text:
structural engineer
Krag–Petersson
Öland
Royal Institute of Technology
Stockholm
Kongsvinger Line
Østfold Line
Dovre Line
Eidsvoll
Hamar
Tay Bridge disaster
Hølen Viaduct
Sarp Bridge
Ole Herman Johannes Krag
Krag–Petersson
Norwegian military

categories: People from Öland,Bridge engineers,Swedish engineers,1884 deaths,1834 births,Viaduct engineers,Norwegian engineers

paragraph: Axel Jacob Petersson

paragraph: Axel Jacob Petersson (1834–15 January 1884) was a Swedish-Norwegian structural engineer and inventor. He is most noted for his work with railway bridges and viaducts in Norway from the 1860s through the 1870s, as well as developing the Krag–Petersson rifle.

paragraph: Section::::Biography.

paragraph: Petersson was born in Öland in 1834. He studied at the Royal Institute of Technology in Stockholm between 1852 and 1855. He worked for the Swedish Canal Administration and later for a private railway in Sweden. He moved to Norway in 1859, after he was hired as an assistant engineer for the construction of the Kongsvinger Line. By 1865 he was hired as the chief of the Railway Construction Office. He was responsible for construction of bridges and viaducts on the Østfold Line and the Dovre Line between Eidsvoll and Hamar.

paragraph: By 1881 Peterson had poor health and retired. He died on 15 January 1884 in Christiania (now Oslo), Norway. There was a story that stayed around for a long time that the constructor of the Ljan Viaduct had committed suicide before its opening because he did not trust it to stand. Geir-Wider Langård has proposed that this folklore arose with the magnitude of the bridge combined with the Tay Bridge disaster in Scotland which killed 75 people when it collapsed the same year as the Ljan Viaduct opened in 1879.

paragraph: Section::::Works.

paragraph: Some of the larger constructions were Minnesund Railway Bridge ("Minnesund Jernbanebru"), Ljan Viaduct ("Ljansbroen"), Hølen Viaduct ("Hølen viadukt") and Sarp Bridge ("Sarpsbroene"). Petersson invented the pendular pillar principle, which was first applied on Hølen Viaduct.

paragraph: Petersson also made a series of other inventions. He developed a rotating camera and calculating machines. He cooperated with Ole Herman Johannes Krag to develop the Krag–Petersson rifle, which was a mainstay in the Norwegian military for decades.

paragraph: Section::::Bibliography.

paragraph: BULLET::::- "Regler for Maskindeles Konstruktion" (1866, 1877) with C. M. Guldberg

paragraph: BULLET::::- "Regler for Vandhjuls og Turbiners Konstruktion" (1868) with C. M. Guldberg

description: Swedish engineer

wikidata_label: Axel Petersson

wikipedia_title: Axel Jacob Petersson


text:
Argentine Socialist Party
Bordeaux
Buenos Aires
crèches
breastfeed

categories: French emigrants to Argentina,Argentine feminists,Argentine health activists,People from Bordeaux,Argentine women journalists,20th-century deaths from tuberculosis,Argentine women's rights activists,1866 births,Socialist Party (Argentina) politicians,1906 deaths

paragraph: Gabriela Laperrière de Coni

paragraph: Gabriela Laperrière de Coni (1866 – 8 January 1907) was an Argentine journalist, socialist, and public health activist. She founded the Feminist Socialist Center of the Argentine Socialist Party, and served on the executive committee of the party, the first woman to do so. She was a pioneering intellectual who devoted her energy to the cause of feminist issues related to working women in Argentina.

paragraph: Section::::Early life.

paragraph: She was born in Bordeaux, France in 1866. No further information is available about her early life, except that she wrote a novel on "woman's efforts to help sick children." At the age of 18, she married Dr. Emilio R. Coni, noted public-health physician from Buenos Aires who was actively engaged in immigration and health issues. She migrated to Argentina with him. His activity complimented her deep interests in the healthcare of women.

paragraph: Section::::Career.

paragraph: In the initial years, Gabriella was constantly exposed to a stream of visitors seeking help from Emilio, the Director of Public Assistance in Buenos Aires, all related to the health, accommodation, living conditions, destitute children and unemployment among both men and women. Unable to cope with the situation, the couple moved to Paris. In 1895 they returned to Argentina but her husband Emilio was laid for months due to a paralytic stroke. She then attended to the duties of her husband and helped people who came seeking their assistance. In 1901, the city government of Buenos Aires permitted Gabriella to study and report on the working conditions of women and children. During this assignment she toured the neighborhood extensively and was appalled by the inhumane living conditions, lack of hygiene, food and health facilities, poor nutrition, people living in abject poverty, lack of electricity and many more miseries.

paragraph: After this assessment, she launched on many rehabilitation programmes such as providing food rations, set crèches at workplaces so that women workers could breastfeed their babies, and improved access to urban services and housing. She visited factories and reported on the harsh attitude of its owners in treating their employees which received public attention through her writings in newspapers. She made a four-part report of her findings and also mooted a proposal to enact labor laws which would bring about protection of women and children. This bill was enacted by the Parliament after her death in 1907.

description: Argentine journalist

wikidata_label: Gabriela Laperrière de Coni

wikipedia_title: Gabriela Laperrière de Coni


text: baseball

text: left fielder

text: St. Louis Cardinals

text: Major League Baseball

text: UCLA Bruins baseball

text: University of California, Los Angeles

text: college baseball

text: UCLA Bruins baseball

text: St. Louis Cardinals

text: 2008 Major League Baseball draft

text: Batavia Muckdogs

text: Palm Beach Cardinals

text: Quad City River Bandits

text: Springfield Cardinals

text: Cañeros de Los Mochis

text: Liga Mexicana del Pacífico

text: Memphis Redbirds

text: Matt Adams

text: pinch hitter

text: Águilas Cibaeñas

text: Dominican Winter League

text: Cincinnati Reds

text: Louisville Bats

text: Oakland Athletics

text: Nashville Sounds

text: Midland RockHounds

text: Minnesota Twins

text: Somerset Patriots

text: UCLA Bruins bio

text: Jermaine Curtis Online Store

categories: People from Panorama City, Los Angeles,Palm Beach Cardinals players,1987 births,Batavia Muckdogs players,Rochester Red Wings players,Major League Baseball outfielders,Springfield Cardinals players,Somerset Patriots players,Baseball players from California,St. Louis Cardinals players,Memphis Redbirds players,Louisville Bats players,Cañeros de Los Mochis players,Águilas Cibaeñas players,Quad Cities River Bandits players,Living people,Nashville Sounds players,Naranjeros de Hermosillo players,Midland RockHounds players,People from Fontana, California,UCLA Bruins baseball players

paragraph: Jermaine Curtis

paragraph: Jermaine A. Curtis (born July 10, 1987) is an American professional baseball left fielder who is currently a free agent. He has played for the St. Louis Cardinals in Major League Baseball (MLB), as well as the UCLA Bruins baseball team.

paragraph: Section::::Career.

paragraph: Curtis attended the University of California, Los Angeles (UCLA), where he played college baseball for the UCLA Bruins baseball team.

paragraph: Section::::Career.:St. Louis Cardinals.

paragraph: The St. Louis Cardinals selected Curtis in the fifth round of the 2008 Major League Baseball draft. He made his professional debut that season playing for the Class A-Short Season Batavia Muckdogs. In 2009, he played for the Class A-Advanced Palm Beach Cardinals and Class A Quad City River Bandits. He played for Palm Beach and the Double-A Springfield Cardinals in 2010. Curtis spent the entire 2011 season with Springfield, but played that winter with the Cañeros de Los Mochis of the Liga Mexicana del Pacífico. He opened the 2012 season with the Triple-A Memphis Redbirds, but ended the season with Double-A Springfield. He again played winter ball with Los Mochis after the season.

paragraph: He began the 2013 season with Memphis, but was called up by the St. Louis Cardinals on April 26 after Matt Adams was placed on the disabled list. Curtis made his major league debut the next day as a pinch hitter. He was optioned back to Triple-A about a week later after appearing in three games. He was recalled in mid-August, hitting off the bench in two games. He was outrighted to Triple-A on November 20, 2013.

paragraph: That winter, Curtis played for the Águilas Cibaeñas of the Dominican Winter League. He played the entire 2014 season with Triple-A Memphis. He was granted free agency after the season.

paragraph: Section::::Career.:Cincinnati Reds.

paragraph: On December 23, 2014, Curtis signed a minor league contract with the Cincinnati Reds. Excluding a month-and-a-half stint on the disabled list late in the season, he played the entire 2015 season with the Triple-A Louisville Bats. He elected free agency on November 6, 2015, but later re-signed with the Reds. He again played with Louisville in 2016, missing the last month of the season due to injury. He elected free agency after the season.

paragraph: Section::::Career.:Oakland Athletics.

paragraph: Curtis signed a minor league contract with the Oakland Athletics for 2017. He played two games with the Triple-A Nashville Sounds before being transferred to the Double-A Midland RockHounds. He was reassigned to Nashville about two weeks later. He elected free agency on November 6, 2017.

paragraph: Section::::Career.:Minnesota Twins.

paragraph: On January 21, 2018, Curtis signed a minor league deal with the Minnesota Twins. He was released on June 6, 2018.

paragraph: Section::::Career.:Somerset Patriots.

paragraph: On June 26, 2018, Curtis signed with the Somerset Patriots of the Atlantic League of Professional Baseball. He was released on July 28, 2018.

paragraph: Section::::External links.

paragraph: BULLET::::- UCLA Bruins bio

paragraph: BULLET::::- Jermaine Curtis Online Store

description: American baseball player

wikidata_label: Jermaine Curtis

wikipedia_title: Jermaine Curtis


text: Adolfo Suárez

text: Leopoldo Calvo Sotelo

text: Madrid

categories: People from Madrid,1930 births,Government ministers of Spain,Mayors of Madrid,Spanish politicians,Living people

paragraph: José Luis Álvarez (politician)

paragraph: José Luis Álvarez y Álvarez (born 4 April 1930) is a Spanish politician. He was the city of Madrids mayor from March 3, 1978 and to January 5, 1979. He then worked with Adolfo Suárez and Leopoldo Calvo Sotelo as Minister of Transport and Communications from 1980 to 1981. He also was the Minister of Agriculture, Fisheries and Food between 1981 and 1982. He was born in Madrid.

