text:
Arnold Blanch
Tetsuya Noda
Whittaker Chambers
Agnew's Village
Santa Clara, California
Kumamoto Prefecture
Piedmont High School
San Francisco Art Institute
Arnold Blanch
Diego Rivera
Yasuo Kuniyoshi
George Grosz
Sakari Suzuki
Corcoran Gallery
Man at the Crossroads
Rockefeller Center
Lucienne Bloch
Seymour Fogel
Walker Evans
Whitney Museum
Edward Laning
Ellis Island
Harvey Wiley Corbett
Chester Holmes Aldrich
James Rutledge
John Reed Club
Eitaro Ishigaki
Esther Shemitz
Meyer Schapiro
Whittaker Chambers
J. Peters
Meyer Schapiro
Maxim Lieber
Fumimaro Konoe
Trotskyist
Imperial University Hospital
Ulrich
Paul Klee
Ishigaki
John Reed Club
Man at the Crossroads
Diego Rivera
Rockefeller Center
San Francisco Art Institute
Bertram Wolfe
Walker Evans
Tetsuya Noda
Diego Rivera
Arnold Blanch
Yasuo Kuniyoshi
George Grosz
Yasuo Kuniyoshi
Eitaro Ishigaki
Whittaker Chambers
Meyer Schapiro
Maxim Lieber
J. Peters
Sanzō Nosaka
Hotsumi Ozaki

wikipedia_title:
Arnold Blanch
Tetsuya Noda
Whittaker Chambers
Agnew's Village, California
Santa Clara, California
Kumamoto Prefecture
Piedmont High School (California)
San Francisco Art Institute
Arnold Blanch
Diego Rivera
Yasuo Kuniyoshi
George Grosz
Sakari Suzuki
Corcoran Gallery of Art
Man at the Crossroads
Rockefeller Center
Lucienne Bloch
Seymour Fogel
Walker Evans
Whitney Museum of American Art
Edward Laning
Ellis Island
Harvey Wiley Corbett
Chester Holmes Aldrich
James Rutledge
John Reed Clubs
Eitaro Ishigaki
Esther Shemitz
Meyer Schapiro
Whittaker Chambers
J. Peters
Meyer Schapiro
Maxim Lieber
Fumimaro Konoe
Trotskyism
University of Tokyo
Alexander Ulanovsky
Paul Klee
Eitaro Ishigaki
John Reed Clubs
Man at the Crossroads
Diego Rivera
Rockefeller Center
San Francisco Art Institute
Bertram Wolfe
Walker Evans
Tetsuya Noda
Diego Rivera
Arnold Blanch
Yasuo Kuniyoshi
George Grosz
Yasuo Kuniyoshi
Eitaro Ishigaki
Whittaker Chambers
Meyer Schapiro
Maxim Lieber
J. Peters
Sanzō Nosaka
Hotsumi Ozaki

categories: 1908 births,American muralists,American artists of Japanese descent,1939 deaths

paragraph: Hideo Noda

paragraph: Hideo Noda (July 15, 1908 - January 12, 1939), also known as Hideo Benjamin Noda and Benjamin Hideo Noda, was a Japanese-American modernist painter and muralist, member of the "Shinseisakka" () movement in Japan, student of Arnold Blanch, and uncle of Japanese printmaker Tetsuya Noda, as well as alleged communist spy recruited by Whittaker Chambers.

paragraph: Section::::Biography.

paragraph: Section::::Biography.:Background.

paragraph: Noda was born on July 15, 1908, in Agnew's Village, Santa Clara, California, as the second son of Eitaro Noda, who had emigrated from a small village in the Kumamoto Prefecture of Japan. He returned for some years to his home prefecture in Kumamoto, where he attended junior high school. Returning to California, he graduated from Piedmont High School in Oakland in 1929.

paragraph: Section::::Biography.:Art.

paragraph: Noda soon attended the California School of Fine Arts (CSFA—now San Francisco Art Institute. There he met Arnold Blanch, who taught at the Art Students League in New York. Noda saw Diego Rivera paint "The Making of a Fresco Showing the Building of a City," April–June 1931, at the school.

paragraph: Later in 1931, he was studying mural-tempera painting there under Blanch, Yasuo Kuniyoshi, and George Grosz. He lived for a time at the Woodstock Art Village with fellow students Sakari Suzuki and Jack Chikamichi Yamasaki.

paragraph: In 1932, he won a prize from the Chicago Art Institute and exhibited at the Corcoran Gallery of Washington, DC. He was a member of the Mural Painters Guild and the Woodstock Artists Association

paragraph: In 1933, Noda became one of several assistants to Rivera on the artist’s work for "Man at the Crossroads" in Rockefeller Center Plaza in New York City. (Other assistants included: Lucienne Bloch, Stephen Pope Dimitroff, Lou Block, Arthur Niendorf, Seymour Fogel, and Antonio Sanchez Flores.)

paragraph: Photographer Walker Evans knew Noda in New York in 1933. Estelle Hama, wife of painter Art Hama, recalled of 1933-1934 "I met Art in New York at the John Reed Club. They had just formed. He was a protege of the artist Kuniyoshi. I knew Kuniyoshi. Well, everyone knew Yasuo in those days. They were friends Isamum Noguchi, Hideo Noda, and Eitaro Ishigaki."

paragraph: In 1934-1935, Noda's work appeared in the Whitney Museum's "Second Biennial Exhibition of Contemporary American Painting" along with Kuniyoshi's. According to an entry, "Hideo Noda participates in Whitney Second

paragraph: Biennial; his painting 'Street Scene' is purchased by the museum." The Brooklyn Daily Eagle noted, "Look for Hideo Noda's 'Street Scene.' Noda is a mural painter and a real modern, immensely responsive to the daily sorrows and beauties of people in 1935."

paragraph: Noda was "involved in a conflict over a mural he designed for Ellis Island in 1934-1935. In 1935, Noda's murals lost out to those of Edward Laning for Ellis Island: It was a great relief to PWA, to the College Art Association, to Architects Harvey Wiley Corbett and Chester Holmes Aldrich and to Edward Laning last week to learn that Commissioner of Immigration & Naturalization Rudolph Reimer at Ellis Island had finally approved Artist Laning's designs for murals for the dining hall at New York's immigrant station. Cheered, Muralist Laning and his two assistants, James Rutledge and Albert Soroka, hustled to get his cartoons on tempera and gesso panels as soon as possible...brNo sooner was Muralist Hideo Noda's cartoon submitted to him than Commissioner Reimer blossomed out as a stickler for artistic detail. The Noda mural was promptly rejected because Negro cotton pickers were shown wearing turtlenecked sweaters and creased trousers, because the creature pulling a poor blackamoor's farm cart seemed to be a full-blooded Percheron stallion. Artist Noda threw up his hands and his job, went back to California.

paragraph: Returning to California in 1937, he painted the mural "School Life" in the Piedmont High School.

paragraph: Returning to Japan, he continued his work "in the modern art, art societies, Shinseisakka () and Nikka."

paragraph: Section::::Biography.:Politics and espionage.

paragraph: Noda joined the John Reed Club of New York, where Eitaro Ishigaki and "Chuzo Tomatzu" (Chuzo Tamotsu) were founding members. (A fellow student of the Art Students League, member of the John Reed Club, and artist concerned with African-American rights was Esther Shemitz, by 1931 wife of Whittaker Chambers.) In New York, Noda became acquainted with leftist American art historian Meyer Schapiro, a classmate of Chambers at Columbia, and they corresponded between 1934 and 1936.

paragraph: In his 1952 memoir, Whittaker Chambers claimed to have recruited Noda, who he said was a communist, in late 1934 as translator for the head of a Tokyo spy cell. Helping him were either J. Peters or Meyer Schapiro. Chambers organized the cell from New York City with the help of John Loomis Sherman, who would head the Tokyo cell, and Maxim Lieber, whose literary agency would provide cover for an “American Feature Writers Syndicate.” Sherman and Noda spent an unsuccessful year (1935) in Tokyo, at the end of which the cell closed suddenly and both returned to New York.

paragraph: Chambers provided perhaps the longest description of Noda by a contemporary. He claims he was a member of the American Communist Party. He says he was a relative of one of Japanese premier, Prince Fumimaro Konoe. "He was extremely intelligent, alert, personable and likable." Noda agreed to go to Japan to work for Sherman, who gave him the underground name "Ned." In 1936, upon Noda's return to New York from the failed Tokyo cell, Chambers gave him his next instructions, namely to go to Southern France (Nice or Antibes) and wait until contacted. At that time, Chambers advised him to get out of the underground: Noda reacted by denouncing Chambers as a "Trotskyist wrecker."

paragraph: Chambers records his last sightings: Some time in 1937 or 1938, Hideo Noda... flitted through New York again. br Before Noda had been alert, somewhat as birds are, as if in him mental and physical brightness were one. Now he seemed a little faded and tired. br Our brief meeting was stiff. Perhaps he still considered me a "diversionist mad dog" and was disappointed to find that I had not, after his denunciation of me to the Party, been purged. But I suspect that Noda was so silent because, had he begun to speak, the words that came out would have been: "Oh, horror, horror, horror!" I stood and watched Ned as he walked away, something that I did not often do. I never saw him again.

paragraph: Section::::Biography.:Death.

paragraph: Noda died of a brain tumor on January 12, 1939, in Tokyo. According to the New York Times, he had been "visiting Japan for about a year." According to the Brooklyn Daily News, he died on January 11, 1939, at the Imperial University Hospital, Tokyo. Surviving him were his wife, Ruth Noda in New York, and his parents in Japan. His wife had just returned to New York, and he was to join her shortly. In his 1952 memoir, Chambers "wondered whether, in Ulrich's words, Noda had 'been shot by them or shot by us'."

paragraph: A 1940 issue of the Bulletin of the New York Public Library notes under "Limited or Other Special Editions" the following entry: "Mrs. Ruth Noda Hulley — No. 120 of a limited edition of 500 copies of Album Hideo Noda, by Shinseisaku-Ha."

paragraph: Section::::Style.

paragraph: In his 1939 obituary, the New York Times declared: Mr. Noda's art, which was one of the modern school, achieved wide recognition in Japan, where he was considered an important figure in the modern movement known as Shinseisakka. In this country, his work was gaining increasing appreciation as critice noted in it a distinctive "mode," which in his later works approached the surrealism of Paul Klee and Joan Miro.

paragraph: The Brooklyn Daily Eagle noted, "Noda is a mural painter and a real modern, immensely responsive to the daily sorrows and beauties of people in 1935."

paragraph: Section::::Japanese-American artists.

paragraph: A number of Japanese-American artists involved themselves in Communism during the 1930s: Both Ishigaki and Noda were members of the communist John Reed Club... However, as Japan’s militarism became threatening to the U.S., Noda was actually "censured" because he was a second-generation Japanese American who had been educated in Japan in his youth... (The "censure" above may include reference to Noda's loss of the Ellis Island mural competition.)

