in which she was called a promising young woman. Later commentators have noted the emphasis by contemporary newspapers (such as "Het Vaderland") on Rudeman's youth. The same newspaper also described the film industry's advertising as "the epitome of ugliness," consisting of "gaudy sheets... overloaded with letters... clumsily drawn." In contrast, Rudeman's work made an immediate impact in the national press; her work was popularly seen as being in tune with the "modernity" of the twenties. Her style and works have been compared favourably to many of her contemporaries, including Ludwig Hohlwein, Hap Hadley in the United States and the Stenberg brothers in the Soviet Union. It has been defined as possessing three main identifying features: "good taste, a feel for colour and originality."

paragraph: Section::::Artistic style and criticism.:Major works.

paragraph: Rudeman herself believed she had designed over 250 film posters in her career. It has been estimated that only about half of her oeuvre has survived, of which at least 90 are extant in public and private collections. Her works include:

paragraph: BULLET::::- "The Battleship Potemkin "(1925): Expressionist in style, it depicts the Odessa massacre scene.

paragraph: BULLET::::- "Spanish Evening" (1926): Commissioned by the Scheveningen Sea Bathing Company to promote its resort, and starring La Argentina.

paragraph: BULLET::::- "Employment Agency for Inland Shipping" (1927): Commissioned by the Dutch Ministry of Agriculture, it is possible that she deliberately used "the image language and symbolism" of socialism.

paragraph: BULLET::::- "The Circus" (1928): Influenced by her time working in A. M. Cassandre's studio, she drew Chaplin's face "with as few lines as possible."

paragraph: BULLET::::- "Papitoe, Siren of the Tropics" (1928): The first Hollywood film with an all-black cast; Rudeman's illustration showed the 'Black Pearl,' Josephine Baker.

paragraph: BULLET::::- "The Jazz singer" (1928): Illustrated Al Johnson made up as a black minstrel.

paragraph: BULLET::::- "Wings" (1928): Portrayed a "dramatic aviator in the shadow of an airplane; this earned critical acclaim even in the United States."

paragraph: BULLET::::- "Don Quichotte" (1933): A portrait of the star of the film, Feodor Chaliapin, and also Rudeman's final film poster.

paragraph: BULLET::::- "Have You Got Your Celebration Skirt Yet?" (1946): Her first post-liberation work, promoting the skirt designed by Elisabeth Hannema-van Maasdijk made out of scrap fabric.

alias: Dolly Gustave Adolphine Wilhelmina Rudeman

description: Dutch graphic designer (1902-1980)

wikidata_label: Dolly Rudeman

wikipedia_title: Dolly Rudeman


text: United States Holocaust Memorial Museum

text: Jewish Partisan Educational Foundation

text: Italian Resistance

text: Val d'Aosta

text: Politecnico di Torino

text: Felice Casorati

text: Primo Levi

text: Rationalism

text: Casabella

text: Giuseppe Pagano

text: Edoardo Persico

text: 'Profezia dell'Architettura" conference

text: Italian Racial Laws

text: Gio Ponti

text: Bruno Zevi

text: Saverio Muratori

text: Porta Garibaldi Station

text: Giulio Minoletti

text: Italfarmaco complex

text: Gio’ Ponti

text: Ducale

text: Arcobaleno

text: Franco Albini

text: Ignazio Gardella

text: Ludovico Belgioioso

text: Milano - i segni della storia

text: Italian resistance movement

text: Aosta Valley

text: Saverio Muratori

text: Mario Ridolfi

text: Bruno Zevi

text: organic architecture

text: Abitare

categories: Italian Jews,Jewish architects,2005 deaths,People from Turin,Jewish resistance members during the Holocaust,1916 births

paragraph: Eugenio Gentili Tedeschi

paragraph: Eugenio Gentili Tedeschi was an Italian architect, designer, teacher and writer active in Italian building and product design from the 1940s until his death in 2005. Through his popular lectures while professor of design at Milan Politecnico and through his numerous books, he influenced many of the designers and architects working in Italy and abroad today. The United States Holocaust Memorial Museum and the Jewish Partisan Educational Foundation have recognized Gentili for his actions in the Italian Resistance in the Val d'Aosta during World War 2. His architectural legacy in the form of buildings can be seen in Milan and elsewhere in Italy today.

paragraph: Section::::Early years.

paragraph: Eugenio Gentili Tedeschi was born to Jewish parents in Turin in 1916 where he had his early schooling. In 1935 he began university studies in architecture at Politecnico di Torino in its architecture division, completing his undergraduate studies in 1939 and his graduate work 1940. Concurrently, Gentili was also a student of the painter Felice Casorati until 1941. As a student in the late 1930s he formed a close, lasting friendship with the chemist and writer, Primo Levi, who knew him as "Euge" and with whom he shared a love of mountain climbing.

paragraph: Section::::Architect.

paragraph: Gentili's professional formation took place during the period when modern architecture and Rationalism were extremely influential in Italy, strongly promoted by the design magazine, Casabella and the writings of the magazine's editor Giuseppe Pagano and the publisher-art-critic-designer, Edoardo Persico. Persico held the 'Profezia dell'Architettura" conference (The Prophecy of Architecture) in Turin in January 1935, which the 19-year old Gentili attended. The 1930s also saw the rise of Fascism and the Italian Racial Laws promulgated in 1938, which banned Jews from academia, politics, finance, the professional world, and most sectors of public and private life.

paragraph: In 1941, Gio Ponti, one of Italy's leading designers of the day, in direct defiance of the law, hired Gentili. Gentili worked in Ponti’s studio until late 1943, when Gentili, who was active in the anti-fascist underground, was forced to flee Milan for his own safety. [See below.]

paragraph: In early spring 1945, he moved to Rome, where, with Bruno Zevi, Cino Calcaprina, Saverio Muratori, Silvio Radiconcini, Mario Ridolfi, he co-founded Metron, the first architecture magazine published in Italy after the war. [See below.]

paragraph: In 1946, he opened his own practice in Milan, Studio Eugenio Gentili Tedeschi. In 1948 he was asked to join the MSA (Movimento di Studi per l'Architettura), the only architect in Italy to belong to both the Associazione per l’architettura organica (APAO) and MSA. He participated in the Milan Triennial in 1947, 1951 and 1954, eventually joining its board, where he remained active for many years.

paragraph: Section::::Architect.:Public buildings.

paragraph: BULLET::::- Heichal David u-Mordechai Synagogue - The original synagogue on via Guastalla was heavily damaged during the bombardments of Milan 1940-44, which had completely destroyed the interior, leaving only the facade. In 1946 the Jewish community of Milan opened a competition to Jewish architects, for the reconstruction of the building. The first prize was shared by Gentili and Manfredi d'Urbino. Under Gentili's management, the synagogue was rebuilt between 1951 and 1953.

paragraph: BULLET::::- Porta Garibaldi Station - In 1957 the Italian Railways and the City of Milan announced an architectural competition for the design of a new railway station in the location of Porta Garibaldi. Gentili, with a team that included Giulio Minoletti and Mario Tevarotto, tied for first prize for their design with the Roman architectural firm, Bonamico, F.&G. Gigli and Janicelli). The two teams together developed the project for the new station, which was based mostly on the Milanese scheme. The station was completed in 1963.

paragraph: BULLET::::- Italfarmaco complex - This project won the IN-ARCH prize (Istituto Nazionale di Architettura) in 1963. In the influential Italian design magazine, DOMUS in 1963, Gio’ Ponti praised the Italfarmaco project for its daring use of space, singling out the exterior spiral staircase for special praise: "The elevations of these stairs, their clarity and sharpness, their structural elegance, their design and "lines" encapsulate the values of this architecture, and in turn represent the values of Gentili's oeuvre as architect."