description: Spanish politician and diplomat born 1930

wikidata_label: José Luis Álvarez Álvarez

wikipedia_title: José Luis Álvarez (politician)


text:
gymnasium
Pančevo
Belgrade Lyceum
Vienna
Munich
Paris
London
Grandes écoles
Milan Obrenović
Order of the Cross of Takovo
Order of the White Eagle

categories: 1893 deaths,1842 births,Serbian male poets,Writers from Belgrade,Presidents of the National Assembly of Serbia,19th-century politicians,19th-century Serbian poets,Politicians from Belgrade,19th-century Serbian philosophers

paragraph: Milan Kujundžić Aberdar

paragraph: Milan Kujundžić Aberdar (Belgrade, 28 February 1842 - Belgrade, 26 November 1893) was a Serbian poet,philosopherand politician.

paragraph: He was born in Belgrade and given the name Janićije but later he changed it to Milan.His pseudonym Aberdar came from his collected poems.

paragraph: He studied at the gymnasium in Belgrade and Pančevo, and enrolled the legal department of the Belgrade Lyceum. With the Turkish bombardment of Belgrade in 1862, he stopped his studies and joined the Serbian army.

paragraph: After that, he received a scholarship from the Serbian government to study philosophy in Vienna, Munich, Paris, and London. Before finishing his studies at Oxford, in 1866 he was back in Serbia, recalled by the Minister of Education, to take over the Department of Philosophy at the Grandes écoles.

paragraph: He was a professor of philosophy at the Great School, Secretary of the Serbian Learned Society (from 1873 to 1882), President of the National Assembly (from 1880 to 1885), Minister of Education (1886-1887), envoy of Rome, Youth Editor of "Srbadije" and poet.

paragraph: King Milan Obrenović appointed him on 5 April 1887 the first 16 academicians of the Serbian Royal Academy, among them was Milan Kujundžić Aberdar.

paragraph: He participated in the Serbian-Turkish wars of 1876-1878. and for that reason, he was promoted to Major, and later to Lieutenant-Colonel. Among the many decorations he received, the most significant are: the medal of the regeneration of the Serbian kingdom, the Order of the Cross of Takovo III degree, the Order of the White Eagle III degree, and the Order of the Cross of Takovo IV degree with swords.

paragraph: Section::::Works.

paragraph: BULLET::::- "Kratki pregled harmonije u svetu" (A Short Survey: Harmony in the World)

paragraph: BULLET::::- "Filozofija u Srba" (Philosophy Among Serbs)

paragraph: BULLET::::- " Šta je i koliko u nas urađeno na lođici?" (What is and how much is done in our logic?)

paragraph: BULLET::::- " Ide li svet na bolje ili na gore? (Is the world going for better or for worse?)

description: Serbian philosopher, politician, poet

wikidata_label: Milan Kujundžić Aberdar

wikipedia_title: Milan Kujundžić Aberdar


text:
Greek
Greek
Macedonian Struggle
Kleisoura
Kastoria
Macedonian Struggle
Bulgarian
Ottoman authorities
Verno
Eordaia
Ioannis Karavitis
Lechovo
First Balkan War

categories: 1951 deaths,Greek people of the Macedonian Struggle,1864 births,People from Kastoria,Macedonian revolutionaries (Greek),Greek military personnel of the Balkan Wars,Greek Macedonians

paragraph: Dimitrios Stagas

paragraph: Dimitrios Stagas (Greek: Δημήτριος Στάγκας) or Stasinopoulos, known as well with his nickname Captain Mizas was a Greek chieftain of the Macedonian Struggle.

paragraph: Section::::Biography.

paragraph: Stagas was born in 1864 in Kleisoura of the Kastoria region. He set up his own armed group which acted throughout the Macedonian Struggle, defending his hometown, Kleisoura, from Bulgarian raids, but also the retaliation of the Ottoman authorities. He acted in the regions of Kastoria, Verno and Eordaia. He cooperated in several operations with Ioannis Karavitis. He was a member of the "Struggle Commision of Kleisoura" and the leader of the militia of Lechovo. He also participated in various operations in the First Balkan War as a volunteer.

paragraph: He died in 1951 at the age of 86 or 87.

description: Greek soldier

wikidata_label: Dimitrios Stagas

wikipedia_title: Dimitrios Stagas


text: Sumer

text: Lagash

text: Amorite

text: Ur-Nanshe

text: Ur

text: Nippur

text: Akshak

text: Larsa

text: Uruk

text: Enshakushanna

text: King List

text: Kish

text: Umma

text: Gu-Edin

text: Elam

text: Persian Gulf

text: Shubur

text: Mari

text: Niniveh

text: Stele of the Vultures

text: Louvre

text: stele

text: Telloh

text: Iraq

text: Enakalle

text: Umma

text: Ninurta

text: Enlil

paragraph: Eannatum

paragraph: Eannatum ( ) was a Sumerian king of Lagash circa 2500–2400 BCE. He established one of the first verifiable empires in history. One inscription found on a boulder states that Eannatum was his Sumerian name, while his "Tidnu" (Amorite) name was "Lumma".

paragraph: Section::::Conquest of Sumer.

paragraph: Eannatum, grandson of Ur-Nanshe, was a king of Lagash who conquered all of Sumer, including Ur, Nippur, Akshak (controlled by Zuzu), Larsa, and Uruk (controlled by Enshakushanna, who is on the King List). He also annexed the kingdom of Kish, which regained its independence after his death. He made Umma a tributary, where every person had to pay a certain amount of grain into the treasury of the goddess Nina and the god Ingurisa, after personally commanding an army to subjugate the city in a war over the fertile plain of Gu-Edin.

paragraph: Section::::Conquest outside Sumer.

paragraph: Eannatum expanded his influence beyond the boundaries of Sumer. He conquered parts of Elam, including the city Az off the coast of the modern Persian Gulf, allegedly smote Shubur, and demanded tribute as far as Mari. However, revolts often arose in parts of his empire. During Eannatum’s reign, many temples and palaces were built, especially in Lagash. The city of Nina, probably a precursor of Niniveh, was rebuilt, with many canals and reservoirs being excavated.

paragraph: Section::::Stele of the Vultures.

paragraph: The so-called Stele of the Vultures, now in the Louvre, is a fragmented limestone stele found in Telloh, (ancient Girsu) Iraq, in 1881. The stele is reconstructed as having been high and wide and was set up ca. 2500–2400 BCE. It was erected as a monument of the victory of Eannatum of Lagash over Enakalle of Umma.

paragraph: On it various incidents in the war are represented. In one register, the king (his name appears inscribed around his head) stands in front of his phalanx of heaviy armoured soldiers, with a curved weapon in his right hand, formed of three bars of metal bound together by rings. In another register a figure, the king, his name again inscribed around his head, rides on his chariot in the thick of the battle, while his kilted followers, with helmets on their heads and lances in their hands, march behind him.

paragraph: On the other side of the stele is an image of Ninurta, a god of war, holding the captive Ummaites in a large net. This implies that Eannatum attributed his victory to Ninurta, and thus that he was in the god's protection (though some accounts say that he attributed his victory to Enlil, the patron deity of Lagash).

paragraph: Section::::External links.

paragraph: BULLET::::- Eannatum, the Great. A brief history of Eannatum, the Alexander of his day.

paragraph: BULLET::::- The Vulture Stele. A complete description and translation.

description: Ancient Sumerian king

wikidata_label: Eannatum

wikipedia_title: Eannatum


href: Eannatum Lagash Umma

text: E-anna-tum Lagash Umma

paragraph: En-anna-tum I

paragraph: En-anna-tum I (, ) succeeded his brother E-anna-tum as king of Lagash. During his rule, Umma once more asserted independence under Ur-Lumma, who attacked Lagash unsuccessfully. Ur-Lumma was replaced by a priest-king, Illi, who also attacked Lagash.

description: King of Lagash

wikidata_label: En-anna-tum I

wikipedia_title: En-anna-tum I


text:
Russia
Harper's Bazaar
Ogolichi
Russian Empire
Russo-Japanese War
Moscow
Prince Tenisheff School
Saint Petersburg
Imperial Art Academy
World War I
Russian army
Russian Civil War
White Army
Bolsheviks
Caucasus
Novorossiysk
Constantinople
Paris
white émigré
Montparnasse
Archipenko
Chagall
Nathan Altman
Diaghilev
Dadaism
Suprematism
Constructivism
Bauhaus
Futurism
De Stijl
Cubism
Fauvism
Purism
Surrealism
Cahiers d'Art
Picasso
Alexander Pushkin
Fyodor Dostoyevsky
Jean Lorrain
University of the Arts
Philadelphia
N. C. Wyeth
Howard Pyle
romantic realism
Cocteau
Bauhaus
Diane Arbus
Eve Arnold
David Attie
Richard Avedon
Harvey Lloyd
Hiro
Lisette Model
Garry Winogrand
Tony Ray-Jones
Harvey Lloyd
Art Kane
Hiro
David Attie
David Attie
Harvey Lloyd
Richard Avedon
Jerry Schatzberg
Irving Penn
Vogue Magazine
Marvin Israel
Lillian Bassman
Ryszard Horowitz
Hiro
Robert Frank
Garry Winogrand
Ed Feingersh
Harper's Bazaar
Mademoiselle
RCA Records
House Beautiful
Allan Porter
Camera
Good Housekeeping
American Weekly
Newsweek
Life Magazine
CBS
Ted Croner
IBM
Rockefeller Center
Carmel Snow
Vogue
William Randolph Hearst
Europe
World War II
Jean Cocteau
Raoul Dufy
Leonor Fini
Marc Chagall
Man Ray
A. M. Cassandre
Erté
photostat machine
Surrealism
Paris
New York
fashion photography
Dior
Tony Lane
graffiti
ballet
Ballet Russe de Monte Carlo
straight photography
Contax
Truman Capote
Breakfast at Tiffany's
Harper's Bazaar
David Attie
Carmel Snow
Esquire
Richard Avedon
Truman Capote
David Attie
Breakfast at Tiffany's
depression
alcoholism
Minox
Ben Rose
Manhattan State Hospital
Harvey Lloyd
Le Thor
Avignon
Kerry William Purcell
List of AIGA medalists
Biography
Biography
Alexey Brodovitch
Kerry William Purcell

categories: 1971 deaths,1898 births,AIGA medalists,Belarusian emigrants to the United States,American graphic designers,Russian artists,Russian art directors,Harper's Bazaar,Russian graphic designers,White Russian emigrants to the United States,French people of Russian descent,Imperial Russian emigrants to the United States

paragraph: Alexey Brodovitch

paragraph: Alexey Vyacheslavovich Brodovitch (also Brodovich; , ; 1898 – April 15, 1971) was a Russian-born photographer, designer and instructor who is most famous for his art direction of fashion magazine "Harper's Bazaar" from 1934 to 1958.