paragraph: Attracting these artists were the plight of African-Americans: Liberal American artists responded with protest images, again encouraged by the ACA Galleries. Japanese American artists could easily empathize with their black contemporaries, another minority facing discrimination, and they made work that joined them in protest. Among them were Ishigaki, painter Hideo Noda, the young sculptor Leo Amino... The young Noguchi dramatically suspended a contorted, life-sized figure from a rope in his 'Death (Lynched Figure)' (1934).Outside the West Coast, Japanese expatriate intellectuals formed bonds with African Americans. In New York, Eitaro Ishigaki pained a black history mural for a Harlem courthouse, while he, Isamu Noguchi, and Hideo Noda each produced artworks of lynchings.

paragraph: Section::::Works.

paragraph: Section::::Works.:Paintings.

paragraph: Section::::Works.:Paintings.:Major works.

paragraph: According to the Japanese entry of Wikipedia (as of November 28, 2014), the following represent Noda's major works:

paragraph: BULLET::::- Landscape 1932 (1932) watercolor and paper

paragraph: BULLET::::- Landscape 1936 (1936) oil on board

paragraph: BULLET::::- Person, ink

paragraph: BULLET::::- Person (people of the market), watercolor

paragraph: Section::::Works.:Paintings.:Murals.

paragraph: BULLET::::- Man at the Crossroads (1933), assisted Diego Rivera, Rockefeller Center Plaza

paragraph: BULLET::::- School Life (Piedmont High School) (1937) fresco (Kumamoto Prefectural Museum of Art, Kumamoto, Japan

paragraph: Other major works include his 1933 "Scottsboro Boys" (now in the Shinano Desin Museum) and "Street Scene" (which appeared in the 1934-1935 exhibit at the Whitney).

paragraph: Section::::Works.:Paintings.:Undated.

paragraph: Other works appeared in a 2013 exhibition in Japan, including the 1936 "Tokyo Botanical Garden" sketch.

paragraph: Section::::Works.:Collections.

paragraph: BULLET::::- Kumamoto Prefectural Museum of Art: Hideo Noda (numerous URLS)

paragraph: BULLET::::- Okawa Museum of Art

paragraph: Section::::Works.:Exhibitions.

paragraph: BULLET::::- 1931: California School of Fine Arts (now San Francisco Art Institute)

paragraph: BULLET::::- 1932: Woodstock Art Show: "Danger, Keep to the Right" and "The Agitators"

paragraph: BULLET::::- 1933: Eighth Street Gallery (with Samuel Shane)

paragraph: BULLET::::- 1933: Art Institute of Chicago

paragraph: BULLET::::- 1934: American Contemporary Art Gallery (ACA Gallery)

paragraph: BULLET::::- 1934-1935: Whitney Museum: Second Biennial Exhibition of Contemporary American Painting (November 27, 1934 - January 10, 1935): "Street Scene"

paragraph: BULLET::::- 1935: Nika Art Exhibition (Japan)

paragraph: BULLET::::- 1995: Nerima Kuritsu Bijutsukan: Amerikan shīn no Nihonjin gatatachi ten: Shimizu Toshi, Kuniyoshi Yasuo, Ishigaki Eitarō, Kitagawa Tamiji, Noda Hideo (April 29 - June 4, 1995)

paragraph: BULLET::::- 2013: Gallery Toki No Wasuemono/Watanuki Inc.: Hideo Noda, Tamiji Kitagawa, Yasuo Kuniyoshi (April 19–27, 2013)

paragraph: Section::::Legacy.

paragraph: Noda receives mention in many books about Rivera that detail the New York mural. This includes "The Fabulous Life of Diego Rivera" by Bertram Wolfe and Rivera's own "Portrait of America" with photographs by Walker Evans.

paragraph: Section::::Legacy.:Noda Fund.

paragraph: The Piedmont High School sold its mural to the Kumamoto Prefectural Museum of Art: The Noda Fund was established by the Board of Education to use proceeds from the sale of a mural by artist (and former PHS student) Benjamin Hideo Noda to establish a fund from which the interest earned is used for grants to support visual arts at the secondary level. The Noda account is fully funded, and there are no changes to report at the second interim and there are no significant changes in the multi-year projects.

paragraph: Section::::See also.

paragraph: BULLET::::- Relatives: Tetsuya Noda (nephew)

paragraph: BULLET::::- Mentors: Diego Rivera, Arnold Blanch, Yasuo Kuniyoshi, George Grosz

paragraph: BULLET::::- Japanese-American Artists: Yasuo Kuniyoshi, Eitaro Ishigaki

paragraph: BULLET::::- Communist Network: Whittaker Chambers, Meyer Schapiro, John Loomis Sherman, Maxim Lieber, J. Peters

paragraph: BULLET::::- Sanzō Nosaka

paragraph: BULLET::::- Hotsumi Ozaki

paragraph: Section::::External sources.

paragraph: BULLET::::- KotoBank: Noda Hideo

paragraph: BULLET::::- Uki City : Noda Hideo

paragraph: BULLET::::- ShiPu Wang (2017). "We Are Scottsboro Boys: Hideo Noda’s Visual Rhetoric of Transracial Solidarity." "The Other American Moderns. Matsura, Ishigaki, Noda, Hayakawa". Penn State University Press. .

description: American artist

wikidata_label: Hideo Noda

wikipedia_title: Hideo Noda


text: Eumir Deodato

text: freestyle music

text: dance music

text: New York City

text: The Improv

text: Catch A Rising Star

text: Eumir Deodato

text: Motion

text: S.O.S., Fire In The Sky

text: Are You For Real

text: "Billboard"

text: Hot Dance Chart

text: Garage music

text: Paradise Garage

text: Larry Levan

text: Tony Humphries

text: 4th & B'way Records

text: Freestyle music

text: The Cover Girls

text: TKA

text: Concept of One

text: Tony Moran

text: Latin Rascals

text: Louder Than Love

text: Come Baby Come

text: "Billboard" Hot 100

text: RIAA

text: Jock Jams, Volume 1

text: Tommy Boy Records

text: Touchstone Pictures

text: Stick It

text: Jeff Bridges

text: scat

text: AllMusic

text: PBS

text: Jefferson Airplane

text: White Rabbit

text: Stevie Wonder

text: Will Lee

text: Mitchel Forman

text: Horacio "El Negro" Hernandez

text: Marc Quiñones

text: Bass Musician Magazine

text: Scott Yanow

text: Stevie Wonder

text: Joni Mitchell

text: Carmen McRae

text: Barbra Streisand

text: Oscar Peterson

text: Official Camille Website

text: Camille 2015 IMA interview

categories: American jazz singers,Musicians from New York City,American session musicians,American contemporary R&B singers,American female jazz singers,Living people,Year of birth missing (living people)

paragraph: Camille (American singer)

paragraph: Camille Filfiley, known professionally as Camille, is an American singer best known for her recordings with Eumir Deodato and her prominence in the early 1990s freestyle music and dance music genres.

paragraph: Section::::Biography and music career.

paragraph: Camille began singing at the age of seven, and by age 11 was performing professionally in New York City with appearances at notable Manhattan clubs like The Improv and Catch A Rising Star. She achieved her first radio success in 1985 after getting hired by recording artist and hit producer Eumir Deodato. Camille was the featured vocalist on Deodato's album "Motion", singing on the hits "S.O.S., Fire In The Sky" and "Are You For Real" (each credited on the album as Deodato featuring Camille). The songs reached #6 and #17 respectively on the "Billboard" Hot Dance Chart and stayed on the chart for a combined 26 weeks. "S.O.S., Fire In The Sky" was also an international hit, reaching the top of the charts in the Netherlands and France. Camille performed live dates for the next two years in support of the Deodato album. It was during this time that she became established in New York's "Garage music" scene, which originated in the historic Paradise Garage dance club and was popularized by DJs Larry Levan and Tony Humphries.

paragraph: In the 1990s she followed with several solo releases for the record labels 4th & B'way Records and Martru Records (all credited as Camille), and was the lead singer for Rhythm Method on the label ZYX Music (credited as Rhythm Method featuring Camille). Camille also picked up numerous album credits as background or featured vocalist for many top Freestyle music artists, including The Cover Girls, TKA, Concept of One, Tony Moran, Latin Rascals, Angel Civiles and others. The TKA session was a cover of Deodato's "Are You For Real" for their album "Louder Than Love" (credited on the album as TKA featuring Camille). In the process she met TKA member Louis Sharpe, who used the stage name Kayel with TKA and later K7 as a solo artist. This led to Camille singing on K7's hip-hop hit "Come Baby Come" in 1993 (credited as Camille Shea, her married name). The song reached #18 on the "Billboard" Hot 100 Chart and #3 on the UK Singles Chart, and was RIAA certified gold. It has since been released on more than 40 compilation or soundtrack albums, most notably "Jock Jams, Volume 1" on Tommy Boy Records which was RIAA certified double platinum. The song was also prominently featured in the 2006 Touchstone Pictures movie "Stick It" starring Jeff Bridges. On the recording session for "Come Baby Come", Camille improvised a vocal scat, which was used as a repeating hook throughout the song. Although Camille came up with the line, she did not receive any writing credit for the song.

paragraph: In 1995, "S.O.S., Fire In The Sky" was included on the Rhino Records compilation "The Disco Years, Vol 6: Everybody Dance", which AllMusic considered a "wise choice" for its inclusion. The song was also released on the compilation "Hi-NRG Dance Classics" the same year, with Camille receiving equal billing as co-performer with Deodato. 1997, she released an eponymous album of jazz standards titled "Camille Filfiley", the only time in her career she would use her full birth name. Her promotion for the album included a televised live performance and interview on PBS. In 2003 Camille recorded with the Latin Head Huntrz on their self-titled album for Sound Factory Records, most notably as the featured vocalist on a remake of the Jefferson Airplane classic "White Rabbit" (song title listed as "White Rabbit featuring Camille").

paragraph: She continued a regular schedule of studio work throughout the 2000s, while her earlier hits with Deodato and others were reissued on numerous compilation albums including "Choice: A Collection Of Classics" by Tony Humphries (2003), "Happy Hour / Motion" (2005) and "The Greatest Hits" (2006), both by Deodato, and "Disco Discharge: Gay Disco & Hi-NRG" (2009) which was credited to various artists and received a 4-star rating on AllMusic.

paragraph: In 2014 she formed her own record label Camilleon Records and released a solo album "I Sing Stevie: The Stevie Wonder Songbook". The album featured the songs of Stevie Wonder and included many top session players, including Will Lee, Mitchel Forman, Horacio "El Negro" Hernandez, Marc Quiñones and others. It received positive reviews, with "Bass Musician Magazine" commenting, "Camille has serious vocal skills and a wealth of experience that makes her the perfect performer to attempt this musical Mount Everest". Famed jazz historian Scott Yanow wrote "One of the many joys of "I Sing Stevie" is hearing Camille giving fresh interpretations to a variety of mostly lesser-known Stevie Wonder songs. Her love for the music is obvious, as is her talented singing. One suspects that Stevie Wonder would love this CD." In March 2015, the album was nominated for Best Tribute Album in the 14th Annual Independent Music Awards. In 2017 Camille received nominations for two JPF Music Awards, including Best Tribute Album for "I Sing Stevie: The Stevie Wonder Songbook" and Best Cover Song for "They Won't Go When I Go".

paragraph: Section::::Musical Influences.