paragraph: BULLET::::- LASA (Laboratorio Acceleratori Superconduttività Applicata) - The LASA building was commissioned by the Italian National Institute of Nuclear Physics as a new center for scientific research capable of containing a large cyclotron. It was built between 1983 and 1987 in Segrate just outside Milan, on an area owned by the Università degli Studi of Milan. The complex is composed of four connecting volumes that are of varying dimensions and heights: the office building with a square plan layout, the large hangar for the cyclotron and its control areas, the mechanical building and the workshop.

paragraph: BULLET::::- L.I.T.A. (Laboratorio Interdisciplinare di Tecnologie Avanzate) - L.I.T.A. was commissioned by the Università degli Studi of Milan as a 24,000 square meter center for research and teaching of bio-medical sciences. It was built between 1987 and 1995 in Segrate, on an area adjacent LASA.

paragraph: BULLET::::- Orfanotrofio San Felice - The Monastery of San Felice (15-19th centuries), a monumental complex in the historic center of Pavia, which had been converted to an orphanage in the 18th century, was restored by E. Gentili Tedeschi, G.Calzà, A.Savio Architect Associate in three phases from 1993 to 1999: restoration of the refectory and its annex, which became the library; reconfiguration of the three main wings and the main courtyard; and new construction around the east courtyard. Today the building is the seat of the Economics and Philosophy faculties of the University of Pavia, containing classrooms, libraries and offices.

paragraph: Towards the end of the 1990s the Studio Associato (Tedeschi with architects Gianni Calzà and Andrea Savio) began the restoration of vintage movie theaters in Milan. A few historic ones, like the Ducale, Excelsior, Mignon and Arcobaleno in the center of Milan were transformed into multiplexes through respectful redesign that allows the classic structures to retain their original historic features.

paragraph: Section::::Teacher.

paragraph: Gentili taught throughout his career as an architect. His began teaching in 1955, when he was invited to join Franco Albini, Ignazio Gardella and Ludovico Belgioioso as assistant at the Venice University Institute of Architecture, where he obtained professorship in 1959 teaching interior design with Albini. In 1964, he began teaching at the Politecnico di Milano in Milan, as professor of Architectural Composition, and then director of that department in 1972-73. He became a tenured professor there in 1981, where remained until his retirement in 1986. A collection of year of his architecture lectures at the Faculty of Architecture of the Politecnico di Milano was published as "Milano - i segni della storia" (Milan - the markings of history) in 1988 by Alinea, Florence.

paragraph: Section::::World War Two Years.

paragraph: Gentili took part in the Italian resistance movement and fought alongside the Partisans in the Aosta Valley (in northwestern Italy at the border with France). He was denounced in June 1944, arrested and imprisoned in Turin. He was released in a matter of weeks, after Gentili's father and girlfriend were able to raise the 30,000 lire needed to bribe the police superintendent in Turin to turn him free. In the winter of 1944/45 he managed to elude the Nazi roundups and crossed the Alps into France to safety. In early 1945, he returned to Italy with the Allied forces, going first to Rome. His sketches from that period chronicle different aspects of the partisans' operations.

paragraph: Section::::Publishing.

paragraph: In Rome the spring of 1945, with Cino Calcaprina, Saverio Muratori, Silvio Radiconcini, Mario Ridolfi and Bruno Zevi, he was co-founder and publisher of Metron, the first postwar architecture magazine in Italy, and served on its editorial board. Later that year, he returned to Milan with the task of promoting Metron among local architects. Metron's influence was due to its close association with the Associazione Per l'Architettura Organica (A.P.A.O.) and became the platform advocating that Italian public architecture return to its organic roots—that it be "modeled on the human scale," in the words of Bruno Zevi, the principal proponent of "organic architecture".

paragraph: Gentili's longest lasting association in publishing was with Abitare, which he joined in 1961 and helped shape the character of for the following decade and a half. Abitare soon established itself as a leading design publication, featuring the works of, and publishing articles by, some of the leading architects, designers and artists of the day. When Tedeschi began his association with the founding publisher, Piera Perone, the magazine was called Casa Novità. Gentili and Perone relaunched it as Abitare in 1962 and featured an introductory article by Gentili and a main feature he commissioned on the work Gino Becker, a former colleague. He continued his close association with Abitare until 1976, working with subsequent editorial directors, including Franca Santi, with whom he shared the role of editor-in-chief for a period. He continued as a contributor to Abitare until 1979, writing some 40 articles for the magazine in all.

paragraph: Section::::Books & Articles.

paragraph: BULLET::::- “Elementi di Architettura” - ed. Tamburini - Milano, 1965

paragraph: BULLET::::- “I componenti della progettazione” - ed. Franco Angeli - Milano, 1980

paragraph: BULLET::::- “Uno spazio per l’architettura” - ed. Franco Angeli - Milano, 1982

paragraph: BULLET::::- “La cultura del progetto” con AA.VV. - CLUP, Milano 1985 (II° edizione 2003)

paragraph: BULLET::::- “Milano, i segni della storia” - ed. ALINEA - Firenze, 1988

paragraph: BULLET::::- “Il Design: un approccio metodologico” - ed. Città Studi - Milano, 1992

paragraph: BULLET::::- “Le Corbusier a Villa Adriana” - con G. Denti - ed. ALINEA - Firenze, 1999

paragraph: BULLET::::- "Testimonianze" - ed. ALINEA - Firenze, 2006

wikidata_label: Eugenio Gentili Tedeschi

wikipedia_title: Eugenio Gentili Tedeschi


text:
Bergen
Leonhard Stejneger
Anders Askevold
Munich
Marcus Grønvold
Bertha Wegmann
Copenhagen
Paris
Gustave Courtois
Académie Colarossi
Palace of Fine Arts
World's Columbian Exposition
Italy
Sicily
Florence
Goetheanum
Dornach, Switzerland
Rudolf Steiner
National Gallery of Norway

categories: Norwegian women painters,People from Bergen,19th-century Norwegian painters,1965 deaths,20th-century Norwegian painters,19th-century women artists,1863 births

paragraph: Agnes Steineger

paragraph: Agnes Steineger (21 January 1863 – 16 June 1965) was a Norwegian painter.

paragraph: Section::::Personal life.

paragraph: Steineger was born in Bergen, Norway. Her father was Peter Stamer Steineger, a merchant and auditor; his mother was Ingeborg Catharine (Hess). She was one of seven children who included her eldest brother Leonhard Stejneger.

paragraph: Section::::Career.

paragraph: Steineger showed early talent for both music and drawing. In Bergen she was a student at the public drawing school and during 1880 painted with Anders Askevold . She traveled in 1881 to Munich where she studied under Marcus Grønvold and with Bertha Wegmann. When Wegmann traveled to Copenhagen in 1883, Steineger followed and that same year she painted her first significant works, "Markblomster", which was exhibited at Bergen Art Association. Steineger was Wegmann's student until 1886 when she traveled to Paris. Here she studied under several teachers, among others Gustave Courtois at Académie Colarossi. Steineger exhibited her work at the Palace of Fine Arts at the 1893 World's Columbian Exposition in Chicago, Illinois. Between 1902-1914, Steineger was a resident in Italy, partly in Sicily and partly in Florence. From 1914 to 1918, she lived at the Goetheanum cultural centre for the arts in Dornach, Switzerland operated by Rudolf Steiner.

paragraph: Among her works are "Markblomster" from 1883 and "Pleiebarn" from 1890. A self-portrait from 1895 is located at Bergen Kunstmuseum, and the painting "Interiør med lampe" from 1915 is found at the National Gallery of Norway.

paragraph: Section::::Selected works.

paragraph: BULLET::::- "Markblomster", 1883

paragraph: BULLET::::- "Frida Rusti", 1889

paragraph: BULLET::::- "Pleiebarn", 1890

paragraph: BULLET::::- " Cecilie Dahl", 1897

paragraph: BULLET::::- "Interiør med lampe", 1915

description: Norwegian painter

wikidata_label: Agnes Steineger

wikipedia_title: Agnes Steineger


text: monk

text: abbot

text: Germanus of Auxerre

text: Marianus of Auxerre

text: Saints of March 30: Mamertinus

categories: Converts to Christianity from pagan religions,5th-century Christian saints,Gallo-Roman saints

paragraph: Mamertinus of Auxerre

paragraph: Saint Mamertinus of Auxerre () (d. ~462 AD) was a monk and abbot. He was converted by Germanus of Auxerre and became a monk at the Abbey of Saints Cosmas and Damian, Auxerre (later rededicated to Saint Marianus of Auxerre). He later served as its abbot.

paragraph: Section::::External links.

paragraph: BULLET::::- Saints of March 30: Mamertinus

description: monk and abbot

wikidata_label: Mamertinus of Auxerre

wikipedia_title: Mamertinus of Auxerre


text: Khabarovsk

text: visual artist

text: Cologne

text: Munich

text: USSR

text: Ernst Pöppel

text: Museum Ludwig

text: Bundesgartenschau

text: National Centre for Contemporary Arts

text: Bundesgartenschau

text: Shchusev State Museum of Architecture

text: National Centre for Contemporary Arts

text: Russian Museum

text: Kunstmuseum Bonn

text: Deutsches Museum Bonn

text: Deutsches Museum Bonn

text: documenta

text: Kölnischer Kunstverein

text: National Gallery of Norway

text: State Russian Museum

text: Haus der Kunst

text: Kunsthaus Bregenz

text: Museum für Angewandte Kunst (Cologne)

text: Ludwig Forum für Internationale Kunst

text: Edsvik Konsthall

text: Nikolaj, Copenhagen Contemporary Art Center

text: State Russian Museum

text: Russian Museum

text: State Russian Museum

text: National Centre for Contemporary Arts

text: Fotomuseum Winterthur

text: Boris Groys

text: Boris Groys

text: Peter Frank

text: Boris Groys

text: Joseph Beuys

text: Boris Groys

text: Vladimir Sorokin

text: Boris Groys

text: Ernst Pöppel

text: Ernst Pöppel

text: Ernst Pöppel

text: Ernst Pöppel

text: Ernst Pöppel

text: Vladimir Sorokin

text: Robert Huber

text: Ernst Pöppel

text: Ernst Pöppel

text: Ernst Pöppel

text: Official website

categories: German artists,Russian artists,1947 births

paragraph: Igor Sacharow-Ross

paragraph: Igor Sacharow-Ross (born 1947 in Khabarovsk) is a German-Russian visual artist who works in Cologne and Munich. He is considered a pioneer in the realm of interdisciplinary art.

paragraph: Section::::Life and work.

paragraph: Igor Sacharow-Ross was born in the Russian Far East and, as a member of the nonconformist art scene, was subject to political persecution in the 1970s. He staged the first actions and performances in the former USSR in 1975, ultimately leading to his deportation in 1978. His early engagement with the concept of nature was prompted by his growing up in the Siberian taiga. He conceives of nature as a field of both destructive and beneficent primeval forces. In the 1980s, Sacharow-Ross began working with molecular structures, such as cancer cells and leaf forms. The artist already at that point sought to combine natural science with considerations from the humanities.The projects of the 1980s, mediators between art and science, are research projects, which unfold in space installations. Since the nineties his project expanded constantly in terms of space as well as content. Against the background of the syntopic thought (defined by Ernst Pöppel) he develops artistic forms of expression for an intermedia communication on the inferface of aesthetic and common thinking and acting. Evolving from this the »Raumcollage« (spatial collage) originated as a form in which the artist takes great pains to provoke an interaction between the artistic space and the surroundings.

paragraph: Section::::Style.

paragraph: The oeuvre of Igor Sacharow-Ross, grown over the last 40 years, defies common classifications. In a retrospective portrayal, one discovers the specific quality of his work, having never committed himself to a certain style or medium. Drawings, photographs, paintings, sculpture as well as print, videos, installations and resonance bodies are thus equally used by him and condensed in spatial collages.

paragraph: However, with all divergency of styles and means there are constant aspects in the artistic work. In general it is about determining the coordinates of humanity, or how Igor Sacharow-Ross himself calls it: it is about developing »batteries of empathy«. In a great number of experimental series spectators are confronted with questions like »Who are we as human beings actually? On which lines of life are we situated?«

paragraph: For decades he is continuously considering the open wounds of the history that is called Europe: the day-to-day violence and torture, the misery of refugees, of the banished and the expelled as well as the destruction of the environment. All these historical motions and flight movements are condensed and symbolically transformed in his work. The effort to trigger »processes of reconstruction in man’s memory« is an essential momentum of his occupation with the entanglements of the all-European history.

paragraph: A further constant quality of his artistic work is the concept of syntopia, that aims at a participation of the audience. Igor Sacharow-Ross pursues the interdisclipinary connection of the arts and sciences on the one hand and of society and politics on the other hand by means of exhibitions and events, which always have the spectators as social agents in their center. They are the ones to establish new inter-connections, for example during the project »Sapiens/Sapiens« (Palais de Nations, Geneva and Simultanhalle of Museum Ludwig, Cologne, 2000ff.) as well as with the Syntopia-sculpture »Der Zaun« (The fence) in the context of the Bundesgartenschau, Potsdam (2001). Existential experiences of being-in-danger and pain are always inscribed into these works of art, as for example in the exhibition of »Trauma Natalis« in the National Centre for Contemporary Arts, Moscow (2005).

paragraph: Section::::Exhibitions (selection).

paragraph: Section::::Exhibitions (selection).:Solo exhibitions.

paragraph: BULLET::::- 1973: University Leningrad/St. Petersburg

paragraph: BULLET::::- 1977: Institute of Contemporary Art, London

paragraph: BULLET::::- 1977: The Arts Club, Washington

paragraph: BULLET::::- 1979: Katholische Akademie, Vienna

paragraph: BULLET::::- 1979: University Leuven

paragraph: BULLET::::- 1981: Centro Culturale S. Giorgeto, Verona

paragraph: BULLET::::- 1984: Städtische Kunstsammlungen, Lindau

paragraph: BULLET::::- 1985: Albrecht Dürer Gesellschaft, Nuremberg

paragraph: BULLET::::- 1986: Galerie für Original-Radierung, Munich

paragraph: BULLET::::- 1987: Künstlerwerkstatt, Lothringerstraße 13, Munich

paragraph: BULLET::::- 1988: Badischer Kunstverein, Karlsruhe

paragraph: BULLET::::- 1988: Kunstfonds Kunstraum, Bonn

paragraph: BULLET::::- 1989: Kunstverein Ludwigsburg

paragraph: BULLET::::- 1989: Kunsthalle Innsbruck

paragraph: BULLET::::- 1989: Goethe-Institut, Paris

paragraph: BULLET::::- 1990: Goethe-Institut, Madrid

paragraph: BULLET::::- 1992: Städtische Galerie im Museum Folkwang, Essen

paragraph: BULLET::::- 1993: New Tretyakov Gallery, Moscow

paragraph: BULLET::::- 1993: State Russian Museum, St. Petersburg

paragraph: BULLET::::- 1993: Goethe-Institut, Moscow

paragraph: BULLET::::- 1994: Kunstverein Rosenheim

paragraph: BULLET::::- 1994: Kunststation St. Peter, Cologne

paragraph: BULLET::::- 1994: University Bonn

paragraph: BULLET::::- 1995: Kunstverein Schwerte

paragraph: BULLET::::- 1996: The Jerusalem Foundation of Visual Art

paragraph: BULLET::::- 1996: Kunstverein Pirmasens

paragraph: BULLET::::- 1997: Städtische Galerie Meiningen

paragraph: BULLET::::- 1998: Musée des Beaux-Arts, Tourcoing/Lille

paragraph: BULLET::::- 2000: Palais des Nations (UNO), Geneva

paragraph: BULLET::::- 2000: Simultanhalle des Museums Ludwig, Cologne

paragraph: BULLET::::- 2001: Trinitatiskirche, Cologne

paragraph: BULLET::::- 2001: Museum Ostdeutsche Galerie, Regensburg

paragraph: BULLET::::- 2001: Municipal Museum, Kaliningrad

paragraph: BULLET::::- 2001: Institute PRO ARTE, St. Petersburg

paragraph: BULLET::::- 2001: Railway Museum, St. Petersburg

paragraph: BULLET::::- 2001: Bundesgartenschau, Potsdam

paragraph: BULLET::::- 2002: Galerie der Bayerischen Landesbank, Munich

paragraph: BULLET::::- 2003: Shchusev State Museum of Architecture, Moscow

paragraph: BULLET::::- 2003: Heike Strelow Projektbüro für Kunst und Kultur, Frankfurt am Main

paragraph: BULLET::::- 2004: Brotfabrik Galerie, Berlin

paragraph: BULLET::::- 2004: Derik-Baegert-Gesellschaft, Schloss Ringenberg

paragraph: BULLET::::- 2005: National Centre for Contemporary Arts, Moscow

paragraph: BULLET::::- 2006: Museum Moderner Kunst, Passau

paragraph: BULLET::::- 2006: Kunstverein Passau

paragraph: BULLET::::- 2006: Stadtgalerie Altötting

paragraph: BULLET::::- 2007: Ludwig Museum in the State Russian Museum, St. Petersburg

paragraph: BULLET::::- 2007: A. S. Popov Central Museum of Communication, St. Petersburg

paragraph: BULLET::::- 2007/8: Kunstmuseum Bonn, Bonn

paragraph: BULLET::::- 2007/8: Deutsches Museum Bonn, Bonn

paragraph: BULLET::::- 2008: National Centre of Photography of the Russian Federation, St. Petersburg

paragraph: BULLET::::- 2008: Galerie Heike Strelow, Frankfurt / Main

paragraph: BULLET::::- 2009: Fruc, Montpellier

paragraph: BULLET::::- 2009: Kunstraum Dornbirn

paragraph: BULLET::::- 2010: Deutsches Museum Bonn, Bonn

paragraph: BULLET::::- 2011/12: Galerie Heike Strelow, Frankfurt / Main

paragraph: Section::::Exhibitions (selection).:Group exhibitions.

paragraph: BULLET::::- 1970: Municipal Museum of Khabarovsk

paragraph: BULLET::::- 1971: Kustarni Pereulok, St. Petersburg

paragraph: BULLET::::- 1974: Gasa-Palace of Culture, St. Petersburg

paragraph: BULLET::::- 1975: Newski-Palace of Culture, St. Petersburg

paragraph: BULLET::::- 1976: Ordschonikidze-Palace of Culture, St. Petersburg

paragraph: BULLET::::- 1976: Bolshaja Sadowaja 13, Moscow

paragraph: BULLET::::- 1977: The Herbert F. Johnson Museum of Art, Ithaca, NY

paragraph: BULLET::::- 1977: Biennale Venice

paragraph: BULLET::::- 1978: Salon des Réprouvés, Peintres russes non officiels, Paris

paragraph: BULLET::::- 1978: Palazzo Reale, Turin

paragraph: BULLET::::- 1978: National Museum of Art, Tokio

paragraph: BULLET::::- 1978: Moderna Galerija, Ljubljana

paragraph: BULLET::::- 1985: Staatsgalerie, Stuttgart

paragraph: BULLET::::- 1986: Haus der Kunst, Munich

paragraph: BULLET::::- 1986: Arte Sella, Borgo Valsugana

paragraph: BULLET::::- 1987: Kraftzellen, Group artwork, documenta 8, Kassel

paragraph: BULLET::::- 1987: Galerie der Künstler, Munich

paragraph: BULLET::::- 1988: Gallery Hannes Hake, Wiesbaden

paragraph: BULLET::::- 1988: Museum Bochum

paragraph: BULLET::::- 1988: Hauptzollamt, Munich

paragraph: BULLET::::- 1991: Gallery Vàclav Spála, Prague

paragraph: BULLET::::- 1992: Kölnischer Kunstverein

paragraph: BULLET::::- 1993: Museum am Ostwall, Dortmund

paragraph: BULLET::::- 1993: Kunsthalle, Wilhelmshaven

paragraph: BULLET::::- 1993: Kunsthaus, Nuremberg

paragraph: BULLET::::- 1993: Kunsthalle, Weimar

paragraph: BULLET::::- 1993: Grassi-Museum, Leipzig

paragraph: BULLET::::- 1993: Josef-Haubrich-Kunsthalle, Cologne

paragraph: BULLET::::- 1993: Århus Festival

paragraph: BULLET::::- 1994: High Tech Forum of Daimler-Benz AG

paragraph: BULLET::::- 1994: Kunsthalle Hamburg

paragraph: BULLET::::- 1994: Kunsthaus Dominikanerkirche, Osnabrück

paragraph: BULLET::::- 1994: Nassauischer Kunstverein, Wiesbaden

paragraph: BULLET::::- 1995: Stadtgalerie im Sophienhof, Kiel

paragraph: BULLET::::- 1995: Haus am Waldsee, Berlin

paragraph: BULLET::::- 1995: National Gallery of Norway, Oslo

paragraph: BULLET::::- 1995: State Russian Museum, St. Petersburg

paragraph: BULLET::::- 1995: Mecklenburgisches Künstlerhaus Schloss Plüschow

paragraph: BULLET::::- 1995: Haus der Kunst, Munich

paragraph: BULLET::::- 1995: The State University of New Jersey

paragraph: BULLET::::- 1996: Central House of Artist, Moscow

paragraph: BULLET::::- 1997: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn

paragraph: BULLET::::- 1998: Diözesanmuseum für christliche Kunst, Munich and Freising

paragraph: BULLET::::- 1998: Kunsthaus Bregenz

paragraph: BULLET::::- 1999: Biennale d'art contemporain, Sélesta

paragraph: BULLET::::- 1999: Stedelijk Museum Schiedam, Rotterdam

paragraph: BULLET::::- 1999: Museum für Angewandte Kunst (Cologne), Cologne

paragraph: BULLET::::- 1999: Ludwig Forum für Internationale Kunst, Aachen

paragraph: BULLET::::- 2001: Edsvik Konsthall, Stockholm

paragraph: BULLET::::- 2001: Museum für Kommunikation, Frankfurt / Main

paragraph: BULLET::::- 2002: Nikolaj, Copenhagen Contemporary Art Center, Copenhagen

paragraph: BULLET::::- 2002: Haus am Waldsee, Berlin

paragraph: BULLET::::- 2002: Österreichische Galerie Belvedere, Vienna

paragraph: BULLET::::- 2002: Brandenburgischer Kunstverein, Potsdam

paragraph: BULLET::::- 2004: Haus am Waldsee, Berlin

paragraph: BULLET::::- 2004: Manege Central Exhibition Hall, St. Petersburg

paragraph: BULLET::::- 2005: Nikolaj, Copenhagen Contemporary Art Center, Copenhagen

paragraph: BULLET::::- 2006: State Russian Museum, St. Petersburg

paragraph: BULLET::::- 2007: State Russian Museum, St. Petersburg

paragraph: BULLET::::- 2008: Kölnisches Stadtmuseum, Cologne

paragraph: BULLET::::- 2008: National Centre for Contemporary Arts, Ekaterinburg

paragraph: BULLET::::- 2008: Maison des jeunes, Burkina Faso, Ouagadougou

paragraph: BULLET::::- 2009: Fotomuseum Winterthur

paragraph: Section::::Publications.

paragraph: BULLET::::- "Igor Sacharow-Ross: Schilderwerken." Edited by Katholieke Universiteit Leuven. Text by Jaak Brouwers. Leuven 1979.

paragraph: BULLET::::- "Igor Sacharow-Ross: Radierungen und Objekte." Edited by Albrecht Dürer Gesellschaft. Text by Peter Stepan. Nuremberg 1985.

paragraph: BULLET::::- "Igor Sacharow-Ross: Kraftzellen." Edited by M·A Munich. Text by Boris Groys. Munich 1986.

paragraph: BULLET::::- "Igor Sacharow-Ross: Yagya." Edited by Kulturreferat der Landeshauptstadt Munich M A. Text by Igor Sacharow-Ross, Jean Baudrillard, Boris Groys, Agrippa von Nettersheim, Blaise Pascal, Nicolai Fiodorov. Munich 1987.

paragraph: BULLET::::- "Igor Sacharow-Ross: Zwischenfelder." Edited by Galerie Schüppenhauer, Cologne and Dany Keller Galerie, Munich. Text by Peter Frank. Schuffelen, Pulheim 1988.

paragraph: BULLET::::- "Igor Sacharow-Ross: Kraftzellen II." Edited by Kunstverein Karlsruhe, Kunstverein Ludwigsburg, Kunsthalle Innsbruck. Text by Peter Frank, Boris Groys, Udo Kittelmann, Joseph Beuys. Schuffelen, Pulheim 1989.

paragraph: BULLET::::- "Igor Sacharow-Ross: Tunnel." Edited by Goethe-Institut Madrid. Text by Michael Marschall von Bieberstein, Edith Decker. Madrid 1990.

paragraph: BULLET::::- "Igor Sacharow-Ross: Apotropikon. Räume – Felder – Handlungen." Edited by Galerie Schüppenhauer. Text by Boris Groys, Igor Sacharow-Ross, Peter Stepan. Cologne – Munich 1991.

paragraph: BULLET::::- "Igor Sacharow-Ross: Tabula Rotunda." Edited by Städtische Galerie im Museum Folkwang. Text by Jochen Hörisch, Hermann Krings, Petra Giloy-Hirtz. Essen 1992.

paragraph: BULLET::::- "Igor Sacharow-Ross." Edited by Evelyn Weiss. Text by Leonid Baschanow, Alexander Borovsky, Jewgenja Petrowa, Peter Stepan, Ludwig Weimer. Prestel, Munich–Berlin–London–New York 1993.

paragraph: BULLET::::- "Igor Sacharow-Ross: Arbeitsplatz." Edited by Kunstverein Rosenheim. Text by Annelie Pohlen, Petra Giloy-Hirtz. Rosenheim 1994.

paragraph: BULLET::::- "Igor Sacharow-Ross. Feuer und Fest / Fire and Festival." Edited by Petra Giloy-Hirtz. Text by Vladimir Sorokin, Fasil Iskander, Jewgeni Popow, Viktor Kriwulin, Igor P. Smirnov, Boris Groys, Petra Giloy-Hirtz. Hatje Cantz, Ostfildern 1994.

paragraph: BULLET::::- "Igor Sacharow-Ross: Reanimation." Edited by Evelyne-Dorothée Allemand. Text by Engelbert Broich, André Comte-Sponville, Hubertus Gaßner, Ernst Pöppel, Jürgen Raap, Eva Ruhnau, Eberhard Stengel. Hatje Cantz, Ostfildern 1997.

paragraph: BULLET::::- "Igor Sacharow-Ross: Ausschnitt." Edited by Ralf-Michael Seele. Text by Ralf-Michael Seele, Rüdiger Dahlke, Dietmar Schaberg, Eberhard Stengel. Städtische Galerie ADA Meiningen, Meiningen 1997.

paragraph: BULLET::::- "Igor Sacharow-Ross: Die Zelle, die Zeit, das Licht." Edited by Bayerische Landesbank International S. A. Text by Evelyn Weiss. Luxembourg 1998.

paragraph: BULLET::::- "Igor Sacharow-Ross: Wartehalle." Edited by Institut Pro Arte St. Petersburg. Text by Igor P. Smirnov, Arkadij Dragomoschtchenko, Ernst Pöppel, Alexander Skidan, Oleg Kireev, Denis Bednik, Alain Badiou, Andrej Bitov, Nadeschda Grigorjeva, Sergej Savjalov, Pavel Klubkov, Dimitrij Golinko-Volfson, Evgenij Maisel, Alexandr Sekratzkij. Levscha, St. Petersburg 2001.

paragraph: BULLET::::- "Igor Sacharow-Ross: SAPIENS / SAPIENS." Edited by Syntopie Ort. Text by Nils Röller, Wladimir Koschaew, Ernst Pöppel, Jan Halcrow, Oleg Kireev, Elisabeth Sikiaridi, Franz Vogelaar, Gabriele Beßler, Josef Riedmiller, Petra Schröck, Jürgen Raap, Jürgen Kisters, Engelbert Broich, Janina Wegner-Keres, Klaus Heid, Thomas Polednitschek, Dieter Buchhart, Florian Falkenstein, Eberhard Stengel, Igor Sacharow-Ross. Salon, Cologne 2002.

paragraph: BULLET::::- "Igor Sacharow-Ross: Refugium." Edited by Syntopielabor Cologne. Text by Ernst Pöppel, Kasper König, Hans Thomas, Peter Busmann, Ian Halcrow, Cornelia Köster, Valerij Sautschuk, Nadescha Grigorjeva, Igor P. Smirnov, Lilija Brusilowskaja, Igor Kondakov, Elena Plehanowa, Dimitry Bulatov, Oleg Kireev, Schamma Schachadat, Andrey Demitchev, Michael Berg. AHO, Ischevsk 2003.

paragraph: BULLET::::- "Igor Sacharow-Ross: Abgebrochene Verbindung." Edited by Dieter Buchhart, Hans-Peter Wipplinger. Text by Edith Rabenstein, Dieter Buchhart, Igor Sacharow-Ross, Thomas Zaunschirm, Sabine Schütz, Ernst Pöppel, Eva Ruhnau, Durs Grünbein, Vladimir Sorokin, Alexander Borovsky, Anna Karina Hofbauer. Verlag für moderne Kunst, Nuremberg 2006.

paragraph: BULLET::::- "Igor Sacharow-Ross: Syntopia." Edited by Andrea Niehaus and Dieter Ronte. Text by Andrea Niehaus, Dieter Ronte, Susanne Witzgall, Irene Kleinschmidt-Altpeter, Peter Ulrich Hein, Klaus-Peter Speidel, Christoph-Friedrich von Braun, Robert Huber, Ernst Pöppel. Wienand, Cologne 2007.

paragraph: BULLET::::- "Igor Sacharow-Ross: Geflechte." Edited by garnitur / Christina Schönborn, Martin Kammerlander (Vienna). Text by Klaus Speidel, Ulrich Stimming, Reinhard Putz, Ernst Pöppel, Alexander Borovsky, Tobias Loemke. Salon, Cologne 2008.

paragraph: BULLET::::- "Igor Sacharow-Ross: Nicht gefiltert." Edited by Hans Dünser. Text by Anna Karina Hofbauer, Ernst Pöppel. Verlag für moderne Kunst, Nuremberg 2009.

paragraph: Section::::External links.

paragraph: BULLET::::- Official website with image database, biography, literature list and contact.

description: German-Russian artist

wikidata_label: Igor Sacharow-Ross

wikipedia_title: Igor Sacharow-Ross


text:
Moguer
Lisbon
Juan Díaz de Solís
Spain
Río de la Plata
Ferdinand Magellan
Juan Sebastián Elcano
La Coruña
Cape Finisterre
Elcano
Magellan Strait
Atlantic Ocean
Brazil
José Toribio Medina
Paraná River
Sebastian Cabot
Sancti Spiritu
barquentine
Goya
Bella Vista
Pilcomayo River
Inca Empire
City of the Caesars
Oran
Ducks Bay
Spice Islands
Cape Verde
Santiago
Uruguay
Diego Garcia

categories: Explorers of Argentina,1544 deaths,16th-century Spanish people,Spanish explorers,People from the Province of Huelva,1484 births

paragraph: Diego García de Moguer

paragraph: Diego García de Moguer (1484 or 1496–1544) was a Spanish explorer who also sailed for the Portuguese Crown later in life.

paragraph: Section::::Biography.

paragraph: Spanish sources indicate that Diego García was born in Moguer in 1484 (or 1496), but there are Portuguese sources say he was born in Lisbon. However, his first expedition, in 1515, was with Juan Díaz de Solís in search of an oceanic passage leading to the Far East, returning to Spain after the death of Díaz de Solís in the Río de la Plata basin in 1516. He participated in the expedition of Ferdinand Magellan and Juan Sebastián Elcano between 1519 and 1522.

paragraph: García received approval for a new voyage.

paragraph: On 15 January 1526 (15 August 1527 is also mentioned) he sailed from La Coruña, Cape Finisterre, in command of an expedition with three ships. The voyage was financed by merchants to find a suitable spice route, intended to follow Elcano's route and passing through the Magellan Strait. After voyaging through the Atlantic Ocean, García arrived on the south coast of Brazil. In February 1528, he explored the area around the Río de la Plata, an excursion documented in José Toribio Medina's "Los viajes de Diego García de Moguer" ("The travels of Diego García de Moguer").

paragraph: As he navigated through the Paraná River in early 1528, he met men from the Sebastian Cabot group. He was informed that Cabot was at the fort of Sancti Spiritu located at the confluence of the Paraná River in Carcaña. With a ship and a barquentine, García navigated the Paraná River, arriving at the Sancti Spiritu fort. He was surprised and indignant to find Cabot there. He ordered Captain Caro to abandon the place as he, García, alone had been charged by Spain to explore the region. However, after it was explained that Cabot was also in the service of Spain, they joined forces. García continued upstream between what are now the towns of Goya and Bella Vista where he met Cabot who forced him to cooperate in trying to find the legendary Sierra de la Plata.

paragraph: Together they explored the Pilcomayo River and then followed it as far as the strait. Garcia and Cabot continued their attempts to explore the mythical kingdom about which they had heard from Captain Francisco Cesar, hearing that the place was rich in gold, silver, and sheep (llamas) with which fabrics were made. It was the Inca Empire of the legendary City of the Caesars in Chile. Arguments between García and Cabot eventually ended both expeditions, the two men returning to Spain to settle their disputes through legal measures. The dispute arose as García claimed full control of the area he had explored. In the court case which was held in Spain the verdict went in favour of García. The reason was that Cabot who was assigned to go to the Spice Islands never went there but explored the Sierra de la Plata which was a violation. As a punishment he was exiled for two years to Oran.

paragraph: As a result of all the feuding between García and Cabot, the Spaniards failed to ensure the defense of the fort at Sancti Spiritus, which was attacked by the natives in September 1529 while Cabot and García were in San Salvador. In late September or early October 1529, García's caravel traveled to the Ducks Bay (in southern Brazil), picked up Francisco García (who belonged to Cabot's expedition) and traveled to Spain, arriving there on 28 July 1530.

paragraph: Cabot abandoned a planned expedition to the Spice Islands. Instead, on 21 May 1534, Diego García de Moguer sailed his caravel "Concepción" back to Río de la Plata. He passed the Cape Verde island of Santiago, then continued to Brazil and on to the estuary of the Uruguay and Paraná rivers.

paragraph: He discovered the island of Diego Garcia in the 16th century, then in the service of Portugal.

description: Spanish explorer

wikidata_label: Diego García de Moguer

wikipedia_title: Diego García de Moguer


text: Lisbon

text: Portuguese

text: journalist

text: columnist

text: university professor

text: Lisbon, Portugal

text: Jacinto do Prado Coelho

text: New University of Lisbon

text: magazines

text: newspapers

text: Público

text: Rainbow Award

text: homophobia

text: Belém Cultural Center

text: Lisbon, Portugal

categories: People from Lisbon,1944 births,Universidade Nova de Lisboa faculty,2007 deaths,Portuguese satirists,Portuguese journalists,Portuguese male writers,Portuguese writer stubs

paragraph: Eduardo Prado Coelho

paragraph: Eduardo Prado Coelho (29 March 1944 Lisbon - 25 August 2007 Lisbon, Portugal) was a Portuguese writer, journalist, columnist and university professor. He was also a political and cultural critic.

paragraph: Coelho was born on 29 March 1944 in Lisbon, Portugal. He was the son of Jacinto do Prado Coelho, a Portuguese professor and literary critic. Eduardo Prado Coelho began teaching at the New University of Lisbon in 1983.

paragraph: Coelho often contributed a column to magazines and newspapers. He contributed to the Público newspaper right up to his death in 2007.

paragraph: He was awarded, in 2004, with the "Prémio Arco-íris" (Rainbow Award), of the "Associação ILGA Portugal" (Lesbian, Gay, Bisexual and Transgender Intervention Association Portugal), the Portuguese chapter of the International Lesbian, Gay, Bisexual, Trans and Intersex Association, for his contribution in the struggle against discrimination and homophobia.

paragraph: Coelho also served as an adviser to the Belém Cultural Center.

paragraph: Eduardo Prado Coelho died in Lisbon, Portugal on 25 August 2007, of cardiac problems.

paragraph: Section::::External links.

paragraph: BULLET::::- Público obituary of Eduardo Prado Coelho

description: Portuguese academic, writer and journalist

wikidata_label: Eduardo Prado Coelho

wikipedia_title: Eduardo Prado Coelho


text:
American football
defensive end
St. Louis Rams
2007 NFL Draft
college football
University of Nebraska–Lincoln
Washington Redskins
Hastings, Nebraska
Kennewick, Washington
Kennewick High School
Christian
redshirt
University of Colorado
Joel Klatt
Alamo Bowl
University of Michigan
Cotton Bowl Classic
Auburn University
Big 12
Associated Press
Rivals.com
NFL combine
Carroll Rosenbloom
Washington Redskins
Arian Foster
2012 season
St. Louis Rams
injured reserve
NFL Veteran Combine
Atlanta Falcons
WWE
Robert Griffin III
Heath Slater
Nebraska Cornhuskers bio
St. Louis Rams bio
Washington Redskins Bio
4th & Pain Bio

categories: Nebraska Cornhuskers football players,St. Louis Rams players,People from Hastings, Nebraska,1984 births,American football defensive ends,Players of American football from Washington (state),American football defensive tackles,Players of American football from Nebraska,Living people,People from Kennewick, Washington

paragraph: Adam Carriker

paragraph: Adam Eugene Carriker (born May 6, 1984) is a former American football defensive end. He was drafted by the St. Louis Rams in the first round of the 2007 NFL Draft. He played college football at the University of Nebraska–Lincoln. He also played for the Washington Redskins.

paragraph: Section::::Early years.

paragraph: Carriker was born in Hastings, Nebraska. He moved to Kennewick, Washington, at the age of three, and attended Kennewick High School, where he played quarterback and defensive end. He was a three-year starter at quarterback and team captain for three years. In his only season at defensive end (his senior season), he recorded 25 tackles, 15 sacks, and four forced fumbles in a winless season. Regardless, he was named to Second-team All-Big 9 Honors. Carriker visited Oregon, Oregon State and Washington State before finally deciding to commit to Nebraska. Additionally, Carriker was a three-time All-Conference selection in baseball and ran track. He received all-state honors for his shot put prowess and long jump efforts as a senior. Carriker is a devout Christian.

paragraph: Section::::College career.

paragraph: Carriker redshirted in 2002. In his 2003 freshman season he played extensively in passing situations before injuring his ankle against Utah State. Against the University of Colorado he had three quarterback hurries and ended a CU drive in the third quarter with a nine-yard sack of quarterback Joel Klatt. He finished the year with three tackles and three quarterback hurries. He played in his first bowl game, the 2003 Alamo Bowl after the regular season. In his 2004 sophomore year Carriker was hampered for the second straight season by an ankle injury. He played in 10 games with eight starts in the 2004 campaign, and finished with 36 tackles, including seven tackles for loss and three sacks for 18 yards. Carriker added seven quarterback hurries during his sophomore season.

paragraph: As a junior in 2005 Carriker started all 12 games at the base end spot, and finished with 9.5 sacks for 84 yards and 17 tackles for loss for 96 yards. His 9½ sacks tied for the Big 12 Conference lead and ranked 19th nationally. He also led Nebraska with 21 quarterback hurries, 10 more than any other Husker defender. Carriker's 43 total tackles ranked seventh on the team and tied for the most among defensive linemen. He began his junior season by notching two of the Huskers' school-record tying 11 sacks in the team's 25-7 win over Maine. Carriker capped 2005 with one tackle in the Alamo Bowl victory over the University of Michigan. Adam was voted 2005 Nebraska Defensive MVP.

paragraph: As a senior in 2006 Adam Carriker completed a dominant career in the 2006 season Cotton Bowl Classic against Auburn University. In 2006, Carriker earned Nebraska's Defensive MVP honor for the second straight season, and was honored as the Big 12 Defensive Lineman of the Year by the league's coaches. Carriker finished the season with a team-leading seven sacks and ranked second on the team with 16 tackles behind the line of scrimmage. His 52 total tackles led all Nebraska defensive linemen, and he also paced the Blackshirt defense with 12 quarterback hurries, while registering his first career interception. In addition to his selection as Big 12 Defensive Lineman of the Year, Carriker was a First-team All-Big 12 pick by the Big 12 Coaches and the Associated Press. He was also a Third-team All-America selection by Rivals.com.

paragraph: The strong senior season put Carriker's name in a prominent position in the NU record books. He finished with 41 career tackles for loss to rank fifth in the program's history. Carriker has 20½ career sacks to rank sixth on the Cornhusker charts. Carriker graduated with a degree in business administration.

paragraph: Section::::Professional career.

paragraph: BULLET::::- "Bench press": 440 lbs

paragraph: BULLET::::- "Squat": 600 lbs

paragraph: BULLET::::- "Power clean": 370 lbs

paragraph: Section::::Professional career.:St. Louis Rams.

paragraph: On July 26, 2007, Carriker signed a five-year $14.5 million contract, with guarantees of $9.5 million. Carriker started all 16 games of his rookie season at defensive tackle instead of his college position, defensive end. Carriker, who bulked up from the 296 pounds he weighed at the NFL combine, weighed in the 305-pound range during the 2007 season.

paragraph: He was voted the Rams Rookie of the Year called the Carroll Rosenbloom Memorial Award, finishing with 2 sacks, 30 tackles, and a safety. Carriker missed the entire 2009 NFL season due to injury.

paragraph: Section::::Professional career.:Washington Redskins.

paragraph: Carriker was traded to the Washington Redskins on April 20, 2010. In exchange, the teams swapped fifth and seventh-round draft picks in 2010. After initial shock, Carriker was pleased about his trade and the chance to revitalize his career.

paragraph: In Washington, Carriker earned the starting left defensive end position for the Redskins in a 3-4 defensive scheme. With the Rams he was a "3-technique" defensive tackle in a 4-3 defensive scheme which did not work out and led to his trade to the Redskins. "In St. Louis, we tried to make him a 3-technique and up-the-field rusher," said defensive coordinator Jim Haslett. "For a guy who ran the 40 in 4.7 and was 6-6, 315 pounds, you'd think he could do that. But that's not what he wants to do. He wants to play with strength and power, and he does a pretty good job of it. He feels so much more comfortable in this." Carriker's 315 pounds is ideal, and he reported at the beginning of the 2010 season that he bench pressed 500 pounds, which helps him in his new position.

paragraph: Early in the 2010 season the change drew positive reviews, said Rich Campbell of Fredricksburg.com, "I'm buying Carriker as an impact 3-4 end right now. He's strong enough to set the edge on running plays, and he's even generating a pass rush on occasion. Carriker stopped Houston RB Arian Foster for a 2-yard loss in the second quarter after he made a quick step inside the pulling left guard. He also beat a double team on the first play of the second half to stop Foster for a gain of one. Carriker isn't dominant—but he is flashing."

paragraph: On March 13, 2012, Carriker re-signed with the Redskins for four years on a $20 million contract with $7 million guaranteed. In Week 2 of the 2012 season against the St. Louis Rams, he suffered a right knee injury early in the first quarter. The next day it was confirmed that he tore quad tendon in his right leg and he would need surgery and would be placed on injured reserve.

paragraph: Carriker had his contract restructured to help with the salary cap penalty that the Redskins faced last season on March 11, 2013. On July 25, he was placed on the PUP list after the team announced that he had a third surgery on his right knee and would be out for four or five months. On December 12, he was placed on injured reserve. He was released on March 4, 2014.

paragraph: Carriker participated in the first NFL Veteran Combine in March 2015. He was the only player at the Veteran Combine to do the bench press and performed 40 reps of 225 pounds, which was three more reps than the highest total at the 2015 NFL Combine. In April 2015, he attended minicamp with the Atlanta Falcons on tryout basis.

paragraph: Section::::Post-playing career.

paragraph: Carriker has used his Business degree and his TV prowess to appear multiple times on Fox News and Fox Business, as a frequently requested business and political analyst.

paragraph: Carriker has also made multiple public appearances with the Nebraska congressmen in Washington DC.

paragraph: The WWE has shown recent interest in Carriker and extended an open invitation to him, to come and work with the company at his discretion.

paragraph: Carriker also does weekly national writing and radio segments called the "Carriker Chronicles," where he discusses the current state of the NFL. His other weekly show appearances include "Chad Dukes vs The World" on the largest sports station in Washington DC, to discuss his opinion and give his take on the Redskins game every week. In the state of Nebraska he appears every week on "The Bottom Line," the largest sports talk show in the state which is hosted by Mike'l Severe, to give his take on the state of Nebraska football as well.

paragraph: In April 2012, Carriker began his radio career as co-host of "4th & Pain" along with Chuck Carroll. Carriker, an avid WWE fan, touts "4th & Pain" as being the only pro wrestling and football radio show hosted by a NFL player and a guy who lost 250 pounds, an homage to his co-host. The show airs weekly online.

paragraph: The show has gained in popularity and they've interviewed NFL stars such as Robert Griffin III, DeAngelo Hall and Chris Cooley. In June 2012, the show gained notoriety among wrestling fans after Carriker conducted his first interview with WWE wrestler Heath Slater. Since then the show and its audience has continued to grow with interviews of wrestling stars such as Jeff Hardy, Roman Reigns and Bill Goldberg. Goldberg has appeared on the show himself over 20 different times. He has a cited a friendship with Carriker during his interviews on the show as the reason for his frequent appearances. The show also talks Nebraska football from time to time and has had such Husker legends as Eric Crouch and Tommie Frazier join them.

paragraph: Carriker has also served as a recurring motivational speaker as well.

paragraph: Carriker recently announced on his Twitter that he is launching a foundation. He initially put in his bio that he was excited to announce there would be more information on his charity coming soon.

paragraph: Section::::External links.

paragraph: BULLET::::- Nebraska Cornhuskers bio

paragraph: BULLET::::- St. Louis Rams bio

paragraph: BULLET::::- Washington Redskins Bio

paragraph: BULLET::::- 4th & Pain Bio

description: American football player

wikidata_label: Adam Carriker

wikipedia_title: Adam Carriker


text:
American football
defensive back
National Football League
1972 NFL draft
Cincinnati Bengals
Denver Broncos
1977
Super Bowl XII
Washington State
Pac-8
running back
kick returner
Jim Sweeney
1971
Dorsey High School
Los Angeles
USC Trojans
Pierce College
Denver Broncos
Super Bowl XII
Dallas Cowboys
1980
San Diego Chargers
liver cancer
Lompoc, California

categories: Deaths from liver cancer,Players of American football from Washington, D.C.,1950 births,1997 deaths,American football safeties,Washington State Cougars football players,Denver Broncos players,Cincinnati Bengals players,Deaths from cancer in California

paragraph: Bernard Jackson (defensive back)

paragraph: Bernard Frank Jackson (born August 24, 1950 – May 26, 1997) was an American football defensive back who played for three National Football League teams. He was the 81st pick in the 1972 NFL draft, selected by the Cincinnati Bengals as a defensive back. After five years, he was traded to the Denver Broncos in March 1977, and was a starter, including Super Bowl XII.

paragraph: Section::::College career.

paragraph: As a collegiate player at Washington State in the Pac-8, Jackson was a running back and kick returner for head coach Jim Sweeney During his senior season in 1971, he rushed for 1,189 yards on 177 attempts (6.7 avg, 1st in Pac-8) and was named to the All-Coast team.

paragraph: A 1968 graduate of Dorsey High School in Los Angeles, he had dreamed of playing for the USC Trojans, but was just and began his college career at Pierce College in Los Angeles.

paragraph: Section::::Professional career.

paragraph: Section::::Professional career.:Denver Broncos.

paragraph: Jackson was traded to the Denver Broncos in March 1977. In his first season with the Broncos, they earned an appearance in Super Bowl XII. Jackson started the game. The Broncos lost to the Dallas Cowboys by a score of 27-10.

paragraph: Injured with a muscle bruise for much of the 1980 season, he was waived in late November by Denver and picked up by the San Diego Chargers.

paragraph: Section::::Death.

paragraph: He died of liver cancer at age 46 in Lompoc, California, and is buried at its Evergreen Cemetery.

description: American football player

wikidata_label: Bernard Jackson

wikipedia_title: Bernard Jackson (defensive back)


text: basketball

text: Lon Morris

text: University of Kentucky

text: Rochester Royals

text: 1956 NBA draft

text: Minneapolis Lakers

text: NBA

categories: All-American college men's basketball players,American men's basketball players,High school basketball coaches in the United States,Basketball players from Arkansas,Junior college men's basketball players in the United States,1934 births,Rochester Royals draft picks,Kentucky Wildcats men's basketball players,Lon Morris College alumni,Minneapolis Lakers players,2019 deaths,Rochester Royals players,People from Malvern, Arkansas

paragraph: Bob Burrow

paragraph: Robert Brantley Burrow (June 29, 1934 – January 3, 2019) was an American basketball player.

paragraph: The son of a lumberjack, Burrow was considered the nation's No. 1 junior college player in 1954 at Lon Morris, where he scored 2,191 points.

paragraph: Section::::Early life.

paragraph: Reportedly, Adolph Rupp gave Burrow a scholarship without seeing him play in person.

paragraph: He played collegiately for the University of Kentucky and was selected by the Rochester Royals in the 1956 NBA draft.

paragraph: Burrow played for the Royals (1956–57) and Minneapolis Lakers (1957–58) in the NBA for a total of 81 games.

paragraph: Burrow died on January 3, 2019 at age 84.

paragraph: Section::::See also.

paragraph: BULLET::::- List of NCAA Division I men's basketball players with 30 or more rebounds in a game

description: American basketball player

wikidata_label: Bob Burrow

wikipedia_title: Bob Burrow


text: Bernard Ato V

text: Viscount of Nîmes

text: Agde

text: Simon de Montfort

text: Earl of Leicester

text: Albigensian Crusade

text: Catharism

text: Raymond Roger Trencavel

text: Trencavel

text: Roger II Trencavel

text: Raymond V of Toulouse

text: Pons d'Arsac

text: Third Lateran Council

text: Alfonso II of Aragon

text: Diocese of Agde

text: William VIII of Montpellier

text: Albigensian Crusade

text: ""Suum cuique tribuere"."

text: "The Sovereign and the Pirates, 1332."

text: Speculum

categories: People temporarily excommunicated by the Roman Catholic Church,1159 births,Viscounts of Nîmes,Viscounts of Agde,Trencavel

paragraph: Bernard Ato VI

paragraph: Bernard Ato VI (born c. 1159) was the posthumous son and successor of Bernard Ato V, Viscount of Nîmes and Agde. He reigned from 1163 until 1214, when he surrendered his fiefs to Simon de Montfort, Earl of Leicester and leader of the Albigensian Crusade. Bernard Ato was not connected with Catharism nor were his lands, but his relationship to Raymond Roger Trencavel (his first cousin) may have marked him off as an enemy of the Crusade by default, for he was a Trencavel, though he did not carry that name.

paragraph: In 1179, Roger II Trencavel, Raymond V of Toulouse, and Bernard Ato had all been excommunicated by Pons d'Arsac under the twenty-seventh canon of the Third Lateran Council for their lack of strong opposition to heresy. In that same year Bernard Ato did homage to Alfonso II of Aragon for his viscounties and made an alliance with Alfonso against Raymond V.

paragraph: In June 1187, Bernard Ato granted all his lands within the Diocese of Agde ("omnes dominationes vicecomitatus") to the diocese and was then accepted into the cathedral church as a canon. In July the donation was confirmed by Raymond V and in August Bernard Ato also, in an extensive charter. The viscounty was "de facto" handed over to the bishop. He is also said by some authors to have given over Nîmes to Raymond in that year, but this is contradicted by other sources.

paragraph: Bernard Ato swore fealty to William VIII of Montpellier for part of his domains in 1189, January 1191, and finally 1195. On 2 May 1214 Bernard Ato and his wife Guillelma signed over their viscounties to Simon de Montfort, 5th Earl of Leicester, the leader of the Albigensian Crusade.

paragraph: Section::::References.

paragraph: BULLET::::- Cheyette, Fredric L. "Ermengard of Narbonne and the World of the Troubadours". Ithaca: Cornell University Press, 2001.

paragraph: BULLET::::- Cheyette, Fredric L. ""Suum cuique tribuere"." "French Historical Studies", Vol. 6, No. 3. (Spring, 1970), pp. 287–299.

paragraph: BULLET::::- Cheyette, Fredric L. "The Sovereign and the Pirates, 1332." "Speculum", Vol. 45, No. 1. (Jan., 1970), pp. 40–68.

paragraph: BULLET::::- Graham-Leigh, Elaine. "The Southern French Nobility and the Albigensian Crusade". Woodbridge: The Boydell Press, 2005.

paragraph: BULLET::::- Kastner, L. E. "Notes on the Poems of Bertran de Born: II. 2. Sirventes." "The Modern Language Review", Vol. 28, No. 1. (Jan., 1933), pp. 37–49.

description: Viscount of Nîmes and Agde

wikidata_label: Bernard Ato VI Trencavel

wikipedia_title: Bernard Ato VI