paragraph: Section::::Early life in Russia.

paragraph: Alexey Brodovitch was born in Ogolichi, Russian Empire (now Belarus) to a wealthy family in 1898. His father, Vyacheslav or Cheslau Brodovitch, was a respected physician, psychiatrist and huntsman. His mother was an amateur painter. During the Russo-Japanese War, his family moved to Moscow, where his father worked in a hospital for Japanese prisoners. Alexey was sent to study at the Prince Tenisheff School, a prestigious institution in Saint Petersburg, with the intentions of eventually enrolling in the Imperial Art Academy. He had no formal training in art through his childhood, but often sketched noble profiles in the audience at concerts in the city.

paragraph: Section::::Military career.

paragraph: At the start of World War I at the young age of 16, Brodovitch abandoned his dream of entering the Imperial Art Academy and ran away from home to join the Russian army. Not long after, his father had him brought home and hired a private tutor to help Alexey finish school. Upon graduating, Brodovitch ran away again on several occasions. He recalls:

paragraph: After a week or so I ran away to the front line to kill Germans. But my father, now a military general at the head of a Red Cross hospital train, had plenty of influence, and I was soon brought back to him. On the train back I was employed as a nurses' aid. In East Prussia I ran away again and joined a nearby regiment. Once again I was caught, and this time I was sent to an officers' school, the Corps de Pages.

paragraph: During the Russian Civil War, Brodovitch served with the White Army. While fighting against the Bolsheviks in Odessa, he was badly wounded and was hospitalized for a time in Kislovodsk, in the Caucasus. In 1918, the town was surrounded by the Bolsheviks, forcing Brodovitch into exile. It was during this retreat to the south through Caucasus and Turkey that he met his future wife, Nina.

paragraph: By good fortune, Alexey's brother Nicolas turned out to be one of the soldiers guarding the refugees in Novorossiysk. Not long after, their father, who had been imprisoned in Saint Petersburg by the Bolsheviks, managed to flee to Novorossiysk in hopes of finding his family. The three were once again together, and arranged for Brodovitch's mother and other relations to join them in Constantinople. Finally reunited, the Brodovitchs made their way to France.

paragraph: Section::::Influential years in Paris.

paragraph: Section::::Influential years in Paris.:An émigré.

paragraph: Upon arriving in Paris, Brodovitch wanted to be a painter. A Russian white émigré in Paris, Brodovitch found himself poor and having to work for the first time in his life. He took a job painting houses, while his wife Nina worked as a seamstress. They lived in a cheap, small apartment in the area of Montparnasse, among other Russian artists who had settled in Paris at the end of the 19th century. This group of artists, including Archipenko, Chagall, and Nathan Altman, would meet at the inexpensive Académie Vassilieff, which offered painting and sculpting classes without an instructor. His connections with these young Russian artists led to more artistic work as a painter of backdrops for Diaghilev's "Ballets Russes."

paragraph: Paris was a cosmopolitan city through which many artists and art movements passed. Brodovitch was exposed to everything from Dadaism from Zurich and Berlin, Suprematism and Constructivism from Moscow, Bauhaus design from Germany, Futurism from Italy, De Stijl from the Netherlands, and the native strains of Cubism, Fauvism, Purism and Surrealism. Among these various artistic influences, Brodovitch found his beginnings as a designer.

paragraph: Section::::Influential years in Paris.:Move to graphic arts.

paragraph: On nights and weekends away from the "Ballets Russes", Brodovitch began sketching designs for textiles, china, and jewelry. By the time his work for the ballet had finished, he had already compiled an extensive portfolio of these side projects and was selling his designs to fashionable shops. He worked part-time doing layouts for "Cahiers d'Art", an important art journal, and "Arts et Métiers Graphiques", an influential design magazine. While working on layouts, Brodovitch was responsible for fitting together type, photographs, and illustrations on the pages of the magazines. He had the rare opportunity of having influence over the look of the magazine as there was no art director.

paragraph: He gained public recognition for his work in the commercial arts by winning first prize in a poster competition for an artists' soiree called "Le Bal Banal" on March 24, 1924. The poster was exhibited on walls all over Montparnasse along with a drawing by Picasso, who took second place. Brodovitch remained proud of this poster throughout his career, always keeping a copy of it pinned to his studio wall. The graphic, light-to-dark inversion of its mask shape, type, and background suggest not only the process of photography, but also represents the process of trading one's identity for another when wearing a mask. It is the oldest surviving work by Brodovitch. He continued to gain recognition as an applied artist due to his success at the Paris International Exhibit of the Decorative Arts in 1925. He received five medals: three gold medals for kiosk design and jewelry, two silver medals for fabrics, and the top award for the Beck Fils pavilion "Amour de l'Art."

paragraph: After these wins, Brodovitch's career as an applied artist took off. In 1928 he was hired by Athélia, the design studio of the Parisian department store Aux Trois Quartiers, to design and illustrate catalogues and advertisements for their luxury men's boutique, Madelios. Brodovitch was aware that many of the customers were fairly traditional in their tastes, so he balanced out his modern designs with classical Greek references.

paragraph: Although employed full-time by Athélia, Brodovitch offered his service as a freelance designer on the side. He started his own studio, L'Atelier A.B., where he produced posters for various clients, including Union Radio Paris and the Cunard shipping company. He was also commissioned by the Parisian publishing house La Pléiade to illustrate three books: "Nouvelles" by Alexander Pushkin, "Contes Fantastiques" by Fyodor Dostoyevsky, and "Monsieur de Bougrelon" by Jean Lorrain.

paragraph: Brodovitch embraced technical developments from the spheres of industrial design, photography, and contemporary painting. His broad curiosity began to assimilate the most interesting aspects of all these fields into his work, eventually making them his own. He later instilled this same curiosity in his students, encouraging them to use new techniques like the airbrush, industrial lacquers, flexible steel needles, and surgical knives.

paragraph: By the age of 32, Brodovitch had dabbled in producing posters, china, jewelry, textiles, advertisements, and paintings. Eventually specializing in advertising and graphic design, he had become one of the most respected designers of commercial art in Paris. By 1930, however, Paris had lost its luster for Brodovitch. The once-flourishing spirit of adventure and experimentation was fading away. Although he was offered many design positions, Brodovitch turned them down, presumably looking for new locales to advance his designs.

paragraph: Section::::Brodovitch as instructor.

paragraph: Section::::Brodovitch as instructor.:A new approach to teaching.

paragraph: While still living in Paris, Brodovitch was offered a job by John Story Jenks, the father of a young girl Brodovitch had shown around the arts scene in Paris. Jenks, a trustee of the Pennsylvania Museum School of Industrial Art (currently the University of the Arts), was overwhelmed by Brodovitch's talents and asked him to head the school's Advertising Design Department. In September 1930, Brodovitch moved to Philadelphia with his wife and son to take the job. Brodovitch began teaching advertising design, creating a special department devoted to the subject.

paragraph: Brodovitch's task was to bring American advertising design up to the level of Europe's, which was thought to have a far more modern spirit. Before his arrival, advertising students were simply copying the magazine styles of N. C. Wyeth and Howard Pyle. The illustrations were beautiful, but had evolved from the tradition of 19th-century romantic realism, a thing of the past. Brodovitch's teaching technique, on the other hand, was unlike any other the students had been exposed to. He would always teach with a visual aid. Brodovitch would bring into class French and German magazines to examine the pages with his students, explaining the artist's work or technique. He would raise questions like, "Could this line be better? Could it be like, for example, Cocteau?" When not in the classroom, Brodovitch would take the class on outings around Philadelphia to see factories, laboratories, shopping centers, housing projects, dumps, and the zoo. The students were then told to make a "graphic impression" of what they had seen, whether a photographic interpretation, a drawing, or an abstraction. Brodovitch did not teach in the conventional sense, but rather compelled his students to discover one's inner, creative resources.

paragraph: Section::::Brodovitch as instructor.:Design laboratory.

paragraph: In 1933, Brodovitch added the Design Laboratory to the classes he offered. It was meant to be a workshop for his advanced students who wanted to experiment with all aspects of design. Brodovitch shared the Bauhaus belief that you needed to educate the whole individual by directing his or her attention to a variety of modern solutions in their graphic projects. His course description for the Design Laboratory read:

paragraph: The aim of the course is to help the student to discover his individuality, crystallize his taste, and develop his feeling for the contemporary trend by stimulating his sense of invention and perfecting his technical ability. The course is conducted as an experimental laboratory, inspired by the ever-changing tempo of life, discovery of new techniques, new fields of operation ... in close contact with current problems of leading magazines, department stores, advertising agencies and manufactures. Subjects include design, layout, type, poster, reportage, illustration, magazine make-up, package and product design, display, styling, art directing.

paragraph: The lab was split into two sections per week, one for design and one for photography. The workshops were immensely popular, and it was not unusual for more than sixty people to show up to his class on the first night. Among the photographers who attended his classes were Diane Arbus, Eve Arnold, David Attie, Richard Avedon, Harvey Lloyd, Hiro, Lisette Model, Garry Winogrand and Tony Ray-Jones.

paragraph: Section::::Brodovitch as instructor.:Students on Brodovitch.

paragraph: BULLET::::- "Brodovitch said "astonish me" many times, and he said we must enter the future and constantly change the old and seek the new. My own BREAKING THE LIGHT images reinvent the art of photography for the digital age, just as he urged all his students and all who worked with him to do. He despised imitation of the past and said long ago that we must be like the Russian Astronaut Gagarin and rocked into the future with daring and passion. He was a giant ahead of his time and he planted seeds of creativity that like the dragon seeds sprung up fully armored, and ready to astonish him." [ Harvey Lloyd. Post abstract expressionist photographer and artist]

paragraph: BULLET::::- "He taught me to be intolerant of mediocrity. He taught me to worship the unknown." - Art Kane, fashion and music photographer

paragraph: BULLET::::- "I learned from him that if, when you look in your camera, you see an image you have ever seen before, don't click the shutter." - Hiro, fashion photographer

paragraph: BULLET::::- "The Alexey Brodovitch course ... really changed the direction of my life. It was not anything that Brodovitch taught specifically, it was an ambiance that he created, a connection that he would make with particular students. He'd try to get them to move in directions that they were already discovering." - David Attie, fine art and commercial photographer

paragraph: Section::::Brodovitch as instructor.:Notable students.

paragraph: Graduates of these early courses went on to prominent careers in the field. Brodovitch's department came to be known as a 'prep school' for agencies and magazines around the country.