paragraph: In a 2014 interview with SmoothJazz.com, Camille said that her biggest vocal influences were Stevie Wonder, Joni Mitchell, Carmen McRae and Barbra Streisand, while crediting the recordings of Oscar Peterson for her early musical development and ear training.

paragraph: Section::::External links.

paragraph: BULLET::::- Official Camille Website

paragraph: BULLET::::- Camille 2014 interview for SmoothJazz.com

paragraph: BULLET::::- 2015 Independent Music Awards nominees for Best Tribute Album

paragraph: BULLET::::- Camille 2015 IMA interview

description: American vocalist

wikidata_label: Camille

wikipedia_title: Camille (American singer)


text:
Pori
Finland
pedal steel guitar
Vanha Isäntä
J. Karjalainen & Mustat Lasit
The Boys
Hoedown
Dallas Wayne & The Dimlights
Jim Pembroke
Mikko Kuustonen
Kari Tapio
Ninni Poijärvi
Jorma Kääriäinen
Topi Sorsakoski
Jukka Haavisto
Janne Haavisto
Susanna Haavisto
Official homepages
Band'o’s official homepages
Olli Haavisto in Elonet

categories: Finnish guitarists,Male guitarists,Finnish session musicians,1954 births,Living people

paragraph: Olli Haavisto

paragraph: Olli Haavisto (born 30 May 1954, Pori, Finland) is a Finnish musician best known for playing the pedal steel guitar and the guitar. He is one of the most respected pedal steel guitarists in Finland, and he has worked as a session musician for numerous Finnish artists.

paragraph: Section::::Bands.

paragraph: Haavisto has played in Vanha Isäntä, J. Karjalainen & Mustat Lasit, The Boys, Hoedown, Dallas Wayne & The Dimlights, Janne Haavisto & The Farangs, and Band'o. He has also played in the backing bands of Jim Pembroke, Mikko Kuustonen, Kari Tapio, Ninni Poijärvi, Jorma Kääriäinen and Topi Sorsakoski.

paragraph: Section::::Family.

paragraph: Olli Haavisto's father Jukka Haavisto is a well-known musician in Finland, and so is his brother, drummer Janne Haavisto, who is 10 years younger than him. Their sister Susanna Haavisto is known both as a singer and an actress.

paragraph: Section::::External links.

paragraph: BULLET::::- Official homepages

paragraph: BULLET::::- Band'o’s official homepages

paragraph: BULLET::::- Olli Haavisto in Elonet

description: Finnish musician

wikidata_label: Olli Haavisto

wikipedia_title: Olli Haavisto


text:
Portuguese
Sephardi Jew
Lisbon
Salonica
expulsion
Salonica
Isaac ben Moses Arama
Hebrew incunabula
Early editions of the Hebrew Bible

categories: Portuguese printers,1526 deaths,Printers of incunabula,Jewish printing and publishing

paragraph: Judah Gedalia

paragraph: Rabbi Judah Gedalia (Hebrew ר' יהודה גדליה) was a Portuguese Sephardi Jew who was a rabbinic scholar and a printer. Born in Lisbon in the 15th century, he moved to Salonica after the expulsion. Gedaliah died about 1526 in Salonica. His printing press was continued by his children and produced some thirty works.

paragraph: Section::::Biography.

paragraph: Rabbi Judah Gedalia was the son of Moshe Gedalia. While in Lisbon, Gedalia was engaged as the foreman in the Eliezer Toledano Hebrew printing-house press, between the years 1489-95 until the expulsion in 1497. Driven out of Portugal, he settled in Salonica, and about 1515 set up the first Hebrew printing press established in that city, using the type which he had taken with him from Lisbon. One of the first works printed was the "En Ya'aḳob" of Jacob ibn Ḥabib, whom Gedaliah held in high esteem.

paragraph: Judah Gedalia brought type fonts with him from Portugal, with which he began to print the Talmud (1519-1523). In this edition Rashi's commentary are included, but not the Tosafot. The Gemara is in square type and the commentary in Portuguese Rashi lettering, apart from the tractate Rosh Hashana of which the Gemara and the commentary are in Rashi type. This tractate was not printed in Salonica but in Fez.

paragraph: Rabbi Yaakov ibn Habib testifies in his introduction to Ein Yaakov. He speaks of the highly important and valuable quality of printing found in the Gedalia printing press:

paragraph: "A worthy and reputable artist, elderly, of a kindly disposition and trustworthy, is this eminent and wise man, the honorable Rabbi Yehuda Guedalia - may the Lord protect him and give him long life. I knew him in his earlier days in Lisbon at the home of the eminent and humble sage - the honorable Rabbi Eliezer Toledano, of blessed memory, who was like a son and brother to him. Gedalia took charge of the holy work which was done at Toledano's house. After reaching this city Gedalia expended much money to accomplish this work to perfection with great effort, and his sons and other members of his household devoted themselves wholeheartedly to this work"

paragraph: Judah Gedalia was noted as being a scholar and very knowledgeable with regard to the lettering and proofing. His high quality proofing work is noted during his lifetime as well as in the present day. In 1697 Rabbi Naftali Ashkenazi wrote of Gedalia in his book "Zohar and the Hidden Midrash":

paragraph: "Who spent his entire life engaged in the work of Heaven to study, teach and proof his books, and to build upon them with fine grammar"

paragraph: Section::::Selected list of books printed by the Gedalia Printing Press in Salonica.

paragraph: BULLET::::- "En Ya'aḳob" of Jacob ibn Ḥabib. The first two sedarim were published in 1516, but the author died before completing all six sedarim. His son Levi Ben Habib completed the publication

paragraph: BULLET::::- The Talmud, printed in 1519-1523

paragraph: BULLET::::- Pentateuch, 1520

paragraph: BULLET::::- "Aḳedat Yiẓḥaḳ" by Isaac ben Moses Arama, 1522

paragraph: BULLET::::- "Meir Job" by Rabbi Meir Arama

paragraph: BULLET::::- "Arba Turim" by R. Ya'akov Ben Asher, before 1540

paragraph: BULLET::::- "Ot Emet" by Meir Benveniste, 1565

paragraph: BULLET::::- "Mashmia'a Yeshua'a" (The Song of Salvation) by Isaac Abarbanel (first edition), 1595

paragraph: Section::::See also.

paragraph: BULLET::::- Hebrew incunabula

paragraph: BULLET::::- Early editions of the Hebrew Bible

wikidata_label: Judah Gedalia

wikipedia_title: Judah Gedalia


text: infantry

text: captain

text: United States Army

text: Medal of Honor

text: World War II

text: Sigolsheim

text: France

categories: People from Georgetown, Texas,American army personnel of World War II,North Carolina State University alumni,United States Army officers,United States Army Medal of Honor recipients,1913 births,Texas A&M University alumni,People from College Station, Texas,1986 deaths

paragraph: Eli L. Whiteley

paragraph: Eli Lamar Whiteley (December 10, 1913 – December 2, 1986) was a former infantry captain in the United States Army who received the Medal of Honor for valor in World War II, for his actions in Sigolsheim, France in 1944. He was drafted into the US Army in April 1942.

paragraph: Section::::Medal of Honor.

paragraph: Whiteley's Medal of Honor citation reads:

paragraph: Section::::See also.

paragraph: BULLET::::- List of Medal of Honor recipients for World War II

alias:
Eli Lamar Whiteley
Eli Whiteley

wikidata_label: Eli L. Whiteley

wikipedia_title: Eli L. Whiteley


text:
Bishop of Paderborn
Immedinger
Emperor Henry II
Corvey Abbey
Ekkehardinger
Helmarshausen Abbey
Haimerad
Latin
Reuter, Timothy

categories: Roman Catholic bishops of Paderborn,1036 deaths,Year of birth uncertain

paragraph: Meinwerk

paragraph: Blessed Meinwerk (c. 975 – 5 June 1036) was the Bishop of Paderborn from 1009 until his death.

paragraph: He was a member of the aristocratic Immedinger family and was granted his see on the understanding that his property would pass to the diocese on his death. He is known as "the Second Founder of Paderborn".

paragraph: In 1014 and 1015, Meinwerk had two meetings with the Emperor Henry II to urge the continued reform of Corvey Abbey.

paragraph: In 1017, he won a dispute with the Ekkehardinger over the rights to Helmarshausen Abbey. A gathering of nobles under the king declared in his favour, though the sources give differing reasons for this. The most likely explanation appears be that because Helmarshausen was too poor to provide the proper "servitium regis" to the king and because it lay within the diocese of Paderborn, which meant the bishop already had episcopal responsibility for it, it made sense to make a formal grant of it to the bishopric so that the bishop could more effectively protect it.

paragraph: Meinwerk was highly suspicious of Haimerad, a well-known wandering hermit of unfree origins, and had him arrested and beaten, and his prayer-book burnt.

paragraph: Meinwerk's competence in Latin is questionable. He was the butt of a practical joke by Emperor Henry II, who altered the words "famulis et famulabis", meaning "male and female servants," to "mulis et mulabis", "male and female mules," in a liturgical manuscript, which the bishop nevertheless read out loud without noticing anything amiss.

paragraph: The "Vita Meinwerci" is a biography of him and his times.

paragraph: His liturgical commemoration is listed for June 5.

paragraph: Section::::Sources.

paragraph: BULLET::::- Reuter, Timothy, 1991: "Germany in the Early Middle Ages 800–1056". New York: Longman

paragraph: BULLET::::- Bernhardt, John W., 1993: "Itinerant Kingship and Royal Monasteries in Early Medieval Germany, c. 936–1075". Cambridge: Cambridge University Press

description: Bishop of Paderborn

wikidata_label: Meinwerk

wikipedia_title: Meinwerk


text: John Howe, 1st Baron Chedworth

text: Philip Parker-a-Morley-Long

text: Arwarton

text: Suffolk

text: Stowell Park

categories: Barons in the Peerage of the United Kingdom,1762 deaths,1714 births,Lord-Lieutenants of Gloucestershire

paragraph: John Howe, 2nd Baron Chedworth

paragraph: John Thynne Howe (18 February 1714 – 9 May 1762) was the eldest son of John Howe, 1st Baron Chedworth.

paragraph: He succeeded to the title in 1742 on the death of his father, and married on 23 September 1751, Martha Parker-a-Morley-Long, daughter of Sir Philip Parker-a-Morley-Long, 3rd Baronet of Arwarton, Suffolk.

paragraph: The family seat was Stowell Park, Gloucestershire, and his London residence was 25 Leicester Square. He was a breeder of thoroughbred racehorses.

paragraph: There were no children from his marriage and he was succeeded in the barony by his younger brother Henry Frederick Howe, 3rd Baron Chedworth.

description: British Baron

wikidata_label: John Howe, 2nd Baron Chedworth

wikipedia_title: John Howe, 2nd Baron Chedworth


text:
witchcraft
Salem witch trials
colonial Massachusetts
executed
hanging
midwife
Goody
Appearing in spectral form
witchcraft
Mary Warren
Ann Putnam Jr.
Alice Parker
Dorcas Hoar
Mary Bradbury
Mary Easty
Gallows Hill
Salem Town
George Burroughs
Massachusetts General Court

categories: Executed American women,People executed by the Province of Massachusetts Bay,American people executed for witchcraft,People executed by the Thirteen Colonies by hanging,17th-century executions of American people,Year of birth unknown,1692 deaths,People executed by Massachusetts by hanging,People of the Salem witch trials,American midwives,17th-century executions by England,Colonial American women

paragraph: Ann Pudeator

paragraph: Ann Pudeator (November 13, 1621 – , 1692) was a well-to-do septuagenarian widow who was accused of and convicted of witchcraft in the Salem witch trials in colonial Massachusetts. She was executed by hanging.

paragraph: Section::::Personal life.

paragraph: Ann's maiden name is not known, nor the place of her birth. Thomas Greenslade was her first husband and they had five children (Thomas Jr., Ruth, John, Samuel, and James).

paragraph: After Thomas' death in 1674, she was hired by Jacob Pudeator to nurse his alcoholic wife, who died in 1675. Ann then married Jacob in 1676. Jacob died in 1682, leaving Ann well-off.

paragraph: Some have theorized that Ann Pudeator's likely occupation as a nurse and midwife, along with her being a woman of property, made her vulnerable to charges of witchcraft.

paragraph: Section::::Witch trials.

paragraph: When she was accused of witchcraft, the inventory of Goody Pudeator's alleged misdeeds included:

paragraph: BULLET::::- Presenting the Devil's Book to a girl and forcing her to sign it

paragraph: BULLET::::- Bewitchment causing the death of a neighbor's wife

paragraph: BULLET::::- Appearing in spectral form to afflicted girls

paragraph: BULLET::::- Having witchcraft materials in her home, which she claimed was grease for making soap

paragraph: BULLET::::- Torturing with pins

paragraph: BULLET::::- Causing a man to fall out of a tree

paragraph: BULLET::::- Killing her own second husband and his first wife

paragraph: BULLET::::- Turning herself into a bird and flying into her house

paragraph: Many of these allegations were made by Mary Warren, one of the so-called "afflicted girls". Her other accusers were Ann Putnam Jr., John Best Sr., John Best Jr., and Samuel Pickworth. Ann Pudeator was tried and sentenced to death on , 1692, along with Alice Parker, Dorcas Hoar, Mary Bradbury, and Mary Easty. She was hanged on Gallows Hill in Salem Town on . It is not known where she is buried, but a memorial stone for her exists at the Salem Witch Trials Memorial in Salem.

paragraph: Ann's son Thomas testified against George Burroughs at his trial for witchcraft.

paragraph: In October 1710, the General Court passed an act reversing the convictions of those for whom their families had pleaded, but Ann Pudeator was not among them.

paragraph: Pudeator was exonerated in 1957 by the Massachusetts General Court, partly because of the efforts of Lee Greenslit, a Midwestern textbook publisher who learned about Pudeator's execution while researching his family origins.

description: Woman executed in the Salem witch trials

wikidata_label: Ann Pudeator

wikipedia_title: Ann Pudeator


text:
Cardinal
Giacomo Savelli
Pope Honorius IV
Archbishop of Monreale
Palermo
Pope Nicholas III
Latino Malabranca Orsini
Guillaume de Bray
Matteo Rosso Orsini
Sicilian Vespers
King Charles I of Anjou
cardinal-bishop of Frascati
synod
Würzburg
papal conclave
Nicholas IV
Celestine V
Boniface VIII
Benedict XI
Clement V
dean of the Sacred College of Cardinals
Pope Benedict XI
Cardinals created by Honorius IV
Alfonso Ceccarelli
Picture

categories: Deans of the College of Cardinals,Diplomats of the Holy See,Cardinal-bishops of Frascati,Italian cardinals,13th-century Roman Catholic bishops,Cardinal-nephews,Apostolic Envoys to Poland,14th-century Roman Catholic bishops,13th-century Italian people,Archbishops of Monreale,13th-century births,14th-century Italian people

paragraph: Giovanni Boccamazza

paragraph: Giovanni Boccamazza (died 1309) was an Italian Cardinal. He was from the Roman nobility, and was a nephew of Cardinal Giacomo Savelli, who had been an important figure in the Roman Curia since his creation as cardinal in 1261.

paragraph: Section::::Early career.

paragraph: On 14 May 1264 Giovanni was granted the benefice of the church of S. Fortunato de Vernot in the Diocese of Sens. In 1285 Giovanni's uncle, Cardinal Savelli, was elected Pope Honorius IV. Giovanni Boccamazza began his career in the Church as a Canon of the Vatican Basilica and Chaplain of Pope Nicholas III (1277-1280).

paragraph: Section::::Bishop of Monreale.

paragraph: He was made Archbishop of Monreale, near Palermo, by Pope Nicholas III on 15 August 1278. He had not, however, been the original choice as bishop. The Chapter of the Cathedral of Monreale had originally and unanimously chosen Guillaume, Bishop of Potenza, but he declined the position and resigned the election into the hands of the Pope. The matter was referred to the usual committee of cardinals on episcopal elections, in this case composed of Cardinals Latino Malabranca Orsini, Guillaume de Bray, and Matteo Rosso Orsini. Nicholas then received the bishop's resignation of the election to Monreale and sought to appoint Bernard de Montemirato, OSB, the Abbot of Montismajoris in the Diocese of Arles. But he flatly refused. Nicholas then chose his Chaplain, Giovanni Boccamazza. He was there at the time of the Sicilian Vespers (1282). It was Cardinal Boccamazza who delivered the news of the Sicilian Vespers to King Charles I of Anjou After fleeing Sicily, he was made cardinal-bishop of Frascati on 22 December 1285—the only cardinal created by Pope Honorius.

paragraph: Section::::Legate in Germany.

paragraph: As soon as Honorius IV became pope, he was approached by King Rudolf of Germany, King of the Romans, with regard to his coronation as Holy Roman Emperor. This honor had been promised him by Gregory X in 1275, but succeeding popes had not authorized the coronation. Now he approached the new pope through the new Archbishop of Mainz, Heinrich de Isnay, O.Min. (1286-1288). In reply Honorius sent Cardinal Giovanni Boccamazza as Apostolic Legate to Germany, Bohemia, Hungary and Sweden to engage in conversations with Rudolf. Cardinal Giovanni attended the significant synod of March 1287 in Würzburg, considered as a German national council. On 22 July 1287, during the Sede Vacante following the death of Honorius IV (1285-1287), he was at Cambrai, where he issued orders for Dacia and Suecia. While he was at Cambrai the Legate, Cardinal Giovanni was attacked by a nobleman, Nicholas, his brothers and sons, and his retainers, while he was in church. When that attempt failed, they followed him to his house, where there was a riot. The bishop of Cambrai, who held both spiritual and temporal power in the city, was excommunicated by Cardinal Giovanni, and the city was placed under interdict. When Cardinal Giovanni returned to Rome and explained the whole affair to Pope Nicholas personally, the Pope cited the Bishop, the Archdeacon, the Bailli, the Chapter of the Cathedral, and numerous others, to appear before his court in Rome. The case was finally disposed of on 3 October 1291 with the suspension of the Bishop from his pontifical powers and right to collate to benefices for three years. Also, during the same Legatine assignment, Cardinal Giovanni became involved in strife between the Dominicans and the people of Strasbourg, and he felt compelled to lay the city under the Interdict. On 16 September 1287 Cardinal Giovanni was at Clairvaux, and he was still there on 8 November, when he wrote to the Archbishop of Uppsala, Sweden (Suecia), and 6 December 1287, when he wrote to the Dominicans of Hungary and Poland. He wrote from Novaevallis, on 14 December, to all of the clergy in his Legation for the benefit of the Cistercians. He did not, therefore, attend the Conclave of 1287-1288.

paragraph: Section::::Work in the Roman Curia.

paragraph: He was back in Italy, at Rieti, in September, 1288, when he subscribed a bull for Pope Nicholas IV. Later in the year, in Rome, he was a member of an examination committee of an abbot-elect. On 28 January 1289 he is mentioned as having been an Auditor in the case involving the canonical election of a bishop of Avignon. Two days later he was assigned the task of consecrating the newly approved Archbishop of Crete. In September 1290 Cardinal Giovanni served on the examination committee that investigated the contested election to the Bishopric of Alatri. In March 1291 he was a member of the committee that reviewed the election of the Abbot of S. Albans. At nearly the same time, he did the same in the case of the monastery of S. Pietro in Perugia.

paragraph: On 5 March 1291 Pope Nicholas granted Cardinal Giovanni Boccamazza the power to investigate and reform the apparently large number of encroachments and illegal occupations made by various persons upon the properties belonging to the Lateran Basilica. The Senators and other magistrates of Rome were ordered to assist the Cardinal in restoring the properties of S. Giovanni Laterano. The same service was imposed on Cardinal Giovanni with respect to the Premonstratensian monastery of S. Quirico "de valle introducti" in the diocese of Reate. He was then empowered to do the same for the Monastery of Farfa.

paragraph: At the end of November 1295 Cardinal Giovanni was present and working in the Roman Curia, and was one of eighteen cardinals who received a distribution from the funds of the Treasury of the College of Cardinals. On 12 March 1296 he was one of twenty-one cardinals who received a 1/18 share in the payment of 2000 livres Tournois presented by the Procurators of the Abbot of Cluny. At Easter 1296 he had his share of 600 gold florins presented by the Archbishop of Florence; and likewise a share in the 400 gold florins presented by the Bishop of Tortona in Lombardy. On 29 April he shared in the 600 florins paid by the Bishop of Famagusta. At Pentecost 1296, eighteen cardinals shared in the 1900 florins presented by the Bishop of Séez; and a distribution of the 500 livres Tournois paid by the Archbishop of Rouen; and a 1/23 share in the 50 livres of the Bishop of Teramo. On 29 June 1296 there was a distribution of 500 florins paid by the Bishop of Patras. Around the Feast of S. Michael, 29 September 1296 he received a share of the payment made through the bankers of the Abbot of S. Victor of Marseille. On 10 May 1297 he was present at the degrading of Cardinals Jacobus and Petrus Colonna, from whose confiscated income Pope Boniface VIII granted a half to the cardinals, nineteen of whom are named, included Giovanni of Tusculum. He also participated in a distribution of 5 gold pieces which had been offered by the Archbishop of Strigonia at his "ad limina" visit. On 24 June 1297 he was one of twenty-two cardinals who received his share of the money offered by the Abbot of S. Justinus in Padua; of the money offered by the Bishop of Padua; and of the money brought by the Proctor of the Bishop of Siena. At Easter 1298 the Archbishop of Tours visited Rome, and presented the College of Cardinals with 200 livres Tournois, which was divided among fourteen cardinals, including Giovanni of Tusculum. At the same time the sum of 2500 florins out of the payment of the Bishop of Zaragoza was distributed to the same cardinals; and a distribution from the sum of 2000 florins paid by the Bishop of Pamiers. On 20 May 1298 the 500 florins brought by the Bishop of Lodève was shared by eighteen cardinals in the Curia; at the same time there was a distribution of the 1000 gold florins paid by the Bishop of Urgel; and a distribution from the 500 livres Tournois presented by the Archbishop of Rouen. On 2 June 1298 the Abbot of Subiaco paid 300 gold florins owed by his predecessor, which was shared by twenty cardinals. On 5 September 1298 there was a distribution of the payment of 180 livres Tournois made by the Abbot of the Major Monasterium in Tours, with a 1/15 share coming to Cardinal Giovanni of Tusculum. These are only examples, showing the very large, if irregular, income of a cardinal at the time, and indicating that a cardinal was present in the Roman Curia at the time. Cardinals who were not present in the Curia (except occasionally deceased cardinals, whose estates benefitted from a late payment of dues) did not share in the distributions; this applied to Papal Legates, who had to be paid by the Pope through the Apostolic Camera, not by the Camera of the College of Cardinals.

paragraph: On 1 February 1301 Cardinal Giovanni of Tusculum, who had been acting as Assessor (judge) on appointment by Boniface VIII, pronounced his verdict in the case of the contested election of Leo, Bishop of Soli in Cyprus. On 20 May 1301 he and three other cardinals, Jean de Cressi, Robert de Pontigny and Matteo Rosso Orsini, were given the mandate to choose a new Abbot of the Monastery of S. Richard in the Diocese of Amiens. In June 1301 he was Auditor in the request that the Cathedral of Sagunto be transferred from regular to secular clergy. On 20 September 1301 his name heads the list of fifteen cardinals, ahead of Bishops Theoderic (Civitas Papalis) and Leonardo (Albano), subscribing to the papal grant of privileges to the Monastery of Santa Croce Saxivivo in the Diocese of Foligno. Cardinal Niccolò Boccasini, OP, Bishop of Ostia, who would normally have signed first as senior Cardinal Bishop, was serving as Legate in Hungary. When the year 1301 began, the Curia was resident at the Lateran Palace in Rome; from 1 May to mid-October it was in Anagni; from 17 October to the end of the year it was back at the Lateran.

paragraph: In January 1302 Cardinal Giovanni served on a committee to examine the election of the Bishop of Cammin in Germany. On 2 July 1302 he is noted as having on a committee which examined the election and person of John, Abbot of Holy Cross Monastery in Waltham in the Diocese of London.

paragraph: In 1302, Cardinal Giovanni Boccamazza was Canon of the Cathedral of Amiens.

paragraph: At the beginning of 1303 Cardinal Giovanni was consulted by the Pope concerning the depredations which had taken place against the Chapter of the Cathedral of Cambrai.

paragraph: Section::::Papal Elector.

paragraph: He participated in five papal conclaves, which saw the elections of popes Nicholas IV in 1288, Celestine V in 1294, Boniface VIII in 1294, Benedict XI in 1303 and Clement V in 1305. He became dean of the Sacred College of Cardinals in 1302, upon the death of Cardinal Gerardo Bianchi, Bishop of Sabina (1 March 1302).

paragraph: Section::::Reign of Benedict XI.

paragraph: On 30 October 1303, a week after his election, Pope Benedict gave the College of Cardinals a gift of 2680 gold florins, 380 livres Tournois, and over 600 other gold coins of various origins and values. These funds were distributed among the Cardinals, including Cardinal Giovanni Boccamazza, except for the Bishop of Ostia, Niccolò Boccasini, who was absent on a Legateship.

paragraph: In 1304 Cardinal Giovanni was again a member of a committee of cardinals that examined the election of an abbot for the Benedictine monastery of S. Maria de Alfiolo in the Diocese of Gubbio; and likewise for the Benedictine Monastery of S. Angelo de Gaifa in the Diocese of Urbino;

paragraph: On 4 March 1304 Pope Benedict XI (1303-1304) granted Cardinal Giovanni Boccamazza subinfeudation of three castles, Scandrillia, Castellucii, and Rocca Soldana, which belonged to the Monastery of Farfa by primary infeudation of the Roman Church, along with their tenements and vassals, with full jurisdiction and authority. The properties and their rights would descend to the Cardinal's heirs.

paragraph: Section::::Death.

paragraph: Pope Nicholas IV had granted Cardinal Giovanni the privilege of making his own Will on 25 November 1289. He died in Avignon on 10 August 1309 and was buried in the Church of the Dominicans

paragraph: Section::::See also.

paragraph: BULLET::::- Cardinals created by Honorius IV

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Bernhard Pawlicki, "Papst Honorius IV. Eine Monographie" (Münster 1896).

paragraph: BULLET::::- Agostino Paravicini Bagliani, "Alfonso Ceccarelli, gli «Statuta Urbis» del 1305, e la Famiglia Boccamazza," in Raymundus Creytens and Pius Künzle (editors), "Xenia Medii Aevi Historiam Illustrantia. Oblata Thomae Kaeppeli o.p." (Roma: Edizioni di Storia e Letteratura, 1978), pp. 317–350.

paragraph: BULLET::::- Agostino Paravicini Bagliani, "I Testamenti dei Cardinali del Duecento" (Roma: Presso la Società alla Biblioteca Vallicelliana, 1980), pp. 77–78.

paragraph: BULLET::::- Jochen Johrendt, "Die Diener des Apostelfürsten: das Kapitel von St. Peter im Vatikan (11.-13. Jahrhundert)" (Berlin: Walter de Gruyter, 2011), pp. 186, 451-452.

paragraph: BULLET::::- Werner Maleczek: "Die Urkunden des päpstlichen Legaten Johannes Boccamazza, Kardinalbischofs von Tusculum, aus den Jahren 1286 und 1287. (Legation ins Reich in der Spätzeit König Rudolfs von Habsburg)." In: "Archiv für Diplomatik, Schriftgeschichte, Siegel- und Wappenkunde" 59 (2013), pp. 35–132 .

paragraph: Section::::External links.

paragraph: BULLET::::- Picture

description: Catholic cardinal

wikidata_label: Giovanni Boccamazza

wikipedia_title: Giovanni Boccamazza


text:
Nenang Pawo
historian
Karma Kagyu
Mikyö Dorje, 8th Karmapa Lama
A Scholar's Feast
Bodhisattvacaryāvatāra
Kagyu
Works in Worldcat
Pawo Tsuglag Threngwa
Second Pawo, Tsuklak Trengwa

categories: Tibetan historians,1504 births,Nenang Pawo,Karma Kagyu Lamas

paragraph: Pawo Tsuglag Threngwa

paragraph: Pawo Tsuglag Threngwa (; 1504–1566), the second Nenang Pawo, was a Tibetan historian of the Karma Kagyu. He was a disciple of Mikyö Dorje, 8th Karmapa Lama. He was the author of the famous "mkhas pa'i dga' ston", "A Scholar's Feast", addressing history of Buddhism in India and its spread in Tibet, as well as history of Tibet

paragraph: In 1565, a year before his death, he wrote a detailed commentary of the "Bodhisattvacaryāvatāra" ().

paragraph: His dharma histories were cited by the 4th Drikung Chetsang, Tenzin Peme Gyaltsen (1770–1826) in "The Golden Garland of the Throne Lineage (Denrab Chöjung Serthreng, gdan rabs chos byung gser phreng)".

paragraph: Section::::Works.

paragraph: BULLET::::- mkhas pa'i dga' ston

paragraph: BULLET::::- The Chojung Khepai Gaton, or Scholars Feast (chos 'byung khas pa'i dga' ston), a religious history of the Kagyu tradition

paragraph: BULLET::::- Works on history, medicine, astrology, general Buddhism

paragraph: BULLET::::- Works in Worldcat

paragraph: Section::::References.

paragraph: BULLET::::- Chos kyi 'byung gnas. 1990. Dpa' bo gnyis pa/ rgyal ba gtsug lag phreng ba. In Ta'i si tu pa kun mkhyen chos kyi 'byu gnas bstan pa'i nyin byed kyi bka' 'bum. Vol. 12, pp. 55–63. Sansal: Pelpung sungrab nyamso khang.

paragraph: BULLET::::- Grags pa 'byungs gnas and Blo bzang mkhas grub. 1992. Gangs can mkhas sgrub rim byon ming mdzod. Lanzhou: Kan su'u mi rigs dpe skrun khang, pp. 995–996.

paragraph: BULLET::::- Gtsug lag phreng ba. N.d. Dge slong gtsug lag phreng ba rang nyid kyi rtogs pa brjod pa 'khrul pa'i bzhin ras 'char ba'i me long.

paragraph: BULLET::::- Mi nyag mgon po. 1996–2000. Dpa' bo gtsug lag phreng ba'i rnam thar mdor bsdus. In Gangs can mkhas dbang rim byon gyi rnam thar mdor bsdus, Vol. 1, pp. 237–242. Beijing: Krung go'i bod kyi shes rig dpe skrun khang.

paragraph: Section::::External links.

paragraph: BULLET::::- Pawo Tsuglag Threngwa, Index of Collected Works

paragraph: BULLET::::- Samten Chhosphel, "Second Pawo, Tsuklak Trengwa," Treasury of Lives

description: Tibetan historian

wikidata_label: Pawo Tsuglag Threngwa

wikipedia_title: Pawo Tsuglag Threngwa


text:
Perfected Spelling
Roekiah
Jakarta
Dutch East Indies
Misbach Yusa Biran
noble
junior high school
Tan's Film
Sorga Ka Toedjoe
Roekiah
Rd Mochtar
Annie Landouw
Kartolo
Roekihati
Poesaka Terpendam
Koeda Sembrani
Japanese occupation of the Indies
West Java
Indonesian National Revolution
Sorga Ka Toedjoe
Roekihati
Poesaka Terpendam
Koeda Sembrani

categories: 1992 deaths,People from Jakarta,Year of birth uncertain,1910s births,People from Batavia, Dutch East Indies,20th-century Indonesian male actors

paragraph: Djoemala

paragraph: Ismail Djoemala (also credited Rd Djoemala; Perfected Spelling: Ismail Jumala; 1915/1918 – 10 June 1992) was an Indonesian actor active in the 1940s. He was often cast alongside Roekiah as her romantic interest.

paragraph: Section::::Biography.

paragraph: Djoemala was born in Batavia (now Jakarta, Indonesia), the capital of the Dutch East Indies. Sources disagree on his year of birth; the catalogue "Apa Siapa Film Indonesia" gives 19 September 1915, while Indonesian film historian Misbach Yusa Biran gives 1918. Although later billed as "Raden" Djoemala, the actor was not of noble descent. He had some schooling, completing his junior high school in 1934.

paragraph: A tailor by trade, Djoemala had owned the Broadway Store located on Kramat Raya Street. In 1940 he was approached by Tan's Film and cast for their new production, "Sorga Ka Toedjoe" ("Seventh Heaven"). He was cast opposite Tan's mainstay Roekiah, whose regular on-screen partner, Rd Mochtar, had recently left the company owing to wage concerns. Djoemala was chosen for his good looks and tall body. In the film, Djoemala played Hoesin, who reunites the long-separated Hadidjah (Annie Landouw) and Kasimin (Kartolo; Roekiah's husband) to win the hand of Roekiah's character Rasmina. The film was a success, and one reviewer opined that Djoemala was as good as, if not better, than Mochtar.

paragraph: The pair's next film together, "Roekihati", cast Djoemala as a city-dweller named Mansoer who falls for a village girl named Roekihati (Roekiah) but is nearly forced to marry another woman. In 1941 Djoemala and Roekiah acted in another two films together, "Poesaka Terpendam" ("Buried Treasure") and "Koeda Sembrani" ("The Enchanted Horse"). Although all of these films were moderate critical successes, ultimately the pairing of Djoemala and Roekiah was unable to draw as many viewers as Mochtar and Roekiah had done. Biran writes that Roekiah's singing and the comedic antics of Kartolo were all that Tan's could depend on during this period.

paragraph: Following the Japanese occupation of the Indies in February 1942, Tan's was closed. Djoemala is not recorded as having acted in any further films. During the occupation he joined a theatre troupe, "Pantjawarna", in West Java, while in the Indonesian National Revolution (1945–49) he fought as a guerrilla. After the revolution he returned to working as an entrepreneur and tailor, dying in Jakarta on 10 June 1992.

paragraph: Section::::Filmography.

paragraph: BULLET::::- "Sorga Ka Toedjoe" (1940)

paragraph: BULLET::::- "Roekihati" (1940)

paragraph: BULLET::::- "Poesaka Terpendam" (1941)

paragraph: BULLET::::- "Koeda Sembrani" (1942/43)

paragraph: Section::::Works cited.

paragraph: BULLET::::- (book acquired from the collection of Museum Tamansiswa Dewantara Kirti Griya, Yogyakarta)

description: Indonesian actor

wikidata_label: Djoemala

wikipedia_title: Djoemala


text:
Annaba
Algeria
runner
1500 metres
800 metres
1500 metres
3000 metres

categories: Athletes (track and field) at the 2007 All-Africa Games,Algerian male middle-distance runners,Olympic athletes of Algeria,1981 births,Athletes (track and field) at the 2004 Summer Olympics,People from Annaba,African Games medalists in athletics (track and field),African Games bronze medalists for Algeria,Living people,Athletes (track and field) at the 2008 Summer Olympics

paragraph: Tarek Boukensa

paragraph: Tarek Boukensa () (born 19 November 1981 in Annaba) is an Algerian runner, who specializes in the 1500 metres.

paragraph: Section::::Competition record.

paragraph: Section::::Competition record.:Personal bests.

paragraph: BULLET::::- 800 metres - 1:46.10 min (2006)

paragraph: BULLET::::- 1500 metres - 3:30.92 min (2007)

paragraph: BULLET::::- 3000 metres - 7:43.23 min (2005)

description: athletics competitor

wikidata_label: Tarek Boukensa

wikipedia_title: Tarek Boukensa


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text: Greene Naftali Gallery, New York

text: Stuart Shave Modern Art, London

categories: 21st-century American painters,20th-century American painters,Yale University alumni,American male painters,Artists from New York City,20th-century American printmakers,1953 births,Abstract artists,Living people,Frank Jewett Mather Award winners

paragraph: Peter Halley

paragraph: Peter Halley (born September 24, 1953) is an American artist and a central figure in the Neo-Conceptualist movement of the 1980s. Known for his Day-Glo geometric paintings, Halley is also regarded as a writer, the former publisher of "index Magazine", and a teacher, having served as Director of Graduate Studies in Painting and Printmaking at the Yale University School of Art from 2002 to 2011. Halley lives and works in New York City.

paragraph: Section::::Introduction.

paragraph: Halley is an American painter. He came to prominence as an artist in the mid-1980s, as part of the generation of Neo-Conceptualist artists that first exhibited in New York's East Village, including Jeff Koons, Haim Steinbach, Sarah Charlesworth, Annette Lemieux, Steven Parrino, Phillip Taaffe, Gretchen Bender, and Meyer Vaisman. Halley's paintings explore both the physical and psychological structures of social space; he connects the hermetic language of geometric abstraction—influenced by artists such as Barnett Newman and Ellsworth Kelly—to the actualities of urban space and the digital landscape. In the 1990s, he expanded his practice to include installations based around the technology of large-scale digital prints.

paragraph: Halley is also known for his critical writings, which, beginning in the 1980s, linked the ideas of French Post-Structuralist theorists such as Michel Foucault and Jean Baudrillard to the digital revolution and the visual arts. From 1996 to 2005, Halley published "Index Magazine", which featured in-depth interviews with emergent and established figures in fashion, music, film, and other creative fields. Having also taught art in several graduate programs, Halley became the Director of Graduate Studies in Painting and Printmaking at the Yale University School of Art, serving from 2002 to 2011.

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

paragraph: Halley was born and raised in New York City. He is the son of Janice Halley, a registered nurse of Polish ancestry, and Rudolph Halley, an attorney and politician of German-Austrian Jewish descent. In 1951, Rudolph "became an instant celebrity," as Halley has said, while serving as chief prosecutor for the United States Senate Special Committee to Investigate Crime in Interstate Commerce, also known as the Kefauver Committee (after Senator Estes Kefauver). "This series of hearings with various colorful mobsters was broadcast on television all over the country," Halley notes. Rudolph was also assistant counsel to the wartime Truman Committee, investigating fraud and waste in defense contracting. He served as president of the New York City Council from 1951 to 1953, and ran for New York City Mayor in 1953. He passed away soon after at the age of forty-three, when Halley was three years old.

paragraph: Other notable family members include Rudolph's first cousin Carl Solomon (1928-1993), to whom Allen Ginsberg dedicated his epic poem "Howl (for Carl Solomon)" in 1955. The Halleys are also related to Samuel Shipman (1884-1937), a well-known and colorful writer of Broadway comedies in the 1920s. Halley's great aunt and uncle, Rose and A.A. Wyn, published Ace Comics from 1940 to 1956 and Ace Books from 1952 to 1973. Ace Books was an American publisher of science fiction that published William Burroughs's first novel, "Junkie", in 1953, as well as the first novels by several prominent science-fiction writers including Philip K. Dick, Samuel R. Delany, and Ursula K. Le Guin.

paragraph: A precocious child, Peter started first grade at Manhattan's Hunter College Elementary School at the age of 6. He later attended Phillips Academy in Andover, Massachusetts, a prep school known for its art museum and, at the time, innovative art program. While at Andover, Halley took an interest in various forms of media and became the programming director for the school's low-wattage radio station. It was also during this time that he began painting, making his first works in his great uncle Aaron's art studio.

paragraph: He received college acceptances with full scholarships from Brown, Harvard, and Yale, but chose to study at Yale because of their renowned art program. But, after his sophomore year, Halley was denied entry into the art major and decided to move to New Orleans, where he lived for one year. He returned to Yale the following year to study art history, and wrote his senior thesis on Henri Matisse before graduating in 1975. After graduation, Halley returned to New Orleans and, in 1976, enrolled in the University of New Orleans MFA program. He received his MFA in 1978 and lived in New Orleans until 1980 (also traveling to Mexico, Central America, Europe, and North Africa during this time).

paragraph: Section::::Career.

paragraph: Section::::Career.:Early career and New York City.

paragraph: In 1980, Halley returned to New York City and moved into a loft on East 7th Street in the East Village, Manhattan; there, Talking Heads frontman David Byrne was his upstairs neighbor. New York City had a lasting influence on Halley's distinct painting style. He became enamored with the city's intensity, scale, and three-dimensional urban grid—the "geometricization of space that pervaded the 20th century." Likewise interested in abstract painting, Halley "set out to connect the language of geometric abstraction to the actual space that he saw all around him, transforming the square—borrowed from Malevich, Albers, and others—into architectural icons he called 'prisons' and 'cells,' and connecting them by straight lines called 'conduits.'"

paragraph: These particular geometric icons, which he developed in the early 1980s in the midst of a global technology boom, became the basis of Halley's painting for the decades to come. Halley derived his language not just from the urban grid but from the gridded networks permeating all facets of the contemporary "media-controlled, post-industrial world." With this background, the "cells" could be seen as "images of confinement and as cellular units in the scientific sense," according to Calvin Tomkins. The "conduits"—the lines connect various "cells" and other geometric patterns in a given work—represent the supports of "underlying informational and structural components of contemporary society," Amy Brandt writes. "Halley wished to incite public awareness of the confining, underlying structures of industrialized society and commodity capitalism."

paragraph: In addition to urban structures such as modernist buildings and subways, Halley drew influence from the pop themes and social issues associated with New Wave music. He took the modernist grid of previous abstract painting—namely, according to Brandt, the work of Frank Stella—and amplified its colors and impact in accordance with the postmodern times. During this early period, Halley employed new colors and materials with specific connotations. He began to use fluorescent Day-Glo paint, which has an uncanny glow that recalls the artificial lights of postmodern society and the bright government-issued signs that mark streets and workers' clothing. Halley also uses Day-Glo colors in response to developments in modernist painting—a "hyperrealization" of art-historical motifs, in Halley terms (following Jean Baudrillard)—and as a means of delineating space on his canvases.

paragraph: Halley also began to employ Roll-a-Tex, a textural additive that gives his "cells" and "prisons" a tactile, architectural quality, as Roll-a-Tex is most often used as surfacing in buildings such as suburban homes and motels. The postmodern, commodity-like color and texture, not to mention the thickness, of Halley's canvases entered them into the art-historical conversation surrounding painting and objecthood. The mixture of harsh colors and textures at once "seduce[s] and repel[s] viewers with assaults on their senses of sight and touch."

paragraph: In the 1980s, Halley's practice and career developed amid the artistic and intellectual discourse that arose in East Village artist-run galleries like International with Monument, Cash/Newhouse, and Nature Morte. These spaces were a community for artists such as Halley, Jeff Koons, Haim Steinbach, Sherrie Levine, Ashley Bickerton, and Richard Prince, who "shared a focus on the role of technology in postmodern society and rejected nature as a touchstone of meaning." (Bob Nickas, Dan Cameron, and the curatorial team Tricia Collins and Richard Milazzo were curators and critics associated with this scene.) These artists used irony and pastiche to subvert and comment upon structural issues of the time; they drew from Conceptual Art to create "paintings and sculptures that operated as a set of pictorial signs referencing artists and moments in postwar art history," expanding their boundaries as artists to also encompass the theoretical discourse around the art objects themselves.

paragraph: Halley staged solo projects at PS122 Gallery in 1980 and at the East Village bar Beulah Land in 1984. In 1983 he organized a show at the John Weber Gallery, "Science Fiction", which included, among others, Jeff Koons as well as Ross Bleckner, Richard Prince, Taro Suzuki, Robert Smithson, and Donald Judd, the latter of whom had been an influence on Halley. Alison Pearlman described the relevance and influence of the show, writing:The gallery presentation dramatized a pop-futuristic sensibility. To begin, the space was painted entirely black. Because many of the works incorporated geometric shapes, Plexiglas and lights, some flashing or rotating, the total effect was crystalline like a "Star Trek" idea of Peter Halley, Jeff Koons, and the Art at Marketing ... This high-tech sensibility has been common in popular science fiction as well as fashion, music, and other consumer products made to look geometricizing, streamlined, synthetic, or otherwise ultra-urban. The aesthetic coincides with actual fashions of the early 1980s.

paragraph: Halley's first larger one-person exhibition came in 1985 at International with Monument, a gallery at the heart of the East Village scene run by Meyer Vaisman, Kent Klamen, and Elizabeth Koury, who had all met at the Parsons School of Design. Around this time, Halley introduced Jeff Koons to Vaisman, and Koons subsequently exhibited at International with Monument as well.

paragraph: In October 1986, Vaisman organized a group show at New York's more established Sonnabend Gallery that featured work by Halley, Ashley Bickerton, Jeff Koons, and Vaisman himself. Embodying the intellectual style that had been established by International with Monument, the show marked a departure from the painterly style of Neo-Expressionism, the dominant style in New York's art scene of the earlier 1980s. The exhibition at Sonnabend received popular and critical attention, and the four artists became identified on a wider scale with the labels "Neo-Geo" and "Neo-Conceptualism." In New York magazine Kay Larson called the artists "Masters of Hype," while in the same magazine a month earlier, Paul Taylor had dubbed them "The Hot Four" and called Halley the "intellectual of the group." Roberta Smith wrote in the "New York Times" that "Halley's geometric abstractions suggest diagrams of battery cells with conduits or prison cells with barred windows (that is, electrical or social systems), while their powerful fluorescent colors come from somewhere beyond art."

paragraph: Section::::Career.:Writing.

paragraph: As he began his art career, Halley became interested in the French Post-Structuralist writers, including Michel Foucault, Roland Barthes, Paul Virilio, and Jean Baudrillard, many of whose works were translated into English in the late 1970s and early 1980s and were being discussed among New York intellectuals. The ideas of the French writers informed Halley's use of synthetic colors and materials in his painting, and also the writing that he began to produce around the same time. "The modernism I grew up with was that it was spiritual," Halley said, "it was about a kind of purity and Emersonian transcendentalism ... Feeling less and less comfortable with that, I decided that for me modernism was really about skepticism, doubt, and questioning. Things that we now say are part of a postmodern sensibility."

paragraph: Halley put forth such ideas on modernism, postmodernism, culture, and the digital revolution—derived in part from Foucault, Baudrillard, and others, and with a neo-Marxist slant—in his numerous writings. He published his first essay "Beat, Minimalism, New Wave, and Robert Smithson" in 1981 in "Arts Magazine", a New York-based publication that published seven more of his essays throughout that decade. In his essays, published from the 1980s to early 2000s, Halley makes reference to the shifting relationship between the individual and larger social structures, and how artists of his generation responded to the emerging social, economic, and cultural conditions of the 1980s and 1990s. Halley highlighted the various roles of New Wave music, Cold War cultural politics, and the increased digitization of experience brought about by computers and video games. Additionally, he provided a critical overview of contemporary art during this period through examining a range of sources including the social theories of José Ortega y Gasset, Norbert Elias, and Richard Sennett.

paragraph: In 1988, Halley's writings were anthologized in "Collected Essays 1981-1987", published by Galerie Bruno Bischofberger in Zurich. In 1997, a second anthology, "Recent Essays 1990-1996", edited by Richard Milazzo, was published by Edgewise Press. Milazzo's updated book, "Peter Halley: Selected Essays 1981-2001", was published by Edgewise in 2013.

paragraph: Section::::Career.:Artwork from the 1990s to the present.

paragraph: Following the 1986 exhibition at Sonnabend Gallery, Halley had many more exhibitions in Europe and the United States, including his first museum survey, "Peter Halley: Recent Paintings," at the Museum Haus Esters in Krefeld, Germany, in 1989. In 1991-1992, CAPC Musee d'Art Contemporain, Bordeaux, staged an extensive retrospective of Halley's work that traveled to FAE Musee d'art Contemporain, Lausanne, Switzerland; the Museo Nacional Centro de Arte Reina Sofia, Madrid; and the Stedelijk Museum, Amsterdam.

paragraph: In the 1990s, in response to the changes in communications and media caused by the digital revolution, Halley adapted his visual language to the effects of the digital revolution in the 1990s. The "conduits" that marked his painting began to multiply and increase in complexity, and he began to add pearlescent and metallic paints to his Day-Glo color palette of the 1980s. "My earlier paintings were rational, diagrammatic, and logical," he said in a 1995 interview with Flash Art, explaining the difference between his '80s and subsequent outputs. "Then I made a break around 1990, and since then they've become really exaggerated, almost parodic; and they aren't analytical at all. In any case, I don't see a great formal break in the '90s, although there is a psychological break." Around 1990 Halley began producing bas-reliefs, many of them hollow and constructed from fiberglass. Soon after, he began experimenting with digital printing and web-based art.

paragraph: In 1993, Halley created "Superdream Mutation", a digital print available for viewing and downloading on the web bulletin board-style platform The Thing. The piece, a monochrome image, was distributed as a GIF—and is considered to be the first artwork exclusively available for online viewing and sale (for twenty dollars). Regarding this work, Halley highlighted his thought process and the way in which the digital work related to his painting: "I set up the matrix and the person has certain choices within it. It's also based on a Jasper Johns print edition from the mid-sixties, in which there was a line drawing of a target, and a little box of water colors. It was a kit. Another factor for the Web project was my skepticism about the notion of 'interactivity' on the computer. Most decisions are choices between two paths; binary decisions are the only possible ones with computers. So I wanted to do something in which the choices were very mechanistic." Halley did another online project called "Exploding Cell" with the Museum of Modern Art, New York, on the occasion of his 1997 exhibition "New Concepts in Printmaking 1: Peter Halley", a one-person show that highlighted Halley's print and installation practices. "Exploding Cell" was published online at the time and is still available to the public. Glenn Lowry, director of the museum, has stated that this was MoMA's first digital acquisition.

paragraph: Throughout the twenty-first century, Halley has continued to employ his iconic "cells," "prisons" and "conduits" in his painting, as his primary subject remains the organization of social space. But, Halley explained in 2011, "the nature of the social space we live in has changed immensely in the last thirty years since my project began. When I started my work in the '80s, the limits of communications technology were the telephone, the fax machine, and cable television. In a very short time, we've gone from the era of limited, linear communications to the epoch of the web, Google, and Facebook."

paragraph: Halley has continued to exhibit internationally, including in New York at Mary Boone Gallery (2002, 2004, 2009, 2010, 2013); in Cologne at Jablonka Gallery (1988, 1990, 1993, 1998); in Zurich at Galerie Bruno Bischofberger (1988, 1991, 1994, 1995, 1998); in Paris at Galerie Thaddaeus Ropac (1992, 1995, 2000, 2004, 2007); in Brescia at Galleria Massimo Minini (1997, 2000, 2008, 2012); in London at Waddington Galleries (1999, 2001, 2007, 2009, 2013); and in many other cities around the world. In 2016, he staged an installation with Galerie Thomas, Munich, at Art Unlimited at Art Basel. As of 2016, Halley is represented by Greene Naftali Gallery in New York and Stuart Shave Modern Art in London.

paragraph: Section::::Career.:Digital prints and installations.

paragraph: In the mid-1990s, Halley began implementing digital software as a means of developing his compositions. He also began to explore printmaking, using a variety of techniques including silkscreen, digital, and inkjet printing. In his prints, Halley often includes comic book imagery as well as a new motif of explosions and exploding cells, often made through printing images from the computer and auto-tracing them.

paragraph: Also in the 1990s, Halley started to produce site-specific installations for museums, galleries, and public spaces that would interact with the surrounding architecture. His installations mix imagery and media such as painting, fiberglass relief sculpture, wall-size flowcharts, and digitally generated wallpaper. Halley created his first site-specific installation at the Dallas Museum of Art; this installation included paintings, silkscreen prints, wallpaper, and murals of flow charts and other images. The flow charts had entered Halley's lexicon around 1994 as both elements of paintings and as independent works; they are "readymade models from textbooks and manuals and other such sources of hierarchies or processes of various kinds, from business hierarchies and divisions of labor to psychological and sociological theories of human relationships and behavior to commodity-production processes." Describing his new approach, specifically the implementation of flow charts on the walls, Halley said: When I was planning to include them [flow charts] in my Dallas show some people said that it would be too didactic to put a flow chart next to a painting to show the connections between them. But I use flow charts that are as opaque as possible; in other words there is no specific information. In fact, they make no sense without their captions. What happened in Dallas was that viewers first looked at the flowcharts, then they looked at the paintings. I think it was a way of giving the average person information about the paintings.

paragraph: Other notable installations include at Museum Folkwang, Essen, in 1999, and Disjecta, Portland, in 2012, as well as "Judgment Day," an installation of digital prints for the exhibition, Personal Structures, at the 54th Venice Biennale in 2011. Recently, he exhibited "The Schirn Ring", a large, multi-part installation at Schirn Kunsthalle, Frankfurt, Germany.

paragraph: Halley has created several permanent works in public spaces. In 2005, he was commissioned to make a 17-by-40 foot painting consisting of a grid of eight individual panels, for the Dallas/Fort Worth International Airport, Texas. Three years later, in 2008, he completed a permanent installation of digital prints extending over five floors for the Gallatin School of Individualized Study at New York University. In 2018, Halley had a show of paintings at the Lever House on Park Avenue in New York City. The show included paintings with fluorescent geometric forms, in canvases that were not square, but which had rectilinear outlines. The show also included an installation of Halley's "exploding cells". Halley created an installation for the show in the exterior-facing windows of the Lever House, in which the light exuding from the windows was tinted fluorescent chartreuse. The installation included a dance piece by Jessie Gold of Movement Research, in which dancers in the exterior-facing windows performed for an audience below.

paragraph: Halley's longstanding interest in design has led to collaborative installations with international designers, creating a compelling dialogue between fine art and design. In 2007 he collaborated with French designer Matali Crasset on an installation at Galerie Thaddaeus Ropac, Paris, France; and with Italian architect Alessandro Mendini at Galleria Massimo Minini, Brescia, Italy, and at Mary Boone Gallery, New York.

paragraph: Section::::"Index Magazine".

paragraph: In 1996, Halley and Bob Nickas, a curator and writer, co-founded "index", a magazine inspired by Andy Warhol's "Interview" that featured interviews with people in various creative fields. Halley ran index from his New York studio. The magazine often employed rising photographers like Juergen Teller, Terry Richardson, Wolfgang Tillmans, and Ryan McGinley, and ran interviews with artists of diverse media like Björk, Brian Eno, Marc Jacobs, Agnes b., Diamanda Galas, Harmony Korine, and Scarlett Johansson. Halley stopped production of "index" in 2005. In 2014, Rizzoli published "Index A to Z: Art, Design, Fashion, Film, and Music in the Indie Era", which documents the magazine's run as well as that era's cultural movements.

paragraph: Section::::Teaching.

paragraph: Halley has taught and lectured at universities continuously throughout his career, both in the United States and abroad. In the early 2000s, Halley was an active teacher in the graduate art programs at Columbia University, UCLA, and Yale University. In 2002, he became director of the Graduate Painting and Printmaking program at the Yale School of Art, where he served until 2011. From 2010 to 2011, he was appointed as an endowed chair, the Leffingwell Professor of Painting, at the Yale University School of Art. Halley's prominent students include artists Mary Reid Kelly, Tala Madani, Keltie Ferris, Matt Connors, Ella Kruglyanskala, Anna Betbeze, Sacha Braunig, Ahmed Alsoudani, Njideka Akununyili Crosby, Abigail Deville, Jennifer Packer, and (from the Columbia MFA program) Dana Schutz.

paragraph: Section::::Personal life.

paragraph: Halley is married to the painter Ann Craven. He has two children, Isabel and Thomas, from a previous marriage to Caroline Stewart.

paragraph: Section::::Further reading.

paragraph: BULLET::::- Peter Halley, "Selected Essays 1981-2001", Edgewise Press, N.Y, 2013.

paragraph: BULLET::::- Peter Halley, "Collected Essays, 1981-87", Bruno Bischofberger, 1988.

paragraph: BULLET::::- Peter Halley, "Recent Essays 1990-1996", Edgewise Press, N.Y, 1997.

paragraph: Section::::External links.

paragraph: BULLET::::- Index Magazine Published by Peter Halley from 1996 to 2005

paragraph: BULLET::::- Peter Halley Artist Page at Sommer Contemporary Art Gallery Website

paragraph: BULLET::::- In the collection of MoMA

paragraph: BULLET::::- Greene Naftali Gallery, New York

paragraph: BULLET::::- Stuart Shave Modern Art, London

description: American artist

wikidata_label: Peter Halley

wikipedia_title: Peter Halley


text:
Austria-Hungary
Gestalt
Prague
Munich
Berlin
Max Wertheimer
Käthe Kollwitz
Gestalt psychology
Heinrich Wölfflin
Ludwig Maximilian University of Munich
Halle University
Stockholm
Constantinople
Julius S. Held
Erwin Panofsky
Frank Aydelotte
Kristallnacht
Blitz
Rescue of the Danish Jews
Albert Einstein
Profile at Institute for Advanced Study

categories: 1878 births,Czech people of Jewish descent,German art historians,People from the Kingdom of Bohemia,German male non-fiction writers,1962 deaths,Guggenheim Fellows,Princeton University faculty,University of Halle faculty,German people of Czech-Jewish descent,Jewish emigrants from Nazi Germany to the United States,German architectural historians

paragraph: Paul Frankl

paragraph: Paul Frankl (22 April 1878 – 30 January 1962) was an art historian born in Austria-Hungary.

paragraph: Frankl is most known for his writings on the history and principles of architecture, which he famously presented within a Gestalt-oriented framework.

paragraph: Section::::Early education and career, 1878-1934.

paragraph: Paul Frankl was born in Prague into the prominent rabbinic Spira-Frankl family. From 1888 to 1896, he attended a German Gymnasium, after which he enrolled in the German Staats-Obergymnasium of Prague, graduating in 1896. He served for one year as Lieutenant in the Austrian military. In order to pursue a degree in higher education, he converted to Catholicism, a move that was not uncommon among non-Catholics during this era. He matriculated to the Technische Hochschule in Munich and, later, Berlin, and graduated with a degree in architecture in 1904.

paragraph: While in Berlin, Frankl fostered social relationships within circles of philosophers and artists whose members included fellow Pragueian Max Wertheimer, who knew Käthe Kollwitz. These artists and philosophers not only introduced Frankl to new systems of thinking, such as Gestalt psychology, but also to his future wife, the artist and musician, Elsa Herzberg, who shared a studio with Käthe Kollwitz. Frankl and Herzberg eventually had five children.

paragraph: In 1908, Frankl left his work as an architect to study philosophy, history, and art history at the Ludwig-Maximilians-Universität in Munich under Heinrich Wölfflin and Berthold Riehl, the founder of the Institut für Kunstgeschichte. Riehl supervised Frankl's doctoral dissertation on fifteenth-century glass painting in southern Germany.

paragraph: After the completion of his dissertation in 1910, Frankl worked as Wölfflin's assistant and wrote his "Habilitationsschrift", which offered a systematic definition of the formal principles of architecture from the Renaissance onwards. Frankl was heavily influenced by Wölfflin's understanding of architectural development, but did not adhere to Wölfflin's views on formalism. From 1914 to 1920, Frankl held a position as privatdozent, which enabled him to teach at the University of Munich while contributing to the "Handbuch der Kunstwissenschaft" (ed. Albert Brinckmann and Fritz Burger). In 1914, Frankl wrote his first theoretical work, "Die Entwicklungsphasen der neueren Baukunst" (1914). "Die Entwicklungsphasen" proposes four major categories of art history analysis - spatial composition, treatment of mass and surface, treatment of optical effects, and the relation of design to social function - that Frankl continued to draw upon in his later work.

paragraph: Frankl held an assistant professorship at the Ludwig Maximilian University of Munich from 1920 to 1921, after which he became full professor at Halle University. It was here that Frankl initiated his lifelong interest in medieval architecture. His study, "Die frühmittelalterliche und romanische Baukunst" (1926) exemplifies his categorical distinctions between Romanesque and Gothic architecture - the former being "additive", "frontal", and "structural" while the latter is "partial", "diagonal", and "textural". In 1933, Frankl's enthusiasm for medieval architecture led him to join a group of medievalists at the 13th International Congress of the History of Art in Stockholm to view the only gothic church whose original wooden arch scaffolding was still extant.

paragraph: The Nazis terminated Frankl's position in Halle in 1934. Upon leaving the university, Frankl returned to Munich and wrote his monumental treatise, "Das System der Kunstwissenschaft" (1938), which offered a comprehensive history of art grounded in phenomenology and morphology. "Das System" was issued in Czechoslovakia since Jewish authors were censored in Germany and Austria. During this time, Frankl also made a brief trip to Constantinople.

paragraph: Section::::Transitions to the United States, 1934-1947.

paragraph: Frankl traveled to the United States in 1938, where he sought work and refuge from Nazi power. Although he was fluent in seven languages, English was not his strength. In spite of this, Frankl taught for a short time at a volunteer seminar that Julius S. Held organized. After six months, Frankl's visa expired and he became desperately ill. In order to apply for US citizenship, he sailed to Cuba – so as to step on "foreign" soil – and reentered the United States as an immigrant. In 1939, with the assistance of Max Wertheimer, Oscar Kristeller (a professor of Italian Renaissance literature), and Erwin Panofsky, Frankl received a position as art historian at the Institute of Advanced Study at Princeton University. The Institute was under the direction of Frank Aydelotte at that time. In 1949, Frankl received a tenure appointment, which he held until his death.

paragraph: Four days after Kristallnacht, Frankl's wife, Elsa, and daughter, Susanne, fled to Denmark from Munich. Because Elsa's son, Wolfgang, was in England, six months after entering Denmark, Elsa was allowed to enter England as well. Upon coming to England, she was interned as an "enemy alien" on the Isle of Man.

paragraph: Wolfgang had left Germany in 1933 to live in Rome, but the increased Fascist threat prompted him to seek safety in England. When Wolfgang first came to England, he was interned as an "enemy alien". However, since Wolfgang was an architect, he was allowed to live in an apartment with the caveat that if he wandered more than 5 miles from the apartment, he had to inform the authorities. He helped to design buildings during the rebuilding of London after the Blitz.

paragraph: Susanne escaped to Sweden with the Danish boat-saving rescue venture (Rescue of the Danish Jews) after the Nazis started their attempt at rounding up the Jews.

paragraph: Another daughter, Johanna, survived the war in Berlin with protected status with her non-Jewish husband.

paragraph: Frankl’s youngest daughter, Regula, followed soon after Frankl to the US. Since she was still a minor, she was allowed to stay in the US without renewing her visa. She went to Radcliffe under a special program for German refugees.

paragraph: As a personal response to the plight of the Jewish people and his family, Frankl joined a committee at Princeton that sought to hypothesize a world government system that would ensure that racial genocide could never happen again. Among the committee's members numbered Albert Einstein. During this period, Frankl wrote a book called "Welt Regierung" (1948), his own thoughts on a system of world government.

paragraph: Section::::Later life and career, 1947-1962.

paragraph: Frankl returned to Europe in 1947 with the support of a Guggenheim Grant. For two years, Frankl studied European cathedrals and taught at European universities. After returning to the United States, he wrote "The Gothic: Literary Sources and Interpretations through Eight Centuries" (1960) and "Gothic Architecture" (1962), which he completed the day of his death. These works revealed Wölfflin's continued influence on Frankl, who applied his former advisor's ideas of architectural style while supplementing his study with an analysis of social function and religious significance.

paragraph: Section::::Legacy.

paragraph: Frankl's work on spatial analysis influenced many German architectural historians such as Siegfried Giedion and Nikolaus Pevsner. It is possible that the work of Frankl's pupil, Richard Krautheimer, owes something to Frankl's writings on architectural function and significance. Frankl is responsible for creating the term "akyrism," which connotes the changing contexts and meanings of art.

paragraph: Materials relating to Frankl's life and work are currently held at the Leo Baeck Institute in NY, USA, and the Exil Literatur Archive in Frankfurt, Germany.

paragraph: Section::::Writings.

paragraph: BULLET::::- "Die Glasmalerei des fünfzehnten Jahrhunderts in Bayern und Schwaben" (Strasbourg, 1912)

paragraph: BULLET::::- "Die Entwicklungsphasen der neueren Baukunst" (Leipzig and Berlin, 1914) (See English translation, "The Principles of Architectural History: The Four Phases of Architectural Style, 1420–1900" (Cambridge, MA, and London, 1968, 1973)).

paragraph: BULLET::::- "Die frühmittelalterliche und romanische Baukunst" (Potsdam, 1926)

paragraph: BULLET::::- "Das System der Kunstwissenschaft" (Brno, 1938)

paragraph: BULLET::::- "Weltregierung" (1948)

paragraph: BULLET::::- "Kistenfiger" (1956)

paragraph: BULLET::::- Theobald von Lixheim (1957 Zeit Schrift)

paragraph: BULLET::::- "The Gothic: Literary Sources and Interpretations through Eight Centuries" (Princeton, 1960)

paragraph: BULLET::::- Kunst Chronik (1961 Hemmel)

paragraph: BULLET::::- "Boucher's Girl on the Couch" (1961)

paragraph: BULLET::::- "Encyclopædia Britannica" article on Gothic Architecture (1962)

paragraph: BULLET::::- "Roundel in Boston" (1962)

paragraph: BULLET::::- "Gothic Architecture", Pelican Hist. A. (Harmondsworth, 1962)

paragraph: BULLET::::- "Zu Fragen des Stils" (Leipzig 1988)

paragraph: Section::::Further reading.

paragraph: BULLET::::- R. Krautheimer: Obituary, A. J. [New York], xxii/1 (1962), p. 167

paragraph: BULLET::::- Obituary, Wallraf-Richartz-Jb., xxiv (1962), pp. 7–14

paragraph: BULLET::::- D. Porphyrios: "On the Methodology of Architectural History" (London, 1981)

paragraph: BULLET::::- Gerhard Sonnert and Gerald Holton, "The Grand Wake for Harvard Indifference" in "Harvard Magazine" September–October 2006

paragraph: Section::::External links.

paragraph: BULLET::::- Profile at Institute for Advanced Study

description: German art historian

wikidata_label: Paul Frankl

wikipedia_title: Paul Frankl