text: portrait photographer

text: Ladies Home Journal

text: Smithsonian National Portrait Gallery

text: Anna Kind Ben-Youseph Nathan

text: Ramsgate

text: governess

text: milliner

text: Harpers Bazaar

text: Ladies Home Journal

text: Cosmopolitan Magazine

text: The Linked Ring

text: George Davison

text: Fifth Avenue

text: New York Daily Tribune

text: Frank Leslie's Weekly

text: National Academy of Design

text: Fair of the American Institute

text: Virginia Earle

text: Frances Benjamin Johnston

text: the Camera Club of New York

text: F. Holland Day

text: The Photographic Times

text: Sadakichi Hartmann

text: Universal Exposition

text: Saint Petersburg

text: Royal Photographic Society

text: Alfred Stieglitz

text: Glasgow

text: Scotland

text: Sunday Evening Post

text: Grover Cleveland

text: Franklin Roosevelt

text: Leonard Wood

text: Metropolitan Magazine

text: Ladies Home Journal

text: Saturday Evening Post

text: Worcester Art Museum

text: Massachusetts

text: Yokohama

text: Kobe

text: Nagasaki

text: Kyoto

text: Nikkō

text: Saturday Evening Post

text: Japanese architecture

text: Katharine Budd

text: Architectural Record

text: Daikan

text: Capri

text: Photo Era

text: Saturday Evening Post

text: phone book

text: Chelsea

text: South Sea Islands

text: naturalization

text: Cuba

text: Jamaica

text: department stores

text: Brooklyn

text: Smithsonian

text: National Portrait Gallery

text: Daniel Chester French

text: Everett Shinn

text: gender discrimination

text: Stieglitz

categories: Milliners,English people of Algerian descent,Algerian artists,19th-century American photographers,20th-century Algerian artists,Algerian women artists,American people of German descent,British emigrants to the United States,20th-century American photographers,American people of Algerian descent,Artists from London,19th-century American women artists,American women photographers,Portrait photographers,1869 births,20th-century American women artists,1933 deaths,English people of German descent,Algerian people of German descent

paragraph: Zaida Ben-Yusuf

paragraph: Zaida Ben-Yusuf (21 November 1869 – 27 September 1933) was a New York-based portrait photographer noted for her artistic portraits of wealthy, fashionable, and famous Americans during the turn of the 19th–20th century.

paragraph: In 1901, the "Ladies Home Journal" featured her and six other photographers as "The Foremost Women Photographers in America." In 2008, the Smithsonian National Portrait Gallery mounted an exhibition dedicated solely to Ben-Yusuf's work, re-establishing her as a key figure in the early development of fine art photography.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Early life.

paragraph: Ben-Yusuf was born as Esther Zeghdda Ben Youseph Nathan in London, England, on 21 November 1869, the eldest daughter of a German mother, Anna Kind Ben-Youseph Nathan and an Algerian father, Mustapha Moussa Ben Youseph Nathan. By 1881, her mother was living in Ramsgate and working as a governess after separating from her husband and four daughters (Zaida (aged 11), Heidi (8), Leila (4) and Pearl (3).

paragraph: Later in 1888, Anna Ben-Yusuf emigrated to Boston, Massachusetts where she had established a milliner's shop on Washington Street in Boston by 1891.

paragraph: In 1895, Ben-Yusuf followed in her mother's footsteps and emigrated to the United States where she worked as a milliner at 251 Fifth Avenue, New York. She continued this for some time after becoming a photographer, writing occasional articles for "Harpers Bazaar" and the "Ladies Home Journal" on millinery.

paragraph: Section::::Biography.:Photography career.

paragraph: In 1896, Ben-Yusuf began to be known as a photographer. In April 1896, two of her pictures were reproduced in "The Cosmopolitan Magazine", and another study was exhibited in London as part of an exhibition put on by "The Linked Ring". She traveled to Europe later that year, where she met with George Davison, one of the co-founders of The Linked Ring, who encouraged her to continue her photography. She exhibited at their annual exhibitions until 1902.

paragraph: In the spring of 1897, Ben-Yusuf opened her portrait photography studio at 124 Fifth Avenue, New York. On 7 November 1897, the "New York Daily Tribune" ran an article about Ben-Yusuf's studio and her work creating advertising posters, which was followed by another profile in "Frank Leslie's Weekly" on 30 December. Through 1898, she became increasingly popular as a photographer, with ten of her works in the National Academy of Design-hosted 67th Annual Fair of the American Institute. This was where her portrait of actress Virginia Earle won her third place in the Portraits and Groups class. During November 1898, Ben-Yusuf and Frances Benjamin Johnston held a two-woman show with their works at the Camera Club of New York.

paragraph: In 1899, Ben-Yusuf met with F. Holland Day in Boston, and was photographed by him. She relocated her studio to 578 Fifth Avenue, and exhibited in a number of exhibitions, including the second Philadelphia Photographic Salon. She was also profiled in a number of publications, including an article on female photographers in "The American Amateur Photographer", and a long piece in "The Photographic Times" in which Sadakichi Hartmann described her as an "interesting exponent of portrait photography".

paragraph: In 1900, Ben-Yusuf corresponded with Johnston about an exhibition of American women photographers in Paris timed to coincide with the Universal Exposition. Ben-Yusuf had five portraits in the show, which traveled to Saint Petersburg, Moscow, and Washington, D.C. She was also exhibited in Holland Day's exhibition, "The New School of American Photography", for the Royal Photographic Society in London, and had four photographs selected by Alfred Stieglitz for the Glasgow International Exhibition of 1901, Scotland.

paragraph: In 1901, Ben-Yusuf wrote an article, ""Celebrities Under the Camera"", for the "Sunday Evening Post", where she described her experiences with her sitters. By this stage she had photographed Grover Cleveland, Franklin Roosevelt, and Leonard Wood, amongst others. For the September issue of "Metropolitan Magazine" she wrote another article, ""The New Photography – What It Has Done and Is Doing for Modern Portraiture"", where she described her work as being more artistic than most commercial photographers, but less radical than some of the better-known art photographers. The Ladies Home Journal that November declared her to be one of the "foremost women photographers in America", as she began the first of a series of six illustrated articles on ""Advanced Photography for Amateurs"" in the "Saturday Evening Post".

paragraph: Ben-Yusuf was listed as a member of the first American Photographic Salon when it opened in December 1904, although her participation in exhibitions was beginning to drop off. In 1906, she showed one portrait in the third annual exhibition of photographs at Worcester Art Museum, Massachusetts, the last known exhibition of her work in her lifetime.

paragraph: Section::::Biography.:Travels to Japan.

paragraph: In 1903, Ben-Yusuf travelled to Japan, where she toured Yokohama, Kobe, Nagasaki, Kyoto, where she rented a house; Tokyo and Nikkō. This tour formed the basis for a series of four illustrated articles, ""Japan Through My Camera"", published in the "Saturday Evening Post" from 23 April 1904. In February 1905, her essay on Kyoto appeared in "Booklovers Magazine" and "Leslie's Monthly Magazine" published an illustrated article on""Women in Japan"". She also wrote about Japanese architecture and lectured on the subject, with some of her photographs illustrating a January 1906 article by Katharine Budd in "Architectural Record", for which she submitted an article, ""The Period of Daikan"", which appeared the next month.

paragraph: In 1906, she published three photographs from a visit to Capri in the September issue of "Photo Era", and in 1908, wrote three essays on life in England for the "Saturday Evening Post". She returned to New York in November 1908, but was back in London the following year. The London phone book for 1911 listed her as a photographer in Chelsea. In 1912, Sadakichi Hartmann wrote that Ben-Yusuf had given up photography, and was living in the South Sea Islands.

paragraph: On 15 September, following the outbreak of World War I and the German invasion of France, Ben-Yusuf returned to New York from Paris, where she had been living at the time. She applied for naturalization in 1919, describing herself as a photographer, and taking ten years off her age. She continued to travel, visiting Cuba in 1920 and Jamaica in 1921.

paragraph: Section::::Biography.:Later life.

paragraph: Ben-Yusuf took a post with the "Reed Fashion Service" in New York City in 1924, and lectured at local department stores on fashion related subjects. In 1926, she was appointed style director for the "Retail Millinery Association of New York", an organisation for which she later became director.

paragraph: By 1930, census records showed that Ben-Yusuf had married a textile designer, Frederick J. Norris. She died three years later on 27 September in the Methodist Episcopal Hospital in Brooklyn.

paragraph: Section::::Exhibition at the National Portrait Gallery.

paragraph: Ben-Yusuf's work was the subject of an exhibition, "Zaida Ben-Yusuf: New York Portrait Photographer" at the Smithsonian's National Portrait Gallery, which ran from 11 April through 1 September 2008. The curator, Frank H. Goodyear III, first learned about Ben-Yusuf when he discovered two of her photographs in 2003, depicting Daniel Chester French and Everett Shinn, and set forth to discover more about a photographer who had almost completely been forgotten.

paragraph: Goodyear suggested that gender discrimination might have led to Ben-Yusuf being forgotten, despite her significant contributions towards developing photography as a medium of artistic expression. Photographic history had tended to focus on male photographers such as Stieglitz, and less so on the female photographers, even though it was one of the few occupations considered a respectable career for a single woman in late 19th and early 20th century New York. Even in relatively progressive New York, where innovators in the arts, science, journalism and politics gathered, it was difficult for a single professional woman to support herself.

paragraph: Another reason for Ben-Yusuf's obscurity was that she had not bequeathed a significant archive of her work to a single institution, making it difficult to pull together enough examples to give her career the appropriate historical assessment. Goodyear's exhibition at the Smithsonian acted as a showcase for Ben-Yusuf's work, re-establishing her as a key figure in fine art photographic history.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Goodyear, Frank H.; Wiley, Elizabeth O; & Boone, Jobyl A; "Zaida Ben-Yusuf : New York portrait photographer" (London ; New York : Merrell ; Washington : In association with National Portrait Gallery, 2008)

paragraph: Section::::External links.

paragraph: BULLET::::- Smithsonian web photo exhibit of Ben-Yusuf's work

alias:
Zaydah Ibn Yūsuf
Zaydah Bin Yūsuf

description: American photographer

wikidata_label: Zaida Ben-Yusuf

wikipedia_title: Zaida Ben-Yusuf


text:
rower
Ślesin, Kuyavian-Pomeranian Voivodeship
women's quadruple sculls
2016 Summer Olympics
Wiktor Chabel

categories: Sportspeople from Kuyavian-Pomeranian Voivodeship,Olympic medalists in rowing,Living people,Rowers at the 2016 Summer Olympics,Medalists at the 2016 Summer Olympics,World Rowing Championships medalists for Poland,People from Nakło County,1992 births,Olympic rowers of Poland,Polish female rowers,Olympic bronze medalists for Poland

paragraph: Monika Chabel

paragraph: Monika Ciaciuch-Chabel ( ; born 10 May 1992) is a Polish rower.

paragraph: Section::::Biography.

paragraph: Ciaciuch was born in the small village of Ślesin, Kuyavian-Pomeranian Voivodeship which has a population of about 1500. Ciaciuch competed in the women's quadruple sculls event at the 2016 Summer Olympics, winning the bronze medal.

paragraph: In October 2017 she married a Polish rower Wiktor Chabel.

alias:
Monika Ciaciuch
Monika Ciaciuch-Chabel

description: Polish rower

wikidata_label: Monika Chabel

wikipedia_title: Monika Chabel


text:
Thai
King Rama IV
King Rama III
Western painting
linear perspective
Thai traditional art
Western colonialist
mural paintings
Wat Bowonniwet
Wat Borom Niwat
Phetchaburi province
Thailand
Wat Ratchaburana
Siam
Europe
Wat Phra Kaew
Temple of the Emerald Buddha
Buddha
Buddhism
Ayutthaya
Dharma
allegories
George Washington
the United States Congress
two dimensions
three dimensions
saturation
monochromic colors
complementary colors
Phra Khru Kasin Sangwon

categories: Year of birth uncertain,Year of death uncertain

paragraph: Khrua In Khong

paragraph: Khrua In Khong (Thai: ขรัวอินโข่ง), one of the most celebrated Thai artists, was active in the 1850s and 1860s during the reign of King Rama IV.

paragraph: He was a painter under the patronage of King Rama IV (Mongkut). Khrua In Khong and King Rama IV developed their friendship when they were in the monkhood during the reign of "King Rama III". The King was very fond of him. Therefore, once he ascended the throne, he frequently ordered Khrua In Khong to paint murals in numerous temples that he built or restored.

paragraph: His style had been greatly influenced by Western painting, thus distinguishing it from other conventional Thai paintings. He is well known as the first artist to introduce linear perspective to Thai traditional art.

paragraph: The works of Khrua In Khong served under the king's desire to modernize Thailand in order to survive the Western colonialist aspiration. His best-known works are mural paintings in the ubosoth (chapel) of Wat Bowonniwet and Wat Borom Niwat.

paragraph: Section::::Early life.

paragraph: Khrua In Khong's birth date and origins are uncertain. He was born in Bang Chan, Phetchaburi province, Thailand in the reign of King Rama III. He ordained at Wat Ratchaburana (Wat Liap) and stayed as a monk for the rest of his life.

paragraph: His original name was “In” not “Khrua In Khong”, “Khrua” and “Khong” were a prefix and postfix words to specify his personal identity.

paragraph: The word “Khrua” often refers to an elder monk or a person who has strict or moody character. It also meant a teacher who specialized in difficult subjects, and the word “Khong” quoting Saan Somdet (Princes’ Correspondence)

paragraph: "“…he stayed in monkhood as a neophyte for too long; hence he was called In Khong (falling tone). At first, I thought had mispronounced Khong (low tone) for Khong, I now realize there is no mistake. Taking Hoi Khong for example, it means big snail. … Therefore, Khong and Khong are the same. ""

paragraph: It was also known that Khrua In Khong was not very sociable. He was an introvert and always stayed alone by himself in order to avoid being interrupted by visitors during his work process. He went as far as entering and leaving his kuti (a monk's residence) through the windows.

paragraph: Section::::Education.

paragraph: There is no evidence of when and where Khrua In Khong practiced his drawing and painting skill. According to his sketchbook, he started drawing in a conventional Thai artistic style which puts much effort into an outline. All shapes and forms have to be drawn properly, very carefully and precisely. When Siam started exchanging culture with Europe, Khrua In Khong absorbed and learned western style drawing despite never visiting the west even once.

paragraph: Section::::Career.

paragraph: Khrua In Khong and King Rama IV had a close relationship since they were both ordained in the era of King Rama III. When King Rama IV reigned, the friendship still remained. Khrua In Khong became a painter under the patronage of the king and was frequently ordered to paint murals in temples that he built or restored. It was mentioned in the royal chronicles

paragraph: "“…the king demanded the service of Phra Achan In in Painting murals depicting the royal chronicles of the Bangkok period.”"

paragraph: Khrua In Khong's early work was not yet departed from Thai traditional artistic motifs. The murals in Ratchakoramanuson pavilion and Ratchaphongsanuson Pavilion at Wat Phra Kaew (Temple of the Emerald Buddha) both reflect Thai conventional style. The subject is also mainly about Buddha. Murals in Wat Mahasamanaram do not depict stories of Buddha, but still closely relate to Buddhism. The murals in Wat Phra Ngam, Ayutthaya are the depictions of the life of Buddha.

paragraph: The most renowned works of Khrua In Khong are the depictions of Buddhist teachings (Dharma) in Wat Bowonniwet and Wat Borom Niwat which have the figures and buildings in western style. The murals represented Buddhist dharma in the form of allegories. It required a high mental capability to understand the context of the Dharma, for example, the pictures of water lotuses in a pond, horse-racing, and a man pointing the way of virtue.

paragraph: The themes of the murals in Wat Bowonniwet and Wat Borom Niwat were not only related to Buddhism, but also political subjects such as the murals that portray George Washington’s residence and the United States Congress.

paragraph: In the era of King Rama IV, Western colonialism flourished. The king was concerned with the threat of European countries and urged to modernize Siam in a western way - both technologically and culturally, hence the works of Khrua In Khong were serving his demand.

paragraph: Section::::Technique and style.

paragraph: Khrua In Khong, although having never visited Europe even once, developed his style from conventional Thai painting to become more western-like by relying on western commercial prints, observations of westerners in Bangkok and his imagination.

paragraph: Thai artistic tradition before the time of Khrua In Khong was unrealistic. The water waves were drawn as overlapping fish scales, the trees look artificial and the figures stood in unnatural poses. In contrast, Khrua In Khong preferred to paint realistic gestures. The scenario, trees, and figures became more natural and realistic like a western painting.

paragraph: Thai artistic motifs depended on the use of lines and flat color without using light and shade, the objects were the same size regardless of their relative distances making the figures and buildings only two dimensions not three dimensions like the western painting. Khrua In Khong was the first Thai artist to use the three-dimensional perspective technique.

paragraph: In the meantime, people began exchanging culture and art with European countries. Color materials also began to be imported from abroad. Thus the painting in this period became more vivid and colorful. Khrua In Khong, however, still remained using low saturation, bright objects among dimmed gray and dark background colors. Khrua In Khong was famous for his use of monochromic colors that give harmonious satisfaction, unlike complementary colors. He often used dark shades of blue and green along with light shades of blue, pink and white and avoided contrasting colors. He painted the background with dark colors, male outfits with dark blue and white, while female dresses were light blue or pink making the figures look soft and gentle among shady background that appears like a dreamy landscape.

paragraph: Despite the fact that he departed from traditional Thai painting style, the works of Khrua In Khong were still mostly related to Buddhism since he himself stayed in the monkhood for life. Moreover, he had been greatly influenced by the king's religious beliefs as a painter under the King's patronage.

paragraph: In addition, the works of Khrua In Khong were not entirely about Buddhism. They were also important as historical records of political events and social conditions during the reign of King Rama III.

paragraph: Section::::Disciples.

paragraph: Khrua In Khong had many disciples but only one of them was recorded - Phra Khru Kasin Sangwon. He was the abbot of Wat Thong Nopphakhun, who painted murals in Wat Thong Nopphakhun. His murals were allegoric paintings, same as the Dharma Paintings of Khrua In Khong, but the figures were Thai style instead of western.

paragraph: Section::::Later life and death.

paragraph: It is unclear what caused Khrua In Khong's death and when it was. It is believed to be in the era of King Rama IV because there is no sign of his life and works in the age of King Rama V. It is believed that he stayed as a monk for the rest of his life.

description: Thai painter

wikidata_label: Khrua In Khong

wikipedia_title: Khrua In Khong


text: 2016 Rio Olympics

categories: Olympic rowers of the Netherlands,Rowers at the 2016 Summer Olympics,1990 births,Dutch female rowers,Place of birth missing (living people),Living people

paragraph: Lies Rustenburg

paragraph: Lies Rustenburg (born 8 April 1990) is a Dutch rower who competes in the eights. She won silver medals at the 2015 and 2016 European Championships and placed sixth at the 2016 Rio Olympics.

description: Dutch rower

wikidata_label: Lies Rustenburg

wikipedia_title: Lies Rustenburg


text:
double scull
2012 Olympics
eights
2016 Rio Games
Delft University of Technology

categories: Rowers at the 2012 Summer Olympics,World Rowing Championships medalists for the Netherlands,Olympic rowers of the Netherlands,Rowers at the 2016 Summer Olympics,1989 births,Dutch female rowers,Living people

paragraph: Ellen Hogerwerf

paragraph: Elisabeth Wilhelmina "Ellen" Hogerwerf (born 10 February 1989) is a Dutch rower. She placed eighth in the double sculls at the 2012 Olympics and sixth in the eights at the 2016 Rio Games. She won a bronze medal at the 2011 World Championships and two silver medals at the European championships in 2015–2016.

paragraph: Hogerwerf has a degree in mechanical engineering from Delft University of Technology.

description: Dutch rower

wikidata_label: Elisabeth Hogerwerf

wikipedia_title: Ellen Hogerwerf


text:
House of Babenberg
Count Palatine of the Rhine
Duke of Bavaria
Margrave of Austria
Duke of Austria
Leopold III of Austria
Agnes of Waiblingen
Salian
Henry V
King of the Romans
Hohenstaufen
Frederick II of Swabia
Lothair of Supplinburg
Otto of Freising
Conrad II of Salzburg
Judith
William V of Montferrat
Arab
Second Crusade
Middle High German
Leopold IV
Rhenish
Conrad III of Germany
County Palatine of the Rhine
Duchy of Bavaria
Henry the Proud
Welf
Regensburg
Gertrude of Supplinburg
Battle of Dorylaeum
Seljuk Turks
Frederick Barbarossa
Byzantine
Manuel I Komnenos
Theodora
Henry the Lion
Privilegium Minus
Margraviate of Austria
duchy
Klosterneuburg
Vienna
Krems
Melk
Klosterneuburg
St. Stephen's Church
Schottenstift
Soběslav II of Bohemia
Melk
femoral neck fracture
Gertrude of Süpplingenburg
Lothair II
Theodora Komnene
Byzantine
Manuel I
Central Europe
Agnes of Austria
Stephen III of Hungary
Herman of Carinthia
Leopold V, Duke of Austria
Henry I, Duke of Mödling
Vladislav II of Bohemia
Heinrich II. Jasomirgott
AEIOU

categories: 12th-century rulers of Austria,12th-century German people,Counts Palatine of the Rhine,Margraves of Austria,12th-century Austrian people,Dukes of Austria,Dukes of Bavaria,1177 deaths,Babenberg,1112 births

paragraph: Henry II, Duke of Austria

paragraph: Henry II (; 1112 – 13 January 1177), called Jasomirgott, a member of the House of Babenberg, was Count Palatine of the Rhine from 1140 to 1141, Duke of Bavaria and Margrave of Austria from 1141 to 1156 (as "Henry XI"), and the first Duke of Austria from 1156 until his death.

paragraph: Section::::Family.

paragraph: Henry was the second son of Margrave Leopold III of Austria, the first from his second marriage with Agnes of Waiblingen, a sister of the last Salian emperor Henry V. Leopold himself was expected to stand as a candidate in the 1125 election as King of the Romans; nevertheless, he renounced in favour of the Hohenstaufen duke Frederick II of Swabia, his half-brother, who eventually lost against Lothair of Supplinburg. Among Henry's younger brother were Bishop Otto of Freising and Conrad II of Salzburg. His sister Judith became the wife of Marquess William V of Montferrat.

paragraph: Henry's nickname, "Jasomirgott", was first documented during the 13th century in the form of "Jochsamergott", the meaning of which is unclear. According to one theory, it is derived from a spoofed Arab word bearing a connection to the Second Crusade where Henry participated in 1147. According to a popular etymology, it is derived from the Middle High German form of oath "joch sam mir got helfe" (meaning: "Yes, so help me God").

paragraph: Section::::Reign.

paragraph: When Margrave Leopold III died in 1136, he was succeeded by his third-born son Leopold IV; probably because Henry already administrated the Rhenish possessions of the extinct Salian dynasty. In April 1140, the Hohenstaufen king Conrad III of Germany enfeoffed him with the County Palatine of the Rhine, which he ruled only for a short time until being appointed Bavarian duke and Margrave of Austria when his younger brother Leopold IV unexpectedly died in October 1141. Leopold had received the Duchy of Bavaria in 1139, after King Conrad had deposed Duke Henry the Proud in the course of the dispute between the Welf and Hohenstaufen dynasties.

paragraph: Henry took his residence in the Bavarian capital Regensburg (Ratisbon). In May 1142 he married Gertrude of Supplinburg, the daughter of Emperor Lothair and widow of Henry the Proud. She died after less thanone year, giving birth to her first child with Henry.

paragraph: The duke remained a loyal follower of the Hohenstaufens and in May 1147 accompanied King Conrad on the Second Crusade. When they suffered a disastrous defeat at the Battle of Dorylaeum against the Seljuk Turks in October, Henry narrowly escaped together with Conrad's nephew, young Frederick Barbarossa. On their way home, Henry stayed at the court of the Byzantine emperor Manuel I Komnenos, where he married his niece Theodora in late 1148.

paragraph: Elected King of the Romans in 1152, Frederick Barbarossa tried to reach a compromise with the Welfs and endowed the son of the late Henry the Proud, Henry the Lion, with the Bavarian duchy in 1156. A replacement had to be found for the Babenberg family, namely by the "Privilegium Minus", by which Frederick elevated Henry's Margraviate of Austria to a duchy with complete independence from Bavaria.

paragraph: Unlike his father, who resided in Klosterneuburg most of the time, Henry moved his residence to Vienna in 1145. Only by this act could the modern Austrian capital surpass cities such as Krems, Melk or Klosterneuburg. Since then, it has remained the capital of the country. Also in 1147, the St. Stephen's Church was completed, which became a visible landmark of the city, showing its prominence. In 1155, Henry founded the Schottenstift monastery in Vienna, in the courtyard of which a statue of him stands to this day.

paragraph: In November 1176, while his Austrian land were campaigned by the forces of Duke Soběslav II of Bohemia, Henry II with his horse fell from a rotten bridge near Melk and suffered a femoral neck fracture. Henry II succumbed to his injuries on 13 January 1177 in Vienna. According to his last will, he was buried in the Schottenstift monastery.

paragraph: Section::::Marriage and children.

paragraph: Until 1143, Henry II was married to Gertrude of Süpplingenburg, the daughter of Emperor Lothair II. In 1148 he married Theodora Komnene, niece of the Byzantine emperor Manuel I. Both marriages are an expression of the importance of the Babenberg dynasty in Central Europe in that period.

paragraph: Henry had three children by Theodora Komnene:

paragraph: BULLET::::- Agnes of Austria ( – 13 January 1182), married to King Stephen III of Hungary, secondly married to Duke Herman of Carinthia

paragraph: BULLET::::- Leopold V, Duke of Austria (1157 – 31 December 1194)

paragraph: BULLET::::- Henry I, Duke of Mödling (1158 – 31 August 1223), married Richeza, daughter of Duke Vladislav II of Bohemia.

paragraph: Section::::External links.

paragraph: BULLET::::- Heinrich II. Jasomirgott at AEIOU

alias:
Henry II
Jasomirgott
Henry XI

description: Duke of Austria from 1156 to 1177

wikidata_label: Henry II

wikipedia_title: Henry II, Duke of Austria


text: photographer

text: Guggenheim Fellowship

text: Point Lobos

text: soft focus

text: pictorialism

text: Parkinson's disease

text: Highland Park

text: Illinois

text: camera

text: Kodak

text: Chicago

text: Glendale

text: career

text: Effingham, Illinois

text: Illinois College of Photography

text: Harry Chandler

text: pictorial style

text: Brett Weston

text: Margrethe Mather

text: Carl Sandburg

text: Max Eastman

text: Neil Weston

text: Johan Hagemeyer

text: Cole Weston

text: Roubaix de l'Abrie Richey

text: Tina Modotti

text: Middletown, Ohio

text: Alfred Stieglitz

text: Charles Sheeler

text: Clarence H. White

text: Gertrude Kasebier

text: batik

text: smallpox

text: Charis Wilson

text: Marius de Zayas

text: Miriam Lerner

text: Rene d'Harnoncourt

text: Bertha Wardell

text: Henrietta Shore

text: "Nautilus"

text: Palace of the Legion of Honor

text: Willard Van Dyke

text: Ansel Adams

text: Sonya Noskowiak

text: Pepper No. 30

text: De Young Museum

text: Wall Street Crash of 1929

text: Merle Armitage

text: Group f/64

text: Charis Wilson

text: Santa Monica Canyon

text: Nude (Charis, Santa Monica)

text: Oceano Dunes

text: Guggenheim Fellowship

text: Dorothea Lange

text: Yosemite National Park

text: Walt Whitman

text: Leaves of Grass

text: Pearl Harbor

text: World War II

text: Parkinson's disease

text: Kodachrome

text: Dody Weston Thompson

text: Ansel Adams

text: Musee National d'Art Moderne

text: Dody Thompson

text: University of California, Santa Cruz

text: Glendale

text: Roi Partridge

text: Imogen Cunningham

text: Graflex

text: view camera

text: Rapid Rectilinear lens

text: George Eastman House

text: Graflex

text: Graflex

text: orthochromatic

text: panchromatic

text: Tina Modotti

text: Kodak

text: Kodachrome

text: Weston exposure meter

text: contact print

text: safelight

text: dodging and burning

text: Velox

text: Amidol

text: Center for Creative Photography

text: previsualization

text: Beaumont Newhall

text: most expensive photographs

text: Peter MacGill

text: Nautilus

text: Rencontres d'Arles

text: Willard Van Dyke

text: Museum of Fine Arts in Santa Fe

text: edward-weston.com

text: Edward Weston Collection

text: Center for Creative Photography

text: Ben Maddow "Edward Weston Lecture" The Baltimore Museum of Art: Baltimore, Maryland, 1976

categories: People from Highland Park, Illinois,Landscape photographers,Deaths from Parkinson's disease,1886 births,Guggenheim Fellows,Artists from Chicago,Photographers from California,Portrait photographers,20th-century American photographers,1958 deaths,History of platinum printing

paragraph: Edward Weston

paragraph: Edward Henry Weston (March 24, 1886 – January 1, 1958) was a 20th-century American photographer. He has been called "one of the most innovative and influential American photographers..." and "one of the masters of 20th century photography." Over the course of his 40-year career Weston photographed an increasingly expansive set of subjects, including landscapes, still lives, nudes, portraits, genre scenes and even whimsical parodies. It is said that he developed a "quintessentially American, and specially Californian, approach to modern photography" because of his focus on the people and places of the American West. In 1937 Weston was the first photographer to receive a Guggenheim Fellowship, and over the next two years he produced nearly 1,400 negatives using his 8 × 10 view camera. Some of his most famous photographs were taken of the trees and rocks at Point Lobos, California, near where he lived for many years.

paragraph: Weston was born in Chicago and moved to California when he was 21. He knew he wanted to be a photographer from an early age, and initially his work was typical of the soft focus pictorialism that was popular at the time. Within a few years, however, he abandoned that style and went on to be one of the foremost champions of highly detailed photographic images.

paragraph: In 1947 he was diagnosed with Parkinson's disease and he stopped photographing soon thereafter. He spent the remaining ten years of his life overseeing the printing of more than 1,000 of his most famous images.

paragraph: Section::::Life and work.

paragraph: Section::::Life and work.:1886–1906: Early life.

paragraph: Weston was born in Highland Park, Illinois, the second child and only son of Edward Burbank Weston, an obstetrician, and Alice Jeanette Brett, a Shakespearean actress. His mother died when he was five years old and he was raised mostly by his sister Mary, whom he called "May" or "Mazie". She was nine years older than he, and they developed a very close bond that was one of the few steady relationships in Weston's life.

paragraph: His father remarried when he was nine, but neither Weston nor his sister got along with their new stepmother and stepbrother. After May was married and left their home in 1897, Weston's father devoted most of his time to his new wife and her son. Weston was left on his own much of the time; he stopped going to school and withdrew into his own room in their large home.

paragraph: As a present for his 16th birthday Weston's father gave him his first camera, a Kodak Bull's-Eye #2, which was a simple box camera. He took it on vacation in the Midwest, and by the time he returned home his interest in photography was enough to lead him to purchase a used 5 × 7 inch view camera. He began photographing in Chicago parks and a farm owned by his aunt, and developed his own film and prints. Later he would remember that even at that early age his work showed strong artistic merit. He said, "I feel that my earliest work of 1903 ‒ though immature ‒ is related more closely, both with technique and composition, to my latest work than are several of my photographs dating from 1913–1920, a period in which I was trying to be artistic."

paragraph: In 1904 May and her family moved to California, leaving Weston further isolated in Chicago. He earned a living by taking a job at a local department store, but he continued to spend most of his free time taking photos, Within two years he felt confident enough of his photography that he submitted his work to the magazine "Camera and Darkroom", and in the April 1906 issue they published a full-page reproduction of his picture "Spring, Chicago". This is the first known publication of any of his photographs.

paragraph: Section::::Life and work.:1906–23: Becoming a photographer.

paragraph: At the urging of his sister, Weston left Chicago in the spring of 1906 and moved near May's home in Tropico, California (now a neighborhood in Glendale). He decided to stay there and pursue a career in photography, but he soon realized he needed more professional training. A year later he moved to Effingham, Illinois, in order to enroll in the Illinois College of Photography. They taught a nine-month course, but Weston finished all of the class work in six months. The school refused to give him a diploma unless he paid for the full nine months; Weston refused and instead moved back to California in the spring of 1908.

paragraph: He briefly worked at the photography studio of George Steckel in Los Angeles, as a negative retoucher. Within a few months he moved to the more established studio of Louis Mojonier. For the next several years he learned the techniques and business of operating a photography studio under Mojonier's direction.

paragraph: Within days of his visit to Tropico, Weston was introduced to his sister's best friend, Flora May Chandler. She was a graduate of the Normal School, later to become UCLA. She assumed the position of a grade-school teacher in Tropico.

paragraph: She was seven years older than Weston and a distant relative of Harry Chandler, who at that time was described as the head of "the single most powerful family in Southern California. This fact did not go unnoticed by Weston and his biographers.

paragraph: On January 30, 1909, Weston and Chandler married in a simple ceremony. The first of their four sons, Edward Chandler Weston (1910–1993), known as Chandler, was born on April 26, 1910.

paragraph: Named Edward Chandler, after Weston and his wife, he later became an excellent photographer on his own. He clearly learned much by being an assistant to his father in the bungalow studio. In 1923 he bid farewell to his mother and sibling brothers and sailed off to Mexico with his father and Tina Modotti. He gave up any aspirations in pursuing photography as a career after his adventures in Mexico. The lifestyle of fame and its fortune affected him greatly. His later photographs, as a hobbyist, albeit rare, certainly reflect an innate talent for the form.

paragraph: In 1910 Weston opened his own business, called "The Little Studio", in Tropico. His sister later asked him why he opened his studio in Tropico rather than in the nearby metropolis of Los Angeles, and he replied "Sis, I'm going to make my name so famous that it won't matter where I live."

paragraph: For the next three years he worked, alone and sometimes with the assistance of family members in his studio. Even at that early stage of his career he was highly particular about his work; in an interview at that time he said "[photographic] plates are nothing to me unless I get what I want. I have used thirty of them at a sitting if I did not secure the effect to suit me."

paragraph: His critical eye paid off as he quickly gained more recognition for his work. He won prizes in national competitions, published several more photographs and wrote articles for magazines such as "Photo-Era" and "American Photography", championing the pictorial style.

paragraph: On December 16, 1911, Weston's second son, Theodore Brett Weston (1911–1993), was born. He became a long-time artistic collaborator with his father and an important photographer on his own.

paragraph: Sometime in the fall of 1913, Los Angeles photographer, Margrethe Mather visited Weston's studio because of his growing reputation, and within a few months they developed an intense relationship. Weston was a quiet Midwestern transplant to California, and Mather was a part of the growing bohemian cultural scene in Los Angeles. She was very outgoing and artistic in a flamboyant way, and her permissive sexual morals were far different from the conservative Weston at the time - Mather had been a prostitute and was bisexual with a preference for women. Mather presented a stark contrast to Weston's home life; his wife Flora was described as a "homely, rigid Puritan, and an utterly conventional woman, with whom he had little in common since he abhorred conventions" ‒ and he found Mather's uninhibited lifestyle irresistible and her photographic vision intriguing.

paragraph: He asked Mather to be his studio assistant, and for the next decade they worked closely together, making individual and jointly signed portraits of such luminaries as Carl Sandburg and Max Eastman. A joint exhibition of their work in 2001 revealed that during this period Weston emulated Mather's style and, later, her choice of subjects. On her own Mather photographed "fans, hands, eggs, melons, waves, bathroom fixtures, seashells and birds wings, all subjects that Weston would also explore." A decade later he described her as "the first important person in my life, and perhaps even now, though personal contact has gone, the most important."

paragraph: In early 1915 Weston began keeping detailed journals he later came to call his "Daybooks". For the next two decades he recorded his thoughts about his work, observations about photography, and his interactions with friends, lovers and family. On December 6, 1916, a third son, Lawrence Neil Weston, was born. He also followed in the footsteps of his father and became a well-known photographer. It was during this period that Weston first met photographer Johan Hagemeyer, whom Weston mentored and lent his studio to from time to time. Later, Hagemeyer would return the favor by letting Weston use his studio in Carmel after he returned from Mexico. For the next several years Weston continued to earn a living by taking portraits in his small studio which he called "the shack".

paragraph: Meanwhile, Flora was spending all of her time caring for their children. Their fourth son, Cole Weston (1919–2003), was born on January 30, 1919, and afterward she rarely had time to leave their home.

paragraph: Over the summer of 1920 Weston met two people who were part of the growing Los Angeles cultural scene: Roubaix de l'Abrie Richey, known as "Robo" and a woman he called his wife, Tina Modotti. Modotti, who was then known only as a stage and film actress, was never married to Robo, but they pretended to be for the sake of his family. Weston and Modotti were immediately attracted to each other, and they soon became lovers. Richey knew of Modotti's affair, but he continued to be friends with Weston and later invited him to come to Mexico and share his studio.

paragraph: The following year Weston agreed to allow Mather to become an equal partner in his studio. For several months they took portraits that they signed with both of their names. This was the only time in his long career that Weston shared credit with another photographer.

paragraph: Sometime in 1920 he began photographing nude models for the first time. His first models were his wife Flora and their children, but soon thereafter he took at least three nude studies of Mather. He followed these with several more photographs of nude models, the first of dozens of figure studies he would make of friends and lovers over the next twenty years.

paragraph: Until now Weston had kept his relationships with other women a secret from his wife, but as he began to photograph more nudes Flora became suspicious about what went on with his models. Chandler recalled that his mother regularly sent him on "errands" to his father's studio and asked him to tell her who was there and what they were doing.

paragraph: One of the first who agreed to model nude for Weston was Modotti. She became his primary model for the next several years.

paragraph: In 1922 he visited his sister May, who had moved to Middletown, Ohio. While there he made five or six photographs of the tall smoke stacks at the nearby Armco steel mill. These images signaled a change in Weston's photographic style, a transition from the soft-focus pictorialism of the past to a new, cleaner-edge style. He immediately recognized the change and later recorded it in his notes: "The Middletown visit was something to remember...most of all in importance was my photographing of 'Armco'...That day I made great photographs, even Stieglitz thought they were important!"

paragraph: At that time New York City was the cultural center for photography as an art form in America, and Alfred Stieglitz was the most influential figure in photography. Weston badly wanted to go to New York to meet with him, but he did not have enough money to make the trip. His brother-in-law gave him enough money to continue on from Middletown to New York City, and he spent most of October and early November there. While there he met artist Charles Sheeler, photographers Clarence H. White, Gertrude Kasebier and finally, Stieglitz. Weston wrote that Stieglitz told him, "Your work and attitude reassures me. You have shown me at least several prints which have given me a great deal of joy. And I can seldom say that of photographs."

paragraph: Soon after Weston returned from New York, Robo moved to Mexico and set up a studio there to create batiks. Within a short while he had arranged for a joint exhibition of his work and of photographs by Weston, Mather and a few others. In early 1923 Modotti left by train to be with Robo in Mexico, but he contracted smallpox and died shortly before she arrived. Modotti was grief-stricken, but within a few weeks she felt well enough that she decided to stay and carry out the exhibition that Robo had planned. The show was a success, and, due in no small part to his nude studies of Modotti, it firmly established Weston's artistic reputation in Mexico.

paragraph: After the show closed Modotti returned to California, and Weston and she made plans to return to Mexico together. He wanted to spend a couple of months there photographing and promoting his work, and, conveniently, he could travel under the pretense of Modotti being his assistant and translator.

paragraph: The week before he left for Mexico, Weston briefly reunited with Mather and took several nudes of her lying in the sand at Redondo Beach. These images were very different from his previous nude studies - sharply focused and showing her entire body in relation to the natural setting. They have been called the artistic prototypes for his most famous nudes, those of Charis Wilson which he would take more than a decade later.

paragraph: Section::::Life and work.:1923–27: Mexico.

paragraph: On July 30, 1923, Weston, his son Chandler, and Modotti left on a steamer for the extended trip to Mexico. His wife, Flora, and their other three sons waved goodbye to them at the dock. It's unknown what Flora understood or thought about the relationship between Weston and Modotti, but she is reported to have called out at the dock, "Tina, take good care of my boys."

paragraph: They arrived in Mexico City on August 11 and rented a large hacienda outside of the city. Within a month he had arranged for an exhibition of his work at the Aztec Land Gallery, and on October 17 the show opened to glowing press reviews. He was particularly proud of a review by Marius de Zayas that said "Photography is beginning to be photography, for until now it has only been art."

paragraph: The different culture and scenery in Mexico forced Weston to look at things in new ways. He became more responsive to what was in front of him, and he turned his camera on everyday objects like toys, doorways and bathroom fixtures. He also made several intimate nudes and portraits of Modotti. He wrote in his "Daybooks":

paragraph: BULLET::::- The camera should be used for a recording of "life", for rendering the very substance and quintessence of the "thing" itself...I feel definite in the belief that the approach to photography is through realism.

paragraph: Weston continued to photograph the people and things around him, and his reputation in Mexico increased the longer he stayed. He had a second exhibition at the Aztec Land Galley in 1924, and he had a steady stream of local socialites asking him to take their portraits. At the same time, Weston began to miss his other sons back in the U.S. As with many of his actions, though, it was a woman who motivated him most. He had recently corresponded with a woman he had known for several years named Miriam Lerner, and as her letters became more passionate he longed to see her again.

paragraph: He and Chandler returned to San Francisco at the end of 1924, and the next month he set up a studio with Hagemeyer. Weston seemed to be struggling with his past and his future during this period. He burned all of his pre-Mexico journals, as though trying to erase the past, and started a new series of nudes with Lerner and with his son Neil. He wrote that these images were "the start of a new period in my approach and attitude towards photography."

paragraph: His new relationship with Lerner did not last long, and in August 1925 he returned to Mexico, this time with his son Brett. Modotti had arranged a joint show of their photographs, and it opened the week he returned. He received new critical acclaim, and six of his prints were purchased for the State Museum. For the next several months he concentrated once again on photographing folk art, toys and local scenes. One of his strongest images of this period is of three black clay pots that art historian Rene d'Harnoncourt described as "the beginning of a new art."

paragraph: In May 1926 Weston signed a contract with writer Anita Brenner for $1,000 to make photographs for a book she was writing about Mexican folk art. In June he, Modotti and Brett started traveling around the country in search of lesser known native arts and crafts. His contract required him to give Brenner three finished prints from 400 8x10 negatives, and it took him until November of that year to complete the work. During their travels, Brett received a crash course in photography from his father, and he made more than two dozen prints that his father judged to be of exceptional quality.

paragraph: By the time they returned from their trip, Weston and Modotti's relationship had crumbled, and within less than two weeks he and Brett returned to California. He never traveled to Mexico again.

paragraph: Section::::Life and work.:1927–35: Glendale to Carmel.

paragraph: Weston initially returned to his old studio in Glendale (previously called Tropico). He quickly arranged a dual exhibition at University of California of the photographs that he and Brett had made the year before. The father showed 100 prints and the son showed 20. Brett was only 15 years old at the time.

paragraph: In February he started a new series of nudes, this time of dancer Bertha Wardell. One of this series, of her kneeling body cut off at the shoulders, is one of Weston's most well-known figure studies. At this same time he met Canadian painter Henrietta Shore, whom he asked to comment on the photos of Wardell. He was surprised by her honest critique: "I wish you would not do so many nudes – you are getting "used" to them, the subject no longer amazes you ‒ most of these are "just" nudes."

paragraph: He asked to look at her work and was intrigued by her large paintings of sea shells. He borrowed several shells from her, thinking he might find some inspiration for a new still life series. Over the next few weeks he explored many different kinds of shell and background combinations – in his log of photographs taken for 1927 he listed fourteen negatives of shells. One of these, simply called "Nautilus", 1927" (sometimes called "Shell", 1927), became one of his most famous images. Modotti called the image "mystical and erotic," and when she showed it to Rene d'Harnoncourt he said he felt "weak at the knees." Weston is known to have made at least twenty-eight prints of this image, more than he had made of any other shell image.

paragraph: In September of that year Weston had a major exhibition at Palace of the Legion of Honor. At the open of the show he met fellow photographer Willard Van Dyke, who later introduced Weston to Ansel Adams.

paragraph: In May, 1928, Weston and Brett made a brief but important trip to the Mojave Desert. It was there that he first explored and photographed landscapes as an art form. He found the stark rock forms and empty spaces to be a visual revelation, and over a long weekend he took twenty-seven photographs. In his journal he declared "these negatives are the most important I have ever done."

paragraph: Later that year he and Brett moved to San Francisco, where they lived and worked in a small studio owned by Hagemeyer. He made portraits to earn an income, but he longed to get away by himself and get back to his art. In early 1929 he moved to Hagemeyer's cottage in Carmel, and it was there that he finally found the solitude and the inspiration that he was seeking. He placed a sign in studio window that said, "Edward Weston, Photographer, Unretouched Portraits, Prints for Collectors."

paragraph: He started making regular trips to nearby Point Lobos, where he would continue to photograph until the end of his career. It was there that he learned to fine-tune his photographic vision to match the visual space of his view camera, and the images he took there, of kelp, rocks and wind-blown trees, are among his finest. Looking at his work from this period, one biographer wrote:

paragraph: BULLET::::- "Weston arranged his compositions so that things happened on the edges; lines almost cross or meet and circular lines just touch the edges tangentially; his compositions were now created exclusively for a space with the proportions of eight by ten. There is no extraneous space nor is there too little."

paragraph: In early April, 1929, Weston met photographer Sonya Noskowiak at a party, and by the end of the month she was living with him. As with many of his other relationships, she became his model, muse, pupil and assistant. They would continue to live together for five years.

paragraph: Intrigued by the many kinds and shapes of kelp he found on the beaches near Carmel, in 1930 Weston began taking close-ups of vegetables and fruits. He made a variety of photographs of cabbage, kale, onions, bananas, and finally, his most iconic image, peppers. In August of that year Noskowiak brought him several green peppers, and over a four-day period he shot at least thirty different negatives. Of these, "Pepper No. 30", is among the all-time masterpieces of photography.

paragraph: Weston had a series of important one-man exhibitions in 1930-31. The first was at Alma Reed's Delphic Studio Galley in New York, followed closely by a mounting of the same show at the Denny Watrous Gallery in Carmel. Both received rave reviews, including a two-page article in the "New York Times Magazine". These were followed by shows at De Young Museum in San Francisco and the Galerie Jean Naert in Paris.

paragraph: Although he was succeeding professionally his personal life was very complex. For most of their marriage, Flora was able to take care of their children because of an inheritance from her parents. However, the Wall Street Crash of 1929 had wiped out most of her savings, and Weston felt increased pressure to help provide more for her and his sons. He described this time as "the most trying economic period of my life."

paragraph: In 1932, " The Art of Edward Weston", the first book devoted exclusively to Weston's work, was published. It was edited by Merle Armitage and dedicated to Alice Rohrer, an admirer and patron of Weston whose $500 donation helped pay for the book to be published.

paragraph: During the same time a small group of like-minded photographers in the San Francisco area, led by Van Dyke and Ansel Adams, began informally meeting to discuss their common interest and aesthetics. Inspired by Weston's show at the De Young Museum the previous year, they approached the museum with the idea of mounting a group exhibition of their work. They named themselves Group f/64, and in November, 1932, an exhibition of 80 of their prints opened at the museum. The show was a critical success.

paragraph: In 1933 Weston bought a 4 × 5 Graflex camera, which was much smaller and lighter than the large view camera he had used for many years. He began taking close-up nudes of Noskowiak and other models. The smaller camera allowed him to interact more with his models, while at the same time the nudes he took during this period began to resemble some of the contorted root and vegetables he had taken the year before.

paragraph: In early 1934, "a new and important chapter opened" in Weston's life when he met Charis Wilson at a concert. Even more than with his previous lovers, Weston was immediately captivated by her beauty and her personality. He wrote: "A new love came into my life, a most beautiful one, one which will, I believe, stand the test of time." On April 22 he photographed her nude for the first time, and they entered into an intense relationship. He was still living with Noskowiak at that time, but within two weeks he asked her to move out, declaring that for him other women were "as inevitable as the tides".

paragraph: Perhaps because of the intensity of his new relationship, he stopped writing in his Daybooks at this same time. Six months later he wrote one final entry, looking back from April 22:

paragraph: BULLET::::- After eight months we are closer together than ever. Perhaps C. will be remembered as the great love of my life. Already I have achieved certain heights reached with no other love.

paragraph: Section::::Life and work.:1935–45: Guggenheim grant to Wildcat Hill.

paragraph: In January, 1935 Weston was facing increasing financial difficulties. He closed his studio in Carmel and moved to Santa Monica Canyon, California, where he opened a new studio with Brett. He implored Wilson to come and live with him, and in August 1935 she finally agreed. While she had an intense interest in his work, Wilson was the first woman Weston had lived with since Flora who had no interest in becoming a photographer. This allowed Weston to concentrate on her as his muse and model, and in turn Wilson devoted her time to promoting Weston's art as his assistant and quasi-agent.

paragraph: Almost immediately he began taking a new series of nudes with Wilson as the model. One of the first photographs he took of her, on the balcony of their home, became one of his most published images ("Nude (Charis, Santa Monica)"). Soon after they took the first of several trips to Oceano Dunes. It was there that Weston made some of his most daring and intimate photographs of any of his models, capturing Wilson in completely uninhibited poses in the sand dunes. He exhibited only one or two of this series in his lifetime, thinking several of the others were "too erotic" for the general public.

paragraph: Although his recent work had received critical acclaim, he was not earning enough income from his artistic images to provide a steady income. Rather than going back to relying solely on portraiture, he started the "Edward Weston Print of the Month Club", offering selections of his photos for a monthly $5 subscription. Each month subscribers would receive a new print from Weston, with a limited edition of 40 copies of each print. Although he created these prints with the same high standards that he did for his exhibition prints, it is thought that he never had more than eleven subscribers.

paragraph: At the suggestion of Beaumont Newhall, Weston decided to apply for a Guggenheim Foundation grant (now known as a Guggenheim Fellowship). He wrote a two-sentence description about his work, assembled thirty-five of his favorites prints, and sent it in. Afterward Dorothea Lange and her husband suggested that the application was too brief to be seriously considered, and Weston resubmitted it with a four-page letter and work plan. He did not mention that Wilson had written the new application for him.

paragraph: On March 22, 1937, Weston received notification that he had been awarded a Guggenheim grant, the first ever given to a photographer. The award was $2,000 for one year, a significant amount of money at that time. He was able to further capitalize on the award by arranging to provide the editor of "AAA Westway Magazine" with 8-10 photos per month for $50 during their travels, with Wilson getting an additional $15 monthly for photo captions and short narratives. They purchased a new car and set out on Weston's dream trip to go and photograph whatever he wanted. Over the next twelve months they made seventeen trips and covered 16,697 miles according to Wilson's detailed log. Weston made 1,260 negatives during the trip.

paragraph: The freedom of this trip with the "love of his life", combined with all of his sons now reaching the age of adulthood, gave Weston the motivation to finally divorce his wife. They had been living apart for sixteen years.

paragraph: Due to the success of the past year, Weston applied for and received a second year of Guggenheim support. Although he wanted to do some additional traveling, he intended to use most of the money to allow him to print his past year's work. He commissioned Neil to build a small home in the Carmel Highlands on property owned by Wilson's father. They named the place "Wildcat Hill" because of the many domestic cats that soon occupied the grounds.

paragraph: Wilson set up a writing studio in what was intended to be a small garage behind the house, and she spent several months writing and editing stories from their travels.

paragraph: In 1939, "Seeing California with Edward Weston" was published, with photographs by Weston and writing by Wilson. Finally relieved from the financial stresses of the past and inordinately happy with his work and his relationship, Weston married Wilson in a small ceremony on April 24.

paragraph: Buoyed by the success of their first book, in 1940 they published "California and the West". The first edition, featuring 96 of Weston's photos with text by Wilson, sold for $3.95. Over the summer, Weston taught photography at the first Ansel Adams Workshop at Yosemite National Park.

paragraph: Just as the Guggenheim money was running out, Weston was invited to illustrate a new edition of Walt Whitman's "Leaves of Grass". He would receive $1,000 for photographs and $500 travel expenses. Weston insisted on having artistic control of the images he would take and insisted that he would not be taking literal illustrations of Whitman's text. On May 28 he and Wilson began a trip that would cover 20,000 miles through 24 states; he took between 700 and 800 8x10 negatives as well as dozens of Graflex portraits.

paragraph: On December 7, 1941, Pearl Harbor was attacked, and the United States entered World War II. Weston was near the end of the Whitman trip, and he was deeply affected by the outbreak of the war. He wrote: "When the war broke out we scurried home. Charis did not want to scurry. I did."

paragraph: He spent the first few months of 1942 organizing and printing the negatives from the Whitman trip. Of the hundreds of images he took, forty-nine were selected for publication.

paragraph: Due to the war, Point Lobos was closed to the public for several years. Weston continued to work on images centered on Wildcat Hill, including shots of the many cats that lived there. Weston treated them with the same serious intent that he applied to all of his other subjects, and Charis assembled the results into their most unusual publication, "The Cats of Wildcat Hill," which was finally published in 1947.

paragraph: The year 1945 marked the beginning of significant changes for Weston. He began to experience the first symptoms of Parkinson's disease, a debilitating ailment that gradually stole his strength and his ability to photograph. He withdrew from Wilson, who at the same time began to become more involved in local politics and the Carmel cultural scene. A strength that originally brought them together - her lack of interest in becoming a photographer herself - eventually led to their break-up. She wrote, "My flight from Edward was also partly an escape from photography, which had taken up so much room in my life for so many years."

paragraph: While working on a major retrospective exhibition for the Museum of Modern Art, he and Wilson separated. Weston returned to Glendale since the land for their cabin at Wildcat Hill still belonged to Wilson's father. Within a few months she moved out and arranged to sell the property to him.

paragraph: Section::::Life and work.:1946–58: Final years.

paragraph: In February, 1946, Weston's major retrospective opened at the Museum of Modern Art in New York. He and Beaumont Newhall selected 313 prints for the exhibition, and eventually 250 photographs were displayed along with 11 negatives. At that time many of his prints were still for sale, and he sold 97 prints from the exhibit at $25 per print. Later that year, Weston was asked by Dr. George L. Waters of Kodak to produce 8 × 10 Kodachrome transparencies for their advertising campaign. Weston had never worked in color before, primarily because he had no means of developing or printing the more complicated color process. He accepted their offer in no small part because they offered him $250 per image, the highest amount he would be paid for any single work in his lifetime. He eventually sold seven color works to Kodak of landscapes and scenery at Point Lobos and nearby Monterey harbor.

paragraph: In 1947 as his Parkinson's disease progressed, Weston began looking for an assistant. Serendipitously, an eager young photographic enthusiast, Dody Weston Thompson, contacted him in search of employment.

paragraph: Weston mentioned he had just that morning written a letter to Ansel Adams, looking for someone seeking to learn photography in exchange for carrying his bulky large-format camera and to provide a much needed automobile. There was a swift meeting of creative minds. For the remainder of 1947 through the beginning of 1948, Dody commuted from San Francisco on weekends to learn from Weston the basics of photography. In early 1948, Dody moved into "Bodie House," the guest cottage at Edward's Wildcat Hill compound, as his full-time assistant.

paragraph: By late 1948 he was no longer physically able to use his large view camera. That year he took his last photographs, at Point Lobos. His final negative was an image he called, "Rocks and Pebbles, 1948". Although diminished in his capacity, Weston never stopped being a photographer. He worked with his sons and Dody to catalog his images and especially to oversee the publication and printing of his work. In 1950 there was a major retrospective of his work at the Musee National d'Art Moderne in Paris, and in 1952 he published a Fiftieth Anniversary portfolio, with images printed by Brett.

paragraph: During this time he worked with Cole, Brett, and Dody Thompson (Brett's wife by 1952), to select and have them print a master set of what he considered his best work. They spent many long hours together in the darkroom, and by 1956 they had produced what Weston called "The Project Prints", eight sets of 8" × 10" prints from 830 of his negatives. The only complete set today is housed at the University of California, Santa Cruz. Later that same year the Smithsonian Institution displayed nearly 100 of these prints at a major exhibit, "The World of Edward Weston", paying tribute to his accomplishments in American photography.

paragraph: Weston died at his home on Wildcat Hill on New Year's Day, 1958. His sons scattered his ashes into the Pacific Ocean at an area then known as Pebbly Beach on Point Lobos. Due to Weston's significant influence in the area, the beach was later renamed Weston Beach. He had $300 in his bank account at the time of his death.

paragraph: Section::::Equipment and techniques.

paragraph: Section::::Equipment and techniques.:Cameras and lenses.

paragraph: During his lifetime Weston worked with several cameras. He began as a more serious photographer in 1902 when he purchased a 5 x 7 camera. When he moved to Tropico, now part of Glendale, and opened his studio in 1911, he acquired an enormous 11 x 14 Graf Variable studio portrait camera. Roi Partridge, Imogen Cunningham's husband, later made an etching of Weston in his studio, dwarfed by the giant camera in front of him. After he began taking more portraits of children, he bought a 3 ¼ x 4 ¼ Graflex in 1912 in order to better capture their quickly changing expressions.

paragraph: When he went to Mexico in 1924 he took an 8 × 10 Seneca folding-bed view camera with several lenses, including a Graf Variable and a Wollensak Verito. While in Mexico he purchased a used Rapid Rectilinear lens which was his primary lens for many years. The lens, now in the George Eastman House, did not have a manufacturer's name. He also took to Mexico a 3¼ × 4¼ Graflex with a ƒ/4.5 Tessar lens, which he used for portraits.

paragraph: In 1933 he purchased a 4 x 5 R. B. Auto-Graflex and used it thereafter for all portraits. He continued to use the Seneca view camera for all other work.

paragraph: In 1939 he listed the following items as his standard equipment:

paragraph: BULLET::::- 8 x 10 Century Universal

paragraph: BULLET::::- Triple convertible Turner Reich, 12", 21", 28"

paragraph: BULLET::::- K2, G, A filters

paragraph: BULLET::::- 12 film holders

paragraph: BULLET::::- Paul Ries Tripod

paragraph: He continued to use this equipment throughout his life.

paragraph: Section::::Equipment and techniques.:Film.

paragraph: Prior to 1921 Weston used an orthochromatic sheet film, but when panchromatic film became widely available in 1921 he switched to it for all of his work. According to his son Cole, after Agfa Isopan film came out in the 1930s Weston used it for his black-and-white images for the rest of his life. This film was rated at about ISO 25, but the developing technique Weston used reduced the effective rating to about ISO 12.

paragraph: The 8 × 10 cameras he preferred were large and heavy, and due to the weight and the cost of the film he never carried more than twelve sheet film holders with him. At the end of each day, he had to go into a darkroom, unload the film holders and load them with new film. This was especially challenging when he was traveling since he had to find a darkened room somewhere or else set up a makeshift darkroom made from heavy canvas.

paragraph: In spite of the bulky size of the view camera, Weston boasted he could "set up the tripod, fasten the camera securely to it, attach the lens to the camera, open the shutter, study the image on the ground glass, focus it, close the shutter, insert the plate holder, cock the shutter, set it to the appropriate aperture and speed, remove the slide from the plate holder, make the exposure, replace the slide, and remove the plate holder in two minutes and twenty seconds."

paragraph: The smaller Graflex cameras he used had the advantage of using film magazines that held either 12 or 18 sheets of film. Weston preferred these cameras when taking portraits since he could respond more quickly to the sitter. He reported that with his Graflex he once made three dozen negatives of Tina Modotti within 20 minutes.In 1946 a representative from Kodak asked Weston to try out their new Kodachrome film, and over the next two years he made at least 60 8 x 10 color images using this film." They were some of the last photographs he took, since by late 1948 he was no longer able to operate a camera due to the effects of his Parkinson's disease.

paragraph: Section::::Equipment and techniques.:Exposures.

paragraph: During the first 20 years of his photography Weston determined all of his exposure settings by estimation based on his previous experiences and the relatively narrow tolerances of the film at that time. He said, "I dislike to figure out time, and find my exposures more accurate when only "felt"." In the late 1930s he acquired a Weston exposure meter and continued to use it as an aid to determine exposures throughout his career. Photo historian Nancy Newhall wrote that "Young photographers are confused and amazed when they behold him measuring with his meter every value in the sphere where he intends to work, from the sky to the ground under his feet. He is "feeling the light" and checking his own observations. After which he puts the meter away and does what "he" thinks. Often he adds up everything ‒ filters, extension, film, speed, and so on ‒ and doubles the computation." Weston, Newhall noted, believed in "massive exposure", which he then compensated for by hand-processing the film in a weak developer solution and individually inspecting each negative as it continued to develop to get the right balance of highlights and shadows.

paragraph: The low ISO rating of the sheet film Weston used necessitated very long exposures when using his view camera, ranging from 1 to 3 seconds for outdoor landscape exposures to as long as 4½ hours for still lifes such as peppers or shells. When he used one of the Graflex cameras the exposure times were much shorter (usually less than ¼ second), and he was sometimes able to work without a tripod.

paragraph: Section::::Equipment and techniques.:Darkroom.

paragraph: Weston always made contact prints, meaning that the print was exactly the same size as the negative. This was essential for the platinum printing that he preferred early in his career, since at that time the platinum papers required ultra-violet light to activate. Weston did not have an artificial ultra-violet light source, so he had to place the contact print directly in sunlight in order to expose it. This limited him to printing only on sunny days.

paragraph: When he wanted a print that was larger than the original negative size, he used an enlarger to create a larger inter-positive, then contact printed it to a new negative. The new larger negative was then used to make a print of that size. This process was very labor-intensive; he once wrote in his "Daybooks" "I am utterly exhausted tonight after a whole day in the darkroom, making eight contact negatives from the enlarged positives."

paragraph: In 1924 Weston wrote this about his darkroom process, "I have returned, after several years use of Metol-Hydroquinine open-tank" developer to a three-solution Pyro developer, and I develop one at a time in a tray instead of a dozen in a tank." Each sheet of film was viewed under either a green or an orange safelight in his darkroom, allowing him to control the individual development of a negative. He continued to use this technique for the rest of his life.

paragraph: Weston was known to extensively use dodging and burning to achieve the look he wanted in his prints.

paragraph: Section::::Equipment and techniques.:Paper.

paragraph: Early in his career Weston printed on several kinds of paper, including Velox, Apex, Convira, Defender Velour Black and Haloid. When he went to Mexico he learned how to use platinum and palladium paper, made by Willis & Clement and imported from England. After his return to California, he abandoned platinum and palladium printing due to the scarcity and increasing price of the paper. Eventually he was able to get most of the same qualities he preferred with Kodak's Azo glossy silver gelatin paper developed in Amidol. He continued to use this paper almost exclusively until he stopped printing.

paragraph: Section::::Writings.

paragraph: Weston was a prolific writer. His "Daybooks" were published in two volumes totaling more than 500 pages in the first edition. This does not include the years of the journal he kept between 1915 and 1923; for reasons he never made clear he destroyed those before leaving for Mexico. He also wrote dozens of articles and commentaries, beginning in 1906 and ending in 1957, and he hand-wrote or typed at least 5,000 letters to colleagues, friends, lovers, his wives and his children.

paragraph: In addition, Weston kept very thorough notes on the technical and business aspects of his work. The Center for Creative Photography at the University of Arizona, which now houses most of Weston's archives, reports that it houses 75 linear feet of pages from his Daybooks, correspondence, financial records, memorabilia, and other personal documents in his possession when he died.

paragraph: Among Weston's most important early writings are those that provide insights into his development of the concept of previsualization. He first spoke and wrote about the concept in 1922, at least a decade before Ansel Adams began utilizing the term, and he continued to expand upon this idea both in writing and in his teachings. Historian Beaumont Newhall noted the significance of Weston's innovation in his book "The History of Photography", saying "The most important part of Edward Weston's approach was his insistence that the photographer should previsualize the final print before making the exposure."

paragraph: In his "Daybooks" he provided an unusually detailed record of his evolution as an artist. Although he initially denied that his images reflect his own interpretations of the subject matter, by 1932 his writings revealed that he had come to accept the importance of artistic impression in his work. When combined with his photographs, his writings provide an extraordinarily vivid series of insights into his development as an artist and his impact of future generations of photographers.

paragraph: Section::::Quotations.

paragraph: BULLET::::- "Form follows function." Who said this I don't know, but the writer spoke well.

paragraph: BULLET::::- I am not a technician and have no interest in technique for its own sake. If my technique is adequate to present my seeing then I need nothing more.

paragraph: BULLET::::- I see no reason for recording the obvious.

paragraph: BULLET::::- If there is symbolism in my work, it can only be the seeing of parts ‒ fragments ‒ as universal symbols. All basic forms are so closely related as to be visually equivalent.

paragraph: BULLET::::- My own eyes are no more than scouts on a preliminary search, for the camera's eye may entirely change my idea.

paragraph: BULLET::::- My work-purpose, my theme, can most nearly be stated as the recognition, recording and presentation of the interdependence, the relativity, of all things ‒ the universality of basic form.

paragraph: BULLET::::- The camera sees more than the eye, so why not make use of it?

paragraph: BULLET::::- This then: to photograph a rock, have it look like a rock, but be more than a rock.

paragraph: BULLET::::- What then is the end toward which I work? To present the significance of facts, so that they are transformed from things "seen" to things "known".

paragraph: BULLET::::- When money enters in ‒ then, for a price, I become a liar ‒ and a good one I can be whether with pencil or subtle lighting or viewpoint. I hate it all, but so do I support not only my family, but my own work.

paragraph: Section::::Legacy.

paragraph: As of 2013, two of Weston's photographs feature among the most expensive photographs ever sold. A nude taken in 1925 was bought by the gallerist Peter MacGill for $1.6 million in 2008. "Nautilus" of 1927 was sold for $1.1 million in 2010, also to MacGill.

paragraph: Section::::Major exhibitions.

paragraph: BULLET::::- 1970, the Rencontres d'Arles festival (France) presented an exhibition "Hommage à Edward Weston" and an evening screening of the film "The Photographer" (1948) by Willard Van Dyke.

paragraph: BULLET::::- Nov. 25, 1986-March 29, 1987 "Edward Weston in Los Angeles" at Huntington Library

paragraph: BULLET::::- 1986 "Edward Weston: Color Photography" at Center for Creative Photography, University of Arizona

paragraph: BULLET::::- May 13 - August 27, 1989 "Edward Weston in New Mexico" at Museum of Fine Arts in Santa Fe

paragraph: BULLET::::- "Edward Weston : the Last Years in Carmel" at The Art Institute of Chicago, June 2-Sep. 16, 2001, and at the San Francisco Museum of Modern Art, Mar. 1-July 9, 2002.

paragraph: Section::::Sources.

paragraph: BULLET::::- Abbott, Brett. "Edward Weston: Photographs from the J. Paul Getty Museum." Los Angeles: J. Paul Getty Museum, 2005.

paragraph: BULLET::::- Alinder, Mary Street. "Group f.64: Edward Weston, Ansel Adams, Imogen Cunningham, and the Community of Artists Who Revolutionized American Photography." New York: Bloomsbury USA, 2014.

paragraph: BULLET::::- Bunnell, Peter C. "Edward Weston on Photography." Salt Lake City: P. Smith Books, 1983.

paragraph: BULLET::::- Bunnell, Peter C., David Featherston et al. "EW 100: Centennial Essays in Honor of Edward Weston." Carmel, Calif. : Friends of Photography, 1986.

paragraph: BULLET::::- Conger, Amy. "Edward Weston in Mexico, 1923–1926." Albuquerque: University of New Mexico Press, 1983.

paragraph: BULLET::::- Conger, Amy (1992). "Edward Weston - Photographs From the Collection of the Center for Creative Photography." Tucson: Center for Creative Photography, University of Arizona, 1992.

paragraph: BULLET::::- Conger, Amy. "Edward Weston: The Form of The Nude." NY: Phaidon, 2006.

paragraph: BULLET::::- "Edward Weston : Color Photography." Tucson: Center for Creative Photography, University of Arizona, 1986.

paragraph: BULLET::::- Enyeart, James. "Edward Weston's California landscapes." Boston : Little, Brown, 1984.

paragraph: BULLET::::- Foley, Kathy Kelsey. "Edward Weston's Gifts to His Sister." Dayton: Dayton Art Institute, 1978.

paragraph: BULLET::::- Heyman, There Thau. "Seeing Straight: The f.64 Revolution in Photography." Oakland: Oakland Art Museum, 1992.

paragraph: BULLET::::- Higgins, Gary. "Truth, Myth and Erasure: Tina Modotti and Edward Weston." Tempe, Ariz. : School of Art, Arizona State University, 1991.

paragraph: BULLET::::- Hochberg, Judith and Michael P. Mattis. "Edward Weston: Life Work. Photographs from the Collection of Judith G. Hochberg and Michael P. Mattis." Revere, Pa.: Lodima Press, c2003.

paragraph: BULLET::::- Hooks, Margaret. "Tina Modotti: Photographer and Revolutionary." London: Pandora, 1993.

paragraph: BULLET::::- Lowe, Sarah M. "Tina Modotti and Edward Weston the Mexico Years." London: Merrell, 2004.

paragraph: BULLET::::- Maddow, Ben. "Edward Weston: Fifty Years; The Definitive Volume of His Photographic Work". Millerton, N.Y., Aperture, 1973. ,

paragraph: BULLET::::- Maggia, Filippo. "Edward Weston." New York: Skira, 2013.

paragraph: BULLET::::- Mora, Gilles (ed.). "Edward Weston: Forms of Passion." NY: Abrams, 1995.

paragraph: BULLET::::- Morgan, Susan. "Portraits / Edward Weston." NY: Aperture, 1995.

paragraph: BULLET::::- Newhall, Beaumont (1984). "Edward Weston Omnibus: A Critical Anthology." Salt Lake City : Peregrine Smith Books, 1984.

paragraph: BULLET::::- Newhall, Beaumont . "Supreme Instants: The Photography of Edward Weston." Boston : Little, Brown, 1986.

paragraph: BULLET::::- Newhall, Nancy (ed.). "Edward Weston; The Flame of Recognition: His Photographs Accompanied by Excerpts from the Daybooks & Letters." NY: Aperture, 1971.

paragraph: BULLET::::- Pitts, Terence. "Edward Weston 1866–1958." Köln: Taschen, 1999.

paragraph: BULLET::::- Stebins, Theodore E., Karen Quinn and Leslie Furth. "Edward Weston : Photography and Modernism." Boston: Museum of Fine Arts, 1999.

paragraph: BULLET::::- Stebins, Theodore E. "Weston's Westons : Portraits and Nudes." Boston: Museum of Fine Arts, 1989.

paragraph: BULLET::::- Travis, David. "Edward Weston, The Last Years in Carmel." Chicago: Art Institute, 2001.

paragraph: BULLET::::- Warren, Beth Gates. "Artful Lives: Edward Weston, Margrethe Mather, and the Bohemians of Los Angeles." Los Angeles: J. Paul Getty Museum, 2011.

paragraph: BULLET::::- Warren, Beth Gates. "Edward Weston's Gifts to His Sister and Other Photographs." NY: Sotheby's, 2008.

paragraph: BULLET::::- Warren, Beth Gates (2001). "Margrethe Mather & Edward Weston: A Passionate Collaboration." NY: Norton, 2001.

paragraph: BULLET::::- Watts, Jennifer A. (ed.). "Edward Weston : A Legacy." London: Merrell, 2003.

paragraph: BULLET::::- Weston, Edward (1964). "The Daybooks of Edward Weston." Edited by Nancy Nehall. NY: Horizon Press, 1961–1964. 2 vols.

paragraph: BULLET::::- Weston, Edward. "My Camera on Point Lobos; 30 Photographs and Excerpts from E. W.’s Daybook." Boston: Houghton Mifflin, 1950.

paragraph: BULLET::::- Weston, Paulette. "Laughing Eyes: a Book of Letters Between Edward and Cole Weston 1923–1946." Carmel: Carmel Publishing Co., 1999.

paragraph: BULLET::::- Wilson, Charis. "Edward Weston Nudes: His Photographs Accompanied by Excerpts from the Daybooks & Letters." NY : Aperture, 1977.

paragraph: BULLET::::- Wilson, Charis. "Through Another Lens: My Years with Edward Weston." NY: Farrar, Straus and Giroux, 1998.

paragraph: BULLET::::- Woods, John. "Dune: Edward & Brett Weston." Kalispell, MT: Wild Horse Island Press, 2003.

paragraph: Section::::External links.

paragraph: BULLET::::- edward-weston.com

paragraph: BULLET::::- Edward Weston Collection at the Center for Creative Photography

paragraph: BULLET::::- Ben Maddow "Edward Weston Lecture" The Baltimore Museum of Art: Baltimore, Maryland, 1976 Accessed June 26, 2012

alias:
Edward Henry Weston
Edward H. Weston

description: American photographer

wikidata_label: Edward Weston

wikipedia_title: Edward Weston


text:
Romanian Greek-Catholic
Transylvanian School
Transylvania
Sadu
Austrian Empire
Sibiu County
Romania
Greek-Catholic
protopope
Inocenţiu Micu-Klein
Blaj
Order of Saint Basil
Pázmáneum
Vienna
Grigorie Maior
Romanian language
Dacia
Archdiocese of Esztergom
prefect of studies
Saint Barbara College
Gheorghe Sincai
Church Fathers
Biblia de la Blaj
Buda

categories: Age of Enlightenment,Translators of the Bible into Romanian,Romanian folklorists,Romanian translators,1806 deaths,18th-century Romanian people,Romanian theologians,People from Sibiu County,Transylvanian School,1745 births,Romanian schoolteachers,Romanian philologists,Romanian Greek-Catholic clergy,Romanians in Hungary,Romanian historians

paragraph: Samuil Micu-Klein

paragraph: Samuil Micu Klein (September 1745 – 13 May 1806) was a Romanian Greek-Catholic theologian, historian, philologist and philosopher, a member of the Enlightenment-era movement of Transylvanian School (Şcoala Ardeleană).

paragraph: Section::::Biography.

paragraph: Born as "Maniu Micu" in the Transylvanian village of Sadu, in the Austrian Empire (now in Sibiu County, Romania), he was the son of a Greek-Catholic protopope and the nephew of bishop Inocenţiu Micu-Klein.

paragraph: He began to study at the Seminary of Blaj and he joined the Order of Saint Basil in 1762. Micu received a scholarship in 1762 and began studying at the Catholic Pázmáneum University of Vienna. There is little known about his life in Vienna, but it is known he was attracted to science, studying experimental physics, mechanics and mathematics, in addition to theology and philosophy.

paragraph: In 1772, returning to Blaj to teach ethics and mathematics at the Seminary, Klein met and befriended bishop Grigorie Maior, whom he accompanied in visits throughout his diocese, trying to win converts to Greek-Catholicism. These trips proved to be useful in his study of the Romanian language, especially of the language spoken by the peasants, gathering materials for a future grammar. Klein was also interested in Romanian folklore, his writings being one of the earliest works on it.

paragraph: In 1774, he finished writing a work of history named "De ortu progressu conversione valachorum episcopis item archiepiscopis et metropolitis eorum", which talked about the Roman origins of the Romanians and the origins of their faith in the Roman Christian Church in ancient Dacia. Apparently, his goal was to make the bishopric become a metropolis, so it would no longer belong to the Archdiocese of Esztergom.

paragraph: He went to Vienna in 1779 to become a prefect of studies at the Saint Barbara College, he published in 1780, together with Gheorghe Sincai the first Romanian grammar, "Elementa linguae daco-romanae sive valachicae".

paragraph: Klein returned to Blaj, and between 1782 and 1804, he was very productive both in his translations and in writing original works:

paragraph: BULLET::::- translation of textbooks for Blaj schools

paragraph: BULLET::::- translation of over seventy-seven titles and 7,500 pages from the Church Fathers

paragraph: BULLET::::- a history of Romania entitled "Scurtă cunoştinţă a istoriei Românilor" (1792)

paragraph: BULLET::::- a translation of "The Granite Matrix" (1794)

paragraph: BULLET::::- a translation of the bible ("Biblia de la Blaj", 1795)

paragraph: BULLET::::- a four-volume Latin draft of "Istoria, lucrurile şi întâmplările Românilor" (1800, though only an 1805 translation to Romanian survived)

paragraph: Klein moved to Buda in 1804 to become the editor at the University of Buda press for the Romanian-language books, hoping that this would allow him to publish his historical works, a project which did not materialise because of his death just two years later.

paragraph: Section::::References.

paragraph: BULLET::::- Keith Hitchins, "Samuel Clain and the Rumanian Enlightenment in Transylvania", "Slavic Review", Vol. 23, No. 4. (Dec., 1964), pp. 660–675.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Pompiliu Teodor, "Sub semnul luminilor. Samuil Micu" Editura Presa Universitară Clujeană, Cluj, 2000, 507 p.

description: Romanian academic

wikidata_label: Samuil Micu-Klein

wikipedia_title: Samuil Micu-Klein


text:
bronze
founding
Fürstenfeldbruck
Netherlands
Crown Prince Ludwig
Bavaria statue
Herder
double statue of Goethe and Schiller
Weimar
Stuttgart
Berzelius
Stockholm
Boston
Richmond, Virginia
Capitol
Landshut
Ferdinand Freiherr von Miller
Oskar von Miller
Fritz von Miller
Alter Südfriedhof
Ferdinand
Tyler Davidson Fountain
Shakespeare
Columbus
Alexander von Humboldt
Tower Grove Park
J. Marion Sims
Oskar von Miller
Deutsches Museum

categories: Members of the 4th Reichstag of the German Empire,Members of the 3rd Reichstag of the German Empire,Members of the Bavarian Chamber of Deputies,Bronzeware,People from Fürstenfeldbruck (district),Metallurgists,1813 births,German Roman Catholics,Members of the 2nd Reichstag of the German Empire,People from the Kingdom of Bavaria,Foundries in Germany,1887 deaths

paragraph: Ferdinand von Miller

paragraph: Ferdinand von Miller (18 October 1813 – 11 February 1887) was a German artisan who is noted for his furtherance of bronze founding.

paragraph: Section::::Biography.

paragraph: Von Miller was born in Fürstenfeldbruck.

paragraph: After a sojourn at the academy in Munich and a preliminary engagement at the royal brass foundry, Miller traveled to Paris in 1833, where he learnt from Soyer and Blus the varied technique necessary for bronze working. He also visited England and the Netherlands, and after his return to Munich worked under his teacher and uncle Stiglmayr, whom the Crown Prince Ludwig had induced to devote himself to bronze foundry work and to the establishment of the Munich foundry as a state institution. Miller soon took his uncle's place, and upon the death of the latter was appointed inspector of the workshop. He soon won for it a worldwide reputation, and for himself a fortune and position of influence.

paragraph: The casting of the Bavaria statue (1844–55) especially brought him fame. Commissions came to him from far and near. He cast the statue of Herder, and the double statue of Goethe and Schiller, for Weimar, and also the figures of Duke Eberhard in Stuttgart, of Berzelius in Stockholm and two Washington monuments, by Mills in Boston and Crawford in Richmond, Virginia. He also cast the gate of the Capitol in Washington. In 1874 Miller was elected to the directorate of the society of art industries. The Munich exhibition of art and crafts in 1876 was reportedly largely Miller's work. He sought to win over artists to a general exhibition of German art in alliance with handicrafts. Drawing rooms, cabinets, boudoirs, sitting rooms and chapels were arranged so as to form in their grouping a whole by having art and trade appliances put into the place for which they were intended. Where this was not possible, a partition or a wall would be placed with picturesque effect in some adjoining room. Miller established a center of exhibition and sale for the society, and procured himself a home especially for the social intercourse of artists and art craftsmen.

paragraph: In 1840 he married Anna Pösl (1815–1890), daughter of the Chancellor of the regional government of Landshut, who bore him 14 children, including Ferdinand Freiherr von Miller, Oskar von Miller and Fritz von Miller. He died in Munich, and was buried in the Alter Südfriedhof in the same city.

paragraph: Section::::Ferdinand von Miller (the younger) and Oskar von Miller.

paragraph: Ferdinand von Miller's son Ferdinand (1842–1929) followed in his father's footsteps and is known in the United States for some of the figures on the Tyler Davidson Fountain in Cincinnati (at the unveiling on October 6, 1871, at which he was honored). He also created the statues of Shakespeare, Columbus and Alexander von Humboldt in Tower Grove Park of St. Louis and of J. Marion Sims in New York. Another son of Ferdinand von Miller was Oskar von Miller, who became an engineer and founder of the Deutsches Museum, Munich.

paragraph: Section::::Sources.

paragraph: BULLET::::- cites:

paragraph: BULLET::::- Pecht, "Geschichte der Münchener Kunst" (Munich, 1888);

paragraph: BULLET::::- Müller, "Universal-Handbuch von München";

description: German politician

wikidata_label: Ferdinand von Miller

wikipedia_title: Ferdinand von Miller


text:
von Blumenthal
Heiligengrabe
Lebus
German
Prince-Bishop of Ratzeburg
Bishop of Lebus
Margraviate of Brandenburg
Frankfurt (Oder)
Viadrina
Joachim II
Elector of Brandenburg
Hedwig
Protestant
Fürstenwalde
von Minkwitz
Martin Luther
Ratzeburg
Catholic
northern Germany
Protestant Reformation
St Mary's Cathedral
Fürstenwalde

categories: German untitled nobility,Viadrina European University faculty,Blumenthal family,German politicians,People from the Margraviate of Brandenburg,People from Ostprignitz-Ruppin,1550 deaths,Roman Catholic Prince-Bishops of Ratzeburg,1490 births

paragraph: Georg von Blumenthal

paragraph: Georg von Blumenthal (1490, Horst, administratively now part of Heiligengrabe – 25 September 1550, Lebus) was a German Prince-Bishop of Ratzeburg and Bishop of Lebus. He also served as a Privy Councillor of the Margraviate of Brandenburg and Chancellor of the University of Frankfurt (Oder), commonly called the Viadrina.

paragraph: Section::::Biography.

paragraph: Bishop von Blumenthal negotiated the second marriage of Joachim II, Elector of Brandenburg, to the Catholic Hedwig of Poland. Known in his lifetime as the "Pillar of Catholicism", he used his position as Chancellor of the Viadrina to combat the Reformation. He acquired the respect of his opponents, including the Margrave Joachim II himself, for his principled stand against reforms which he believed to be wrong and opposed by every legal means possible. For this, Luther said he should be "generally hated".

paragraph: However, some of his opponents were not so respectful. He was twice besieged in his palaces by Protestant brigands; once at Fürstenwalde by the robber-baron Nickel von Minkwitz, an event which drew Martin Luther into the controversy, and once at Ratzeburg. At Fürstenwalde the Bishop escaped through a window in disguise, while his brother Matthias held the place. As Prince-Bishop of Ratzeburg he was the last Catholic sovereign ruler in northern Germany, and as Bishop of Lebus the only Bishop in Brandenburg during the Protestant Reformation to die a Catholic. He was buried in St Mary's Cathedral in Fürstenwalde upon Spree.

description: Prince-bishop

wikidata_label: Georg von Blumenthal

wikipedia_title: Georg von Blumenthal


text:
Millau
Count of Rodez
Viscount
Carlat
Creyssel
Henry I of Rodez
King of France
Louis IX
Crusade
Louis IX's Crusade
troubadour
Guiraut Riquier
Folquet de Lunel
Cerverí de Girona
Bertran Carbonel
Henry
Roquefeuil
Châteauneuf-Randon
Randonnat
Alais
Riquer, Martín de

paragraph: Hugh IV of Rodez

paragraph: Hugh IV () (c. 1212–1274), of the House of Millau, was the Count of Rodez and Viscount of Carlat and Creyssel from 1221 until his death. He was the son of Henry I of Rodez and Algayette of Scorailles.

paragraph: In 1242 Hugh was in revolt against the King of France, Louis IX. Upon making peace he made a vow to go on Crusade. He redeemed his vow with the payment of a rather small sum of money towards Louis IX's Crusade in 1248.

paragraph: Hugh IV was a patron of troubadours. Among the troubadours supported at his court were Guiraut Riquier, Folquet de Lunel, Cerverí de Girona, and Bertran Carbonel. It is possible that he is the "coms de Rodes" who is the dedicatee of three religious cansos by Folquet de Lunel: , , and . Scholarship, however, is divided over whether the intended count was Hugh, indicating that the songs are a product of Folquet's youth, or his son Henry, making them a product of his maturity.

paragraph: Section::::Marriages and children.

paragraph: He married Isabeau (died 1271), daughter of Raymond I of Roquefeuil, and had five children:

paragraph: BULLET::::- Henry II (1236–1304), successor

paragraph: BULLET::::- Peter

paragraph: BULLET::::- Valpurge (Walperga), married William IV, lord of Châteauneuf-Randon and Randonnat (died 1305)

paragraph: BULLET::::- Dauphine (Dalfina), married Peter I of Alais

paragraph: BULLET::::- Alix (Alice), nun

paragraph: Section::::Sources.

paragraph: BULLET::::- Maier, Christopher T. (1994). "Preaching the Crusades: Mendicant Friars and the Cross in the Thirteenth Century". Cambridge: Cambridge University Press.

paragraph: BULLET::::- Riquer, Martín de (1975) "Los trovadores: historia literaria y textos". 3 vol. Barcelona: Planeta.

paragraph: BR

description: French noble

wikidata_label: Hugh IV of Rodez

wikipedia_title: Hugh IV of Rodez