paragraph: BULLET::::- David Attie

paragraph: BULLET::::- Harvey Lloyd

paragraph: BULLET::::- Richard Avedon

paragraph: BULLET::::- Jerry Schatzberg

paragraph: BULLET::::- Irving Penn of "Vogue Magazine"

paragraph: BULLET::::- Marvin Israel

paragraph: BULLET::::- Lillian Bassman

paragraph: BULLET::::- Ryszard Horowitz

paragraph: BULLET::::- Paul Himmel

paragraph: BULLET::::- Hiro

paragraph: BULLET::::- Robert Frank

paragraph: BULLET::::- Garry Winogrand

paragraph: BULLET::::- Roy Faulconer

paragraph: BULLET::::- Ed Feingersh, photojournalist

paragraph: BULLET::::- Tom Palumbo

paragraph: BULLET::::- Karl Bissinger

paragraph: BULLET::::- Mary Fullerton, assistant to Brodovitch at "Harper's Bazaar" and art director of "Mademoiselle"

paragraph: BULLET::::- Stewart Graves

paragraph: BULLET::::- Joseph Gering, "Brides"

paragraph: BULLET::::- Robert Greenwell, art director of RCA Records

paragraph: BULLET::::- Nelson Gruppo, art director at "Stage", "Promenade", and "This Week"

paragraph: BULLET::::- Joe Jones, "House Beautiful"

paragraph: BULLET::::- Elizabeth Lovett

paragraph: BULLET::::- Allan Porter, later editor in chief of Camera magazine

paragraph: BULLET::::- Alfred Lowrey, art director at "Good Housekeeping", "American Weekly", and "Newsweek"

paragraph: BULLET::::- Ed Schartzer, with N. W. Ayer and Son

paragraph: BULLET::::- David Steck of "Life Magazine"

paragraph: BULLET::::- Victor Trasoff, art director of CBS

paragraph: BULLET::::- Ted Croner

paragraph: BULLET::::- Arthur Boden, art director at IBM

paragraph: BULLET::::- Nat Finkelstein

paragraph: Section::::"Harper's Bazaar".

paragraph: In spring of 1934, the Art Directors Club of New York asked Brodovitch to design their "13th Annual Art Directors Exhibition" at the Rockefeller Center, New York. It was there that Carmel Snow, the recently appointed editor-in-chief of "Harper's Bazaar", saw Brodovitch's work for the first time. She knew right away that Brodovitch would be the one to transform the magazine into a real revival of "Vogue", where she had started her career.

paragraph: I saw a fresh, new conception of layout technique that struck me like a revelation: pages that "bled" beautifully cropped photographs, typography and design that were bold and arresting. Within ten minutes I had asked Brodovitch to have cocktails with me, and that evening I signed him to a provisional contract as art director.

paragraph: The offer was, of course, dependent on the approval of the owner of "Harper's Bazaar", William Randolph Hearst. Brodovitch eagerly returned to Philadelphia and assigned his students apprenticing at his Van Pelt Street studio to make two dummy issues of the magazine. He insisted that each page have a "shock value" of its own to set the magazine apart, "cutting paper dolls out of patterned paper, or illustration perfume bottles to look like high key photography - whatever was unlike other fashion magazines was tried." Although preferring more conservative design, Hearst put his trust in Carmel Snow and allowed her to take on Brodovitch as art director where he remained for 24 years.

paragraph: The new look of "Harper's Bazaar" emphasized culture for its own sake. Taking advantage of Brodovitch's contacts in Europe and his wide knowledge of photography, the magazine introduced the work of many artists and photographers to its American audience. Before starting at "Harper's Bazaar", Brodovitch organized a return trip to France, hoping to convince old friends to work with him at the magazine. Each summer he would return to offer commissions to artists and photographers until 1939 when the start of World War II made it impossible. By continually bringing in creative forces from overseas, he kept the magazine permanently fresh and cutting-edge. Among the artists that worked for "Bazaar" were Jean Cocteau, Raoul Dufy, Leonor Fini, Marc Chagall, Man Ray and A. M. Cassandre, the most eminent poster artist in France at the time, replacing the former cover favorite, Erté.

paragraph: Section::::"Harper's Bazaar".:The style of "Harper's".

paragraph: To those who worked with him at "Bazaar", the pinnacle of Brodovitch's career as a designer was the unfailing elegance of his pages. This elegance, combined with an element of innovation was the ideal mix for a fashion magazine. The quality that guaranteed his success was his devotion to the new, unending surprise and vitality. Frances MacFadden, "Bazaar"'s managing editor for much of Brodovitch's tenure, explained his working method:

paragraph: It was a pleasure to watch him work. He was so swift and sure. In emergencies, like the time the Clipper bearing the report of the Paris Collections was held up in Bermuda, his speed was dazzling. A quick splash or two on the cutting board, a minute's juggling of the photostats, a slather of art gum, and the sixteen pages were complete. His layouts, of course, were the despair of copywriters whose cherished tone poems on girdles or minks had to be sacrificed to his sacred white space. Just before we went to press, all the layouts were laid out in sequence on Carmel Snow's floor, and there, under his eye, re-arranged until the rhythm of the magazine suited him.

paragraph: Typically, Brodovitch would begin his layouts by designing the layouts as illustrations by hand. His assistant would receive these sketches to look over, but the photographers and freelance writers were often given little or no direction at all besides to come up with something new and unusual. When the photographs for the issue arrived, he would pick the most visually interesting and have a variety of sizes of reproductions made on a photostat machine. From these, each spread would be made one at a time, then arranged among the others to create a well-paced magazine.

paragraph: His style for the magazine was radically different than any of its contemporaries. Brodovitch wanted his spreads to be innovative and fresh. While other fashion magazines thought it important to show the whole garment, Brodovitch would crop images unexpectedly or off-center to bring a new dynamism to the layout. He used forms in the photographs or illustrations as a cue for how to handle the shape of the text. In his earlier layouts, he would arrange photographs like playing cards, splayed out on the page or in the shape of a fan. Later in his career, however, he abandoned this technique in favor of using only one or two images to a page. Surrealism found its way onto the pages of the magazines in various experimental forms. For example, Brodovitch once used fashion photographs sent via radio from Paris to New York in blurry forms to communicate this new way of sharing information. Designs also included torn edges on photographs, or pages made to look as they had been torn through with a woman's figure stepping out of them. The motif of isolated body parts, another common Surrealist theme, could be seen on the covers and spreads of "Harper's" in the form of lips, hands, and eyes.

paragraph: Brodovitch was sensitive to the fact that color was relatively new in magazines, with laborious preparation and high costs. By using process or second color inventively, Brodovitch was able to give the magazine an added sense of currency and luxury. He applied color to his layouts expressively, often choosing to use colors bolder than might be seen in the real world. Even after full-color reproduction became standard practice, he still used broad swaths of single colors for bold emphasis.

paragraph: In terms of photography, Brodovitch had a distinct feel for what the magazine needed. He favored on-location fashion photography as opposed to the studio shots normally used in other fashion publications. He urged his photographers to look for jarring juxtapositions in their images. One such spread features a woman in a full-length Dior gown posed between two circus elephants. The cinematic effect, a trademark characteristic of his layouts, involved using photographs as if they were stills from a film. He would repeat a pose or a dress several times across a spread to give a narrative, temporal feeling. At times, Brodovitch would arbitrarily take a series of photographs and adopt a story line to go with them, as though recapping a movie. He was known to push this idea even further by adding film sprocket borders to photographs at times. Brodovitch also often emphasized spatial illusions, using type and photographs to create multiple perspectives within a space. The notion of mirroring and doubling also interested him, as can be seen in how he paired similar pictures on a spread or dividing halves of one image across the gutter of the page.

paragraph: With this goal of story-telling, "Harper's Bazaar" can be seen as an example of a "mediascape", in that Brodovitch was trying to construct a reality for the imaginations of the readers. He would create versions of small movie stills or spreads in which women were supposed to see themselves rather than the model. For example, he would often use a model's silhouette rather than her whole form, or keep her face in shadow, so that any reader could place themselves in those fashions, leading a charmed life. The result would be a magazine of images "out of which scripts can be formed of imagined lives."

paragraph: One of his assistants at the magazine was future Rolling Stone art director Tony Lane.

paragraph: Section::::Other works.

paragraph: Section::::Other works.:Typeface.

paragraph: Brodovitch designed his own typeface in 1949. "Al-Bro", an abbreviation of his name, has broad and narrow strokes inspired by the symbols of musical notation. A layout showcasing the typeface was included in "Portfolio #1", winter 1950.

paragraph: Section::::Other works.:"Portfolio".

paragraph: In 1949, Brodovitch collaborated in the production of the revolutionary publication "Portfolio". It has been widely acknowledged as perhaps the definitive graphic design magazine of the twentieth century. The idea for the publication came from art director Frank Zachary. He wanted to put out a magazine that focused solely on art and design, but was at the same time an outstanding example of design itself. Brodovitch was intrigued by the concept. Although he enjoyed his work at "Harper's Bazaar", the limitations of space and subject matter often cramped his creative style. "Portfolio" freed him from the practical and aesthetic restraints to which he had grown accustomed. The pages of the publication were space for his graphic imagination to run wild. George S. Rosenthal, whose family owned a printing company dedicated to mass-market pictorial paperbacks, signed on too.

paragraph: With such great capital spent on publicity, Zachary and Rosenthal decided "Portfolio" would have to include advertising. Upon seeing the advertisements, however, they could not bear to ruin the look and feel of the publication by running them. It was decided that "Portfolio" would run without the aesthetic burden of advertising, freeing up more space for the overall design. Brodovitch was responsible for sorting through the articles and illustrations to create the spreads. Zachary described watching Brodovitch in action:

paragraph: He'd go through the stuff fast, really fast, and pick out always the right thing, you know, and then he would mark it up [for copying], an inch, inch and a half, two and a half inches ... But anyhow, I'd go back to see him, he'd have these dam[n] 'stats all over the floor, ankle deep in them, and he would look around, pick one up, until there were six or eight or ten and then he'd lay them out and it worked ... that was the magic of it, you know?

paragraph: Inside "Portfolio", Brodovitch promoted features devoted to respected artists and designers, contributed articles on vernacular design, and made wildly imaginative layouts. The magazine encompassed an array of subject matter and design styles. Works of great French poets were interspersed with off-beat articles about graffiti by hobos. It was a beautifully composed mix-up of all things art. Unfortunately, the publication lasted only three issues. The no-expense-spared ethos of the magazine, paired with the lack of advertising, caused the magazine to quickly fold.

paragraph: Section::::Other works.:"Ballet".

paragraph: Between 1935 and 1937, Brodovitch photographed several ballet companies, including the Ballet Russe de Monte Carlo, during their visits to New York on world tours. Although at the time he claimed the photos were only meant to be souvenirs, they evolved into something greater. The style in which Brodovitch photographed deviated from the sharp, straight photography popular at the time. According to one colleague, his images "spat in the face of technique and pointed out a new way in which photographers could work."

paragraph: Brodovitch released a book of these photographs in 1945, titled simply "Ballet", through a small New York publisher. The book contains 104 photographs of several ballets and is divided into eleven segments, one for each ballet performance. On the contents page, Brodovitch introduces each chapter in a typographic style that emulates the feel of the dance it is describing. He photographed with a Contax 35mm camera, no flash, and with a slow film speed. The blurred figures of the dancers allow the viewer to not only feel the music, but also to follow the line of the dancer's limbs mid-step. The images beautifully capture the atmosphere on-stage, the frenzied behind-the-scenes action backstage, and the magical moments of the ballet. By bleeding the blurred, grainy pictures off the pages and into the gutters, he communicated the emotional impact of the dance without words.

paragraph: Section::::Other works.:"Unpublished Work on Breakfast at Tiffany's".

paragraph: While it has never been published or seen, Brodovitch did the design work for what would have been the very first publication of Truman Capote's novella "Breakfast at Tiffany's" in Harper's Bazaar. The novella was to appear in the July, 1958 issue. It was to be illustrated with a series of photo montages by David Attie, who had been a student of Brodovitch's the previous year and was offered the job on the final night of the class. Alice Morris, the fiction editor of Harper's, recalled that "Brodovitch ... had these wonderful photos taken that had nothing to do with the Breakfast story, but with Holly Golightly's cat. A cat in a window, mysterious-looking, slightly shady and misty." However, after the publication was scheduled, longtime "Harper's" editor Carmel Snow, who had wielded considerable influence, was ousted by the magazine's publisher, the Hearst Corporation, and replaced with her niece. Hearst executives then began asking for changes to the novella's tart language. By this time, Attie's montages and Brodovitch's design work had been completed, and Morris recounted that while Capote initially refused to make any changes, he relented "partly because I showed him the layouts. We had about six pages with beautiful, atmospheric photographs." Yet despite Capote's changes, Hearst ordered "Harper's" not to run the novella anyway. Its language and subject matter were still deemed "not suitable," and there was concern that Tiffany's, a major advertiser, would react negatively. An outraged Capote soon took the work to "Esquire", and it appeared in the November 1958 issue with only a single full-page photo of Attie's, despite Capote's urging that more of the work be used.

paragraph: Section::::Other works.:"Observations".

paragraph: Brodovitch's work as a book designer can be seen in "Observations", a collection of photographs by Richard Avedon and commentary by Truman Capote, both regular contributors to "Harper's Bazaar". In "Observations", each spread shifts between pages of silhouetted images and pages of rectangular blocks of images and text, framed by ample stretches of white space. Although simple and elegant, the layout of the book has an enormous amount of visual variety.

paragraph: Section::::Other works.:"Saloon Society".

paragraph: Another strong example of Brodovitch's book design is "Village Voice" columnist Bill Manville's 1960 memoir "Saloon Society, The Diary of a Year Beyond Aspirin", which artfully weaves a series of photo collages by David Attie into and around the text of the book itself. Some of Attie's original, unpublished photo montages for "Breakfast at Tiffany's" were used in this book, which is still available with its original Attie photos and Brodovitch design in a Kindle edition.

paragraph: Section::::Declining health.

paragraph: Already suffering ill health, Brodovitch was plunged into an acute state of depression over the death of his wife, Nina. Over the next two years, Brodovitch was sent to various hospitals on numerous occasions to cure his worsening depression and alcoholism. Throughout these hospital stays, however, Brodovitch had an incessant desire to start new projects. At one point, he began compiling an autobiography, but it was never put together. Brodovitch received a small Minox camera from an old student, Ben Rose, visiting him at Manhattan State Hospital. He slipped the camera in an old box of Pall Mall cigarettes and discreetly began to photograph his fellow patients. Brodovitch would often decide to discharge himself before the treatments had run course. He was so ill, however, that he would be back before the end of the day.

paragraph: With no pension or regular salary from "Harper's Bazaar", Brodovitch was faced with mounting hospital bills. He often lost the little freelance work he was able to scrounge up due to his unwillingness to compromise with the clients. Poor health left him unable to show up to the Design Laboratory workshops on a regular basis.

paragraph: Harvey Lloyd, artist/photographer, wrote: "I took personal care of Alexey Brodovitch and managed his Design Laboratory Workshops during his last six years in NYC to provide him with income to live on. He moved into my building at Union Square in New York with his son Nikita. I saw him every day, worked with him and watched over his deteriorating health. He drank too much and ate little food. Brodovitch came to virtually every Design Laboratory workshop session and invited many of the famous in the fields of design and photography. I recorded him and his well known visitors talking during those many sessions. These recordings are now available to hear at R.I.T. library in Rhode Island. His mind remained sharp and true to his beliefs during those last years in New York City. It was the greatest privilege to do this for him and to learn from him. He loved New York and I had to make him leave to go to his brother in France, as he was wasting away. There will never be another Brodovitch."

paragraph: When Brodovitch stopped coming altogether, a few students halfheartedly tried to keep the class going in his honor. Without its creator, though, the Lab came to an end.

paragraph: In 1966, Brodovitch fell and broke his hip. Physically and financially in a poor state, he moved back to France with his son Nikita to be closer to his many relatives. Two years later, he relocated to Le Thor, a small village even closer to his family in Avignon. He died three years later at age 73.

paragraph: Section::::After death.

paragraph: In 1971 the Doctor of Fine Arts Degree was conferred posthumously on Brodovitch by the Philadelphia College of Art. In 1972 the Philadelphia College of Art held the exhibition "Alexey Brodovitch and His Influence" and he was inducted into the Art Directors Club Hall of Fame in New York. In 1982 the exhibition "Hommage à Alexey Brodovitch" was held at Grand-Palais, Paris. In 2002 Phaidon Press published the book "Alexey Brodovitch" by Kerry William Purcell.

paragraph: Section::::Bibliography.

paragraph: BULLET::::- Brodovitch, Alexey, and Gabriel Bauret. "Alexey Brodovitch". Paris: Assouline, 1998.

paragraph: BULLET::::- Brodovitch, Alexey. "Aphorisms." "Popular Photography", 49; December, 1961, p92.

paragraph: BULLET::::- Brodovitch, Alexey. "Brodovitch on Photography." "Popular Photography", 49; December, 1961, p82-83.

paragraph: BULLET::::- Brodovitch, Alexey, and Franklin Institute (Philadelphia, Pa.). Graphic arts section. New Poster; International Exposition of Design in Outdoor Advertising, the Franklin Institute of the State of Pennsylvania, Philadelphia, Nineteen-Thirty-Seven. Philadelphia: Beck engraving company, 1937.

paragraph: BULLET::::- Brodovitch, Alexey, and Galeries nationales du Grand Palais (France). Alexey, Brodovitch : [Exposition, Grand-Palais, Paris, 27 Octobre-29 Novembre 1982]. Paris: Ministère de la culture, 1982

paragraph: BULLET::::- Brodovitch, Alexey, and Philadelphia College of Art. Alexey Brodovitch and His Influence; [Exhibition and Catalogue. Philadelphia: Philadelphia College of Art, 1972.

paragraph: BULLET::::- Brodovitch, Alexey. "Libres de miseria." "Art and Industry", 39; September, 1945, p69.

paragraph: BULLET::::- Brodovitch, Alexey. "What Pleases the Modern Man." "Commercial Art", 9; August, 1930, p60-70.

paragraph: BULLET::::- Brodovitch, Alexey, et al. The Enduring Legacy of Alexey Brodovitch : Two Concurrent Exhibitions on Design and Photography : "Brodovitch ... the Human Equation", the Herb Lubalin Study Center of Design and Typography ; "Astonish Me: The Impact of Alexey Brodovitch", Arthur A. Houghton, Jr. Gallery. New York: Cooper Union for the Advancement of Science and Art, 1994.

paragraph: Section::::See also.

paragraph: BULLET::::- List of AIGA medalists

paragraph: Section::::Sources.

paragraph: BULLET::::- Appaduria, Arjun. Modernity at Large: Cultural Dimensions of Globalization. University of Minnesota Press, 1996.

paragraph: BULLET::::- Coyne, Jean A. "Pioneers: Henry Wolf." Communication arts 48.8 (2007): 86.

paragraph: BULLET::::- Coyne, Patrick. "Alexey Brodovitch." Communication Arts, 44.8 (2003): 102-105.

paragraph: BULLET::::- Grundberg, Andy. Brodovitch. New York: Documents of American Design : H.N. Abrams, 1989.

paragraph: BULLET::::- Morris, Holly. "Photo Finish." U.S.news world report 133.17 (2002): 52.

paragraph: BULLET::::- Purcell, Kerry William. Alexey Brodovitch. London: Phaidon Press, 2002.

paragraph: BULLET::::- Rogers, Michael. "Penn, Irving. Irving Penn: A Career in Photography." Library Journal, 132.4 (2007): p125.

paragraph: BULLET::::- Rowlands, Penelope, ("A Dash of Daring: Carmel Snow and Her Life in Fashion, Art, and Letters." "Publishers Weekly", 252.38 (2005).

paragraph: BULLET::::- Sherin, Aaris. "Style Book." Print, 60.2 (2006): 48-55.

paragraph: BULLET::::- Tomkins, Calvin. "The World of Carmel Snow." New Yorker, 70.36 (1994): 148-158.

paragraph: Section::::External links.

paragraph: BULLET::::- Biography on Brodovitch at Iconofgraphics.com

paragraph: BULLET::::- Biography on Brodovitch at AIGA website

paragraph: BULLET::::- Alexey Brodovitch at biographer Kerry William Purcell's website

description: Russian artist

wikidata_label: Alexey Brodovitch

wikipedia_title: Alexey Brodovitch


text: cornet

text: method

text: Woburn

text: Massachusetts

text: Ohio

text: Indiana

text: Toronto

text: Canada

text: flugelhorn

text: Sousa's Band

text: trombone

text: Juilliard

text: viola

text: Toronto Philharmonic Society

text: D. W. Reeves

text: American Band

text: Providence

text: Rhode Island

text: Indianapolis

text: Queens's Own

text: Band & Bugles

text: Courtois

text: Boston 3-star cornet

text: Heintzman

text: Toronto Conservatory of Music

text: Trinity College School

text: Port Hope, Ontario

text: Patrick Gilmore

text: John Philip Sousa

text: Chicago World's Fair

text: New York Philharmonic

text: Metropolitan Opera

text: trumpet

text: Conn Instruments

text: Elkhart, Indiana

text: Jules Levy

text: Brunswick Records

text: Walter Rogers

text: Huntsville, Ontario

text: Chicago

text: Long Beach

text: American Bandmasters Association

text: Claude Gordon

text: Long Beach

text: California

text: Congressional Cemetery

text: Washington, D.C.

text: The Carnival of Venice

text: The Debutante

text: "Characteristic Studies"

text: An extremely detailed biography

text: How I Became a Cornetist text

text: Cornet Soloist Recording

text: Discography of Herbert L. Clarke

text: Victor Records

categories: 19th-century conductors (music),People from Woburn, Massachusetts,American cornetists,American bandleaders,American male conductors (music),Burials at the Congressional Cemetery,Classical musicians from Massachusetts,1867 births,American classical trumpeters,20th-century American musicians,19th-century American musicians,American male trumpeters,20th-century American conductors (music),1945 deaths,Pioneer recording artists,20th-century male musicians

paragraph: Herbert L. Clarke

paragraph: Herbert Lincoln Clarke (September 12, 1867 – January 30, 1945) was an American cornet player, feature soloist, bandmaster, and composer. He is considered the most prominent cornetist of his time.

paragraph: Clarke's legacy includes composing a portion of the standard repertoire for the instrument, many recordings, as well as a seminal school of playing which emphasized not only technical aptitude, but also increased warmth and lyricism of tone. He also produced several method books that are still used by brass students.

paragraph: Section::::Early life.

paragraph: Clarke was born in Woburn, Massachusetts in 1867, the son of composer, organist, and organbuilder William Horatio Clarke. Herbert's family moved often to accommodate William's work engagements, from Massachusetts to Ohio, to Indiana, back to Massachusetts, and finally to Toronto, Canada in 1880. Herbert had two brothers, Edwin and Ernest. All three became prominent musicians: Edwin on cornet and flugelhorn (he also managed Sousa's Band in its 1911 world tour), Ernest on trombone (he became a professor of trombone at Juilliard), and Herbert on cornet.

paragraph: Clarke's early musical instruction had been on the viola; by 1881, he was a second viola in the Toronto Philharmonic Society. However, according to his autobiography, one of the formative moments in his musical upbringing was attending a concert of D. W. Reeves' American Band of Providence, Rhode Island at the Horticultural Pavilion in Toronto in 1881, and hearing Bowen R. Church play a cornet solo. Herbert subsequently began practicing his brother's cornet and took a chair as a cornetist in the Queen's Own Rifle Band in 1882, in order to obtain a government-issued cornet on which to practice.

paragraph: Section::::Career.

paragraph: Between 1884, when he graduated from high school, and 1887, Clarke drifted between playing both viola and second cornet (when required) in the pit orchestra of English's Opera House in Indianapolis, where his family had moved; working (unhappily) at the John Kay store in Toronto, while playing second chair cornetist with the Queens's Own Band & Bugles; and playing at the Ontario Beach lake resort in the summer. He had joined the Queen's Own at the age of 14 (even though the legal age was 18), in order to obtain his first Cornet, a band owned Courtois. In Indianapolis he would finally buy his own horn, a Boston 3-star cornet. It was with the When Clothing Store Band that in 1886 Clarke won a solo cornet contest and received a one-of-a-kind pocket cornet made by the famous instrument maker, Henry Distin of Williamsport, Pennsylvania, which can be seen at the Sousa Archives and Center for American Music at the University of Illinois at Urbana-Champaign.

paragraph: In 1887, he joined the Citizen's Band of Toronto, under John Bayley, as the band's cornet soloist. He spent the next five years playing in and leading several bands around Toronto (the Taylor Safe Works Band, Heintzman Piano Company Band, Streetsville Ontario Band) and teaching viola at the Toronto Conservatory of Music (where he also played in the Toronto Conservatory String Quartet) and at the Trinity College School in Port Hope, Ontario. In the spring of 1892, he left Canada once again, after successfully auditioning for the 22nd Regiment N.Y.S.N.G Band in New York City, popularly known as "Gilmore's Band" and directed by Patrick Gilmore. He was introduced to Gilmore by his brother Ernest, who was already playing trombone with the band, and the audition took place at Gilmore's residence.

paragraph: In 1893, Herbert joined John Philip Sousa’s band as a cornet soloist. After playing at the Chicago World's Fair in the same year, he left to play with various other bands, continuing to do so over the next five years. During this period, he held temporary positions as second trumpet with the New York Philharmonic and as principal trumpet in the Metropolitan Opera, for which he temporarily switched to trumpet.

paragraph: In 1898 he returned to Sousa's band, with whom he toured extensively. However, in late 1901 Clarke himself became leader of The American Band, the band which had made such an impression on him in his youth, and he moved to Providence, Rhode Island. Ironically, after only a year the band voted Clarke out as director in favor of Bowen R. Church, the same cornetist Clarke had admired when he first heard the band under Reeves. Clarke then formed his own band in Providence and occasionally conducted other local ensembles; he also led both the American Band in 1902 and his own band ("Clarke's Band of Providence") in 1903 in recordings for the Victor Talking Machine Company. Clarke finally returned to Sousa's Band as solo cornet and assistant director in 1905 and conducted the band in many recording sessions for Victor at that time. Furthermore, he spent time testing and developing instruments for Conn Instruments in Elkhart, Indiana, and making a considerable number of solo recordings for Victor, Edison, Columbia, Odeon, England, and finally Brunswick. He resigned from Sousa's band in September 1917, as he had determined to retire from active solo work at the age of fifty after hearing Jules Levy continue to play well past his prime. (He did make a few final recordings for Brunswick Records in New York in 1922, possibly to oblige his old friend Walter Rogers, Brunswick's musical director at the time.) Clarke returned to Canada to lead the Anglo-Canadian Leather Company Band in Huntsville, Ontario from 1918 to 1923; during this time he performed very little, instead focusing his efforts not only on conducting, but also composition, and setting up his own school of cornet playing in Chicago.

paragraph: He conducted the Long Beach Municipal Band from 1923 to 1943. In April 1934, he was elected President of the American Bandmasters Association. From 1936 until his death in 1945, he developed a friendship with and gave private lessons to Claude Gordon.

paragraph: Section::::Personal life.

paragraph: In September 1889 he married Elizabeth (Lizzie) Loudon, with whom he had two children: Vivian (Grace) in 1890 and James (Edward James Watkin) in 1892. He later divorced and married Lillian Bell Hause, with whom he had two more children, Ruby Bell and Herbert L. Clarke, Jr.

paragraph: In 1923, he and his wife moved to Long Beach, California for her health.

paragraph: Herbert Clarke died in 1945. His ashes were interred at the Congressional Cemetery in Washington, D.C., near the gravesite of John Philip Sousa. His papers and memorabilia are held at the Sousa Archives and Center for American Music at the University of Illinois at Urbana-Champaign.

paragraph: Section::::Notable works.

paragraph: BULLET::::- Solo cornet compositions

paragraph: Clarke composed over 50 solos for cornet, many of which have experienced several editions. Here are his most famous pieces, with the date of the earliest publication included.

paragraph: BULLET::::- "Bride of the Waves" (1904)

paragraph: BULLET::::- "Sounds from the Hudson" (1904)

paragraph: BULLET::::- "Caprice Brilliante" (1908)

paragraph: BULLET::::- "Southern Cross" (1911)

paragraph: BULLET::::- "The Carnival of Venice" (1912)

paragraph: BULLET::::- "From the Shores of the Mighty Pacific" (1912)

paragraph: BULLET::::- "The Maid of the Mist" (1912)

paragraph: BULLET::::- "Sounds from the Hudson (Valse Brilliante)" (1914)

paragraph: BULLET::::- "The Debutante" (1917)

paragraph: BULLET::::- "Stars in a Velvety Sky" (1919)

paragraph: BULLET::::- Cornet and trombone

paragraph: BULLET::::- "Cousins" (1904)

paragraph: BULLET::::- "Side Partners"

paragraph: BULLET::::- Cornet methods

paragraph: BULLET::::- "Elementary Studies" (1909)

paragraph: BULLET::::- "Technical Studies" (1912)

paragraph: BULLET::::- "Characteristic Studies" (1915)

paragraph: BULLET::::- "Setting Up Drills" (1929)

paragraph: BULLET::::- Prose

paragraph: BULLET::::- "How I Became A Cornetist" (1934): an autobiography

paragraph: Section::::External links.

paragraph: BULLET::::- An extremely detailed biography from 4barsrest.com, an online brass band resource.

paragraph: BULLET::::- How I Became a Cornetist text

paragraph: BULLET::::- Clarke's Technical Studies, then and now by Jeff Purtle

paragraph: BULLET::::- Claude Gordon and Herbert L. Clarke and Their Teaching by Jeff Purtle, published December 2008 in "The Brass Herald"

paragraph: BULLET::::- Cornet Soloist Recording

paragraph: BULLET::::- Discography of Herbert L. Clarke on Victor Records from the Encyclopedic Discography of Victor Recordings (EDVR)

paragraph: BULLET::::- Letter from Herbert L. Clarke on Coronets, dislike for Trumpets and "jaz"

description: American conductor

wikidata_label: Herbert L. Clarke

wikipedia_title: Herbert L. Clarke


text:
Southern California
sword
Garden Grove
chisel
Ernest Emerson
US Navy
sonar
Japanese
tool steel
differentially edge hardened
Rockwell scale
Special Forces
El Salvador
7.62×51mm NATO
parasitic drag
museum
Canadian Army Museum
Halifax Citadel
Samurai
US Navy SEALs
USMC MARSOC
Newport Beach, California
Phill Hartsfield's official website

categories: 1932 births,Weapon designers,Artists from California,Knife makers,American inventors

paragraph: Phill Hartsfield

paragraph: Phill Hartsfield (1932 – May 20, 2010) was a Southern California sword and knifemaker based in Garden Grove who is noted for popularizing the chisel ground blade in the western world. Hartsfield's designs have influenced other knifemakers, primarily Ernest Emerson.

paragraph: Section::::Early life.

paragraph: Hartsfield joined the US Navy at 17 and served as a sonar technician. After serving four years, he was discharged and worked as a television repairman. After six months of working for a repairshop, Hartsfield opened his own repairshop at the age of 22 while making knives part-time. In 1977, he closed his TV repair business and became a full-time knifemaker.

paragraph: Section::::Knife making.

paragraph: Hartsfield's blades are Japanese-influenced, each one was hand ground from various kinds of tool steel, including 01 and A2. They are differentially edge hardened to RC 60-61 on the Rockwell scale with the remainder of the blade hardened to 58-59 on the scale to allow for flex during the cut. This strength protected the life of a Special Forces advisor in El Salvador when a Hartsfield knife stopped a 7.62×51mm NATO rifle bullet fired by a guerrilla. Hartsfield's blades were zero-ground, meaning there is no secondary bevel edge on the knife which allows the knife to cut without parasitic drag.

paragraph: The majority of Hartsfield's blades are designed as tools with little to no ornamentation. However, Hartsfield makes museum quality pieces, some of which are on display at the Canadian Army Museum at Halifax Citadel as examples of Samurai swords.

paragraph: Hartsfield built a unique hand-driven grinder, the "Lil Cranky", after his electric grinder had a mishap. While grinding a blade, a piece of metal embedded in the wheel and caused the wheel to explode. After a four-hour surgery and months in recovery, Hartsfield designed his machine and sold them from his shop to other knifemakers.

paragraph: Hartsfield's knives are used by the US Navy SEALs and the USMC MARSOC teams.

paragraph: Hartsfield died on May 20, 2010, at his home in Newport Beach, California, after a lengthy battle with brain cancer.

paragraph: Section::::External links.

paragraph: BULLET::::- Phill Hartsfield's official website

description: knifemaker

wikidata_label: Phill Hartsfield

wikipedia_title: Phill Hartsfield


text: Russian painter

text: Moscow

text: graphic designer

text: Stuttgart

text: fashion

text: interior design

text: Russia

text: Leningrad

text: Moscow "Manege"

text: Oscar Rabin

text: Stuttgart

text: Herrenberg

text: Kaluga

text: Tarusa

text: Kostroma

text: Marmaris

text: Alexandrov

text: Maloyaroslavets

text: Sharm el-Sheikh

text: Mikkeli

text: Finland

text: Alanya

text: Turkey

text: Paris

text: Cannes

text: Ernst Neizvestny

text: Eduard Steinberg

text: Oleg Tselkov

text: Vladimir Nemukhin

text: landscape

text: still life

text: Foros

text: Bulgakov's

text: The Master and Margarita

text: Pontius Pilate

text: house-museum Bulgakov

text: Giselle

text: Novaya Opera

text: Mozart

text: Kostroma

text: Kostroma

text: Kaluga

text: Marina Tsvetaeva

text: Alexandrov

text: Marina Tsvetaeva

text: Tarusa

text: Maximilian Voloshin

text: Koktebel

text: Anton Chekhov

text: Yalta

text: Tarusa

text: Stuttgart

text: Russia

text: Germany

text: United States

text: Switzerland

text: France

text: Great Britain

text: South Korea

text: Egypt

text: Finland

text: Turkey

text: Russian

text: Creative Symphony of Julia Dolgorukova"

categories: Russian women painters,21st-century Russian painters,Russian contemporary artists,20th-century Russian painters,20th-century women artists,Soviet painters,People from Moscow,Russian women artists,Modern painters,21st-century women artists,Living people

image: 512px-Юлия_Долгорукова.jpg

paragraph: Julia Dolgorukova

paragraph: Julia Vitalievna Dolgorukova (, born 21 February) is a Russian painter.

paragraph: Section::::Biography.

paragraph: Julia Dolgorukova was born in Moscow. She graduated from the Moscow Art College as a graphic designer, and attended courses at the Moscow Polygraphic Institute, studied with J. Bisti, and A. Cedric. In the 1990 she attended lectures and workshops in the Michael Lesehr in Stuttgart Academy of Fine Arts. Her works include easel paintings, drawings and theatre decoration, as well as fashion and interior design. In 1981 she was accepted for the youth section of the Moscow Union of Artists, and in 1997 became a member of Moscow Union of Artists. Since 1991 she is a member of Creative Union of Artists of Russia.

paragraph: Since 1981, Julia has participated in more than 60 exhibitions. Among these there are the exhibitions of young Moscow artists MOSKh (Moscow Union of Artists), exhibition of works of Soviet artists, dedicated to the 150th anniversary of the country's railways (in Moscow and Leningrad), All-national exhibitions in 1988, 1989 and 1991 years in Moscow, the exhibition "Art Myth - 93" in Moscow "Manege", in the jubilee exhibition on Gogol Boulevard in 1995, dedicated to the 20th anniversary of the exhibition of painting in the pavilion "beekeeping" at VDNH with Eduard Drobitsky, Oscar Rabin and other nonconformist artists and others. Personal exhibitions in Moscow (1986, 1993, 1995, 1999, 2000, 2004, 2005, 2006, 2008), Stuttgart (1990, 1991), Herrenberg (1992), Kaluga (1993), Tarusa (1994, 2001), Kostroma (1994), Marmaris (1999), Alexandrov (2002), Maloyaroslavets (2003), Sharm el-Sheikh e (2005), Mikkeli (Finland, 2007), Alanya (Turkey, 2009), Paris (2010), Cannes (2010).

paragraph: Julia Dolgorukova participated in exhibitions with famous artists: Ernst Neizvestny, Eduard Steinberg, Oleg Tselkov, Vladimir Nemukhin, Aida Hanemayer and others.

paragraph: Dolgorukova is working in landscape, still life, fantasy subjects manner. Among the works she created the painting "Morning in Foros" (1981), "Aksinino. Church"(1982), "The new district. Triptych"(1983), a series of paintings based on Bulgakov's novel "The Master and Margarita" "Margarita and the Devil", "Berlioz's Funeral", "Ha-Notsri and Pilate", " Margarita and Woland", "Ballet in the palace of Pontius Pilate" etc., (created by the artist for V. Geviksman’s opera "The Master and Margarita", which later was presented as the solo exhibition "Sadovaya, 302-bis" of the house-museum Bulgakov.), "Dance of the purple rain" (1997), "Still life with pears" (2004), "Pas de Deux", "Giselle", "Dance of Fire" (2009) and others. For the Moscow theater Novaya Opera Julia Dolgorukova together with the artist D. Dikov designed costumes and scenery for the opera "O Mozart, Mozart!" (presented in Kostroma State Historical and Architectural Museum-Reserve at the festival "Milestones" in 1994).

paragraph: Julia Dolgorukova’s works are also presented in the number of renowned museums and private collections,

paragraph: among them are: Kostroma State Historical and Architectural Museum-Reserve, Kaluga Regional Art Museum, the Museum of Marina Tsvetaeva in Alexandrov, the Museum of Marina Tsvetaeva in Bolshevo, Tarusa Museum family Tsvetayevs, Collection House Museum Maximilian Voloshin (Koktebel), Collection House Museum of Anton Chekhov (Yalta), Tarusa Museum, Ullrich Springer Collection, (Stuttgart), as well as private collections in Russia, Germany, the United States, Switzerland, France, Great Britain, South Korea, Egypt, Finland, Turkey. Dolgorukova is creativity - painter and designer of several television programs themes and articles in Russian and foreign publications. In may and October 2018 Julia Dolgorukova became the winner of the international competition AEA -2018 (spring season), (autumn season) “Art. Excellence. Awards” (silver medal), AEA-2019 (spring season) (gold medal).

paragraph: Section::::Sources.

paragraph: BULLET::::- " XII exhibition of young Moscow artists. Catalog." M., MOSH. In 1981.

paragraph: BULLET::::- " XIII exhibition of young Moscow artists. Catalog." Moscow, Soviet artist, 1983.

paragraph: BULLET::::- " XV exhibition of young Moscow artists. Catalog." Moscow, Soviet Artist, 1985, page 25.

paragraph: BULLET::::- " exhibition of works by Soviet artists, dedicated to the 150th anniversary of the country's railways. Painting. Graphics. Sculpture. Catalog". M., 1987, page 14.

paragraph: BULLET::::- " All-Union exhibition of young artists dedicated to the 70th anniversary of the Komsomol. Catalog." Moscow, Soviet artist. In 1988.

paragraph: BULLET::::- " All-Union Exhibition and Competition "Golden Brush". Catalog." Moscow, Soviet artist. In 1991.

paragraph: BULLET::::- " The Moscow International Art Fair and Exhibition ART-MIF-93." Moscow, 1993.

paragraph: BULLET::::- " Negoryuhin B. Vernissage Nobility" / / North truth. 1994, May 27.

paragraph: BULLET::::- " On the 20th anniversary exhibition in the pavilion "Beekeeping" Exhibition of Economic Achievements of the USSR. Catalog." M., IFA, 1995, page 34.

paragraph: BULLET::::- " Aidinyan C. Margarita, Woland, and other" / / Culture. 1995, March 18.

paragraph: BULLET::::- " Aidinyan C. "bad" house, described by Bulgakov" / / chimes. 1995, March 21.

paragraph: BULLET::::- " Aidinyan C. "Bulgakov at home" "/ / Moscow News. In 1995.

paragraph: BULLET::::- " There Bulgakov reigns" / / The Presnya. 1995, April, № 11.

paragraph: BULLET::::- " Koktebel - Karadag. Catalogue of the exhibition." Moscow, Exhibition Hall "Vykhino." In 1997.

paragraph: BULLET::::- " Movement" Dance / / Artistic Fair. May 2000, (004).

paragraph: BULLET::::- " Art of Julia Dolgorukova" L. Urazova / / Muscovite. February 2002.

paragraph: BULLET::::- " Grekov S. "Soul, which knows no measure"" / / Business Alexandrov. 2002, July 3 (№ 190).

paragraph: BULLET::::- " Seija Lipsanen. "Kolme naista Galleriarissa"" / / Vikkoset. 04/07/2007.

paragraph: BULLET::::- " "Art Gellary has opened" " / / Mahmutlar Haber. 2010, Jule.

paragraph: BULLET::::- " Natalia Yilmaz Creative Symphony of Julia Dolgorukova"" journal "SAFFRON", №2 2017, p. 32-41

paragraph: Section::::External links.

paragraph: BULLET::::- " Julia Dolgorukova on the official site of the Moscow Union of Artists."

paragraph: BULLET::::- " Julia Dolgorukova on the official website of the Association of Painters of the Moscow Union of Artists."

paragraph: BULLET::::- " program "Vesti", the opening day of Julia Dolgorukova in "Bulgakov's House "' (Video)

paragraph: BULLET::::- " TV "Anastasia" (Kostroma), the opening day of Julia Dolgorukova in the Kostroma Regional Art Museum" (Video)

paragraph: BULLET::::- " Julia Dolgorukova in the Register of Professional Artists."

paragraph: BULLET::::- " Julia Dolgorukova Online arthritis. Info"

paragraph: BULLET::::- " Opening day Julia Dolgorukova in the exhibition hall of the "Scarlet Sails" North-Western district of Moscow."

paragraph: BULLET::::- "Art in Alanya: Painter Julia Dolgorukova"

paragraph: BULLET::::- Julia Dolgorukova on the Moscow TV channel TIIC (МОСКВА.ДОВЕРИЕ)

description: Russian artist

wikidata_label: Julia Dolgorukova

wikipedia_title: Julia Dolgorukova


text:
cardinal
Lavagna
Bishop of Mariana
Corsica
metropolitan see of Genoa
Pope Eugenius IV
Republic of Genoa
antipope Felix V
Sagona
bishop of Noli
bishop of Albenga
see of Luni
suburbicarian see of Palestrina
Pope Martin V
dean of the Sacred College of Cardinals
see of Ostia

categories: Deans of the College of Cardinals,Bishops of Albenga,1461 deaths,Italian cardinals,15th-century Italian people,Roman Catholic archbishops of Genoa,15th-century Roman Catholic archbishops,Cardinal-bishops of Ostia,Bishops of Noli,Cardinal-bishops of Palestrina

paragraph: Giorgio Fieschi

paragraph: Giorgio Fieschi (ca. 1395 – October 1461) was an Italian cardinal, of the counts of Lavagna.

paragraph: He was elected Bishop of Mariana, in Corsica, on 27 May 1433. On 3 October 1436 he was transferred to the metropolitan see of Genoa, which he occupied until 18 December 1439, when Pope Eugenius IV raised him to the cardinalate in order to secure the support of Republic of Genoa in the conflict with antipope Felix V.

paragraph: He was bishop "in commendam" of Sagona (1443–45), bishop of Noli (1447–48) and bishop of Albenga (1448–59). He was administrator of the see of Luni, 1446.

paragraph: He was promoted to the suburbicarian see of Palestrina on 5 March 1449. He acted as papal legate in Liguria in the pontificate of Pope Martin V. As dean of the Sacred College of Cardinals, he opted for the suburbicarian see of Ostia (proper of the dean) on 28 April 1455. He died in Rome on 8 or 11 October 1461.

description: Catholic cardinal

wikidata_label: Giorgio Fieschi

wikipedia_title: Giorgio Fieschi


text: A Visit from St. Nicholas

text: The Night Before Christmas

text: Clement Clarke Moore

text: Poughkeepsie, New York

text: Gilbert Livingston

text: John Henry Livingston

text: née

text: Robert Livingston the Elder

text: Livingston Manor

text: Wilhelmus Beekman

text: Gerardus Beekman

text: New York Magazine

text: Poughkeepsie Journal

text: Charles Fenno Hoffman

text: Donald Wayne Foster

text: Vassar College

text: Joe Nickell

text: MacDonald P. Jackson

text: The Night Before Christmas

text: Stamford, Connecticut

text: necronym

text: A Visit from St. Nicholas

text: Smith Thompson

text: U.S. Secretary of the Navy

text: Gilbert Livingston

text: Poughkeepsie, New York

text: U.S. Senator

text: Sidney Breese

text: Rear Admiral

text: Samuel Livingston Breese

text: War of 1812

text: Mexican–American War

text: American Civil War

text: Henry Livingston

categories: Farmers from New York (state),1828 deaths,Writers from Poughkeepsie, New York,Schuyler family,People of colonial New York,18th-century male writers,18th-century American poets,1748 births,American surveyors,Livingston family,19th-century American poets,American male poets

paragraph: Henry Livingston Jr.

paragraph: Henry Beekman Livingston Jr. (October 13, 1748 – February 29, 1828) has been proposed as being the uncredited author of the poem "A Visit from St. Nicholas", more popularly known (after its first line) as "The Night Before Christmas". Credit for the poem was taken in 1837 by Clement Clarke Moore, a Bible scholar in New York City, nine years after Livingston's death. It was not until another twenty years that the Livingston family knew of Moore's claim, and it was not until 1900 that they went public with their own claim. Since then, the question has been repeatedly raised and argued by experts on both sides.

paragraph: Section::::Early life.

paragraph: Livingston was born on October 13, 1748, in Poughkeepsie, New York, to Dr. Henry Gilbert Livingston Sr. (1714–1799) and Susannah Storm Conklin (1724–1793). His siblings included Gilbert Livingston, Reverend John Henry Livingston, Cornelia Livingston Van Kleeck, Catherine Elizabeth Livingston Mifflin, Joanna Livingston Schenck, Susan Livingston Duyckinck, Alida Livingston Woolsey, Robert Henry Livingston, Beekman Livingston, Catherine H. Livingston and Helena Livingston Platt.

paragraph: His maternal grandparents were Capt. John Conklin and Annetje (née Storm) Conklin. His paternal grandparents were Lt. Col. Hubertus "Gilbert" Livingston (b. 1690), himself the son of Robert Livingston the Elder, 1st Lord of Livingston Manor, and Cornelia (née Beekman) Livingston, a granddaughter of Wilhelmus Beekman, Mayor of New York, and niece of Gerardus Beekman.

paragraph: Section::::Career.

paragraph: Following his marriage in 1774, Livingston engaged in farming. Over the next ten years, Livingston began writing poetry and making drawings for his friends and family, some of which ended up in the pages of "New York Magazine" and the "Poughkeepsie Journal". Although he signed his drawings, his poetry was usually anonymous or signed simply "R".

paragraph: Section::::Career.:Authorship of "A Visit from St. Nicholas".

paragraph: The famous Christmas poem first appeared in the "Troy Sentinel" on December 23, 1823. There seems to be no dispute that the poem came out of the home of Clement Moore, and the person giving the poem to the newspaper, without Moore's knowledge, certainly believed the poem had been written by Moore. However, several of Livingston's children remembered their father reading that very same poem to them fifteen years earlier.

paragraph: As early as 1837, Charles Fenno Hoffman, a friend of Moore's, put Moore's name on the poem.

paragraph: In 1844, Moore published the poem in his own book, "Poems".

paragraph: At multiple times in his later life, Moore wrote out the poem in longhand for his friends.

paragraph: Because the poem was first published anonymously, various editions were for many years published both with and without attribution. As a result, it was only in 1859, 36 years after the poem first appeared in print, that Henry's family discovered that Moore was taking credit for what they believed to be their father's poem. That belief went back many years. Around 1807, Henry's sons Charles and Edwin, as well as their neighbor Eliza (who would later marry Charles) remembered their father's reading the poem to them as his own. Following their father's death in 1828, Charles claimed to have found a newspaper copy of the poem in his father's desk, and son Sidney claimed to have found the original handwritten copy of the poem with its original crossouts.

paragraph: The handwritten copy of the poem was passed from Sidney, on his death, to his brother Edwin. However, the same year that the family discovered Moore's claim of authorship, Edwin claimed to have lost the original manuscript in a house fire in Wisconsin, where he was living with his sister Susan.

paragraph: By 1879, five separate lines of Henry's descendants had to correspond among themselves, trying to compare their family stories in the hope that someone had some proof that could be brought forward, but there was no documentation beyond family stories. In 1899, even without proof, Sidney's grandson published the first public claim of Henry's authorship in his own newspaper on Long Island. The claim drew little attention.

paragraph: In 1920, Henry's great grandson, William Sturgis Thomas became interested in the family stories and began to collect the memories and papers of existing descendants, eventually publishing his research in the issue of the Duchess County Historical Society yearbook. Thomas provided this material to Winthrop P. Tryon for his article on the subject in the "Christian Science Monitor" on August 4, 1920.

paragraph: Later, Moore descendants arranged to have an elderly family connection, Maria Jephson O'Conor, depose about her memories of Moore's claim of authorship.

paragraph: On independent grounds, Donald Wayne Foster, Professor of English at Vassar College, has argued that Livingston is a more likely candidate for authorship than Moore.

paragraph: Foster's claim, however, has been countered by document dealer and historian Seth Kaller, who once owned one of Moore's original manuscripts of the poem. Kaller has offered a point-by-point rebuttal of both Foster's linguistic analysis and external findings, buttressed by the work of autograph expert James Lowe and Dr. Joe Nickell, author of "Pen, Ink and Evidence". New Zealand scholar MacDonald P. Jackson invested over a year of research statistically analyzing the poetry of both men. His conclusion: "Every test, so far applied, associates 'The Night Before Christmas' much more closely with Livingston's verse than with Moore's." There is no proof that Livingston himself ever claimed authorship, nor has any record ever been found of any printing of the poem with Livingston’s name attached to it.

paragraph: Section::::Personal life.

paragraph: In 1774, Livingston married Sarah Welles, the daughter of the Reverend Noah Welles, the minister of the Stamford, Connecticut Congregational Church. Their daughter was born shortly before Livingston joined the army on a six months' enlistment. Before Sarah's death in 1783, they were the parents of:

paragraph: BULLET::::- Catherine Livingston (1775–1808), who married Arthur Breese (1770–1825)

paragraph: BULLET::::- Henry Welles Livingston (1776–1777), who was fatally burned at the age of fourteen months.

paragraph: BULLET::::- Henry Welles Livingston (1778–1813), who was given the same name as his deceased older brother, according to the common practice of necronyms.

paragraph: BULLET::::- Cornelia Livingston (1780–1794), who died young.

paragraph: After Sarah's death, the children were boarded out. Ten years to the day after her death, Livingston remarried. Jane McLean Patterson (1769–1838), at 24, was 21 years younger than her husband. She was the daughter of Matthew Paterson (1732–1817) and Sarah (née Thorpe) Patterson (1739–1831). Their first baby arrived nine months after the wedding. After that, the couple bore seven more children. It was for this second family that Henry Livingston is believed to have written the poem known as "A Visit from St. Nicholas". Their children included:

paragraph: BULLET::::- Charles Patterson Livingston (1794–1847)

paragraph: BULLET::::- Sidney Montgomery Livingston (1796–1856), who married Joannah Maria Holthuysen (1804–1862)

paragraph: BULLET::::- Edward (or Edwin) George Livingston (1798–1863)

paragraph: BULLET::::- Jane Patterson Livingston (1800–1870), who married Rev. William Barber Thomas (1797–1876)

paragraph: BULLET::::- Helen Platt Livingston (1802–1859), who married Wakeman Bradley (1783–1865)

paragraph: BULLET::::- Elizabeth Davenport Livingston (1805–1886), who married Smith Thompson (1768–1843), U.S. Secretary of the Navy and Associate Justice of the U.S. Supreme Court, the widow of her cousin Sarah Livingston (daughter of her Henry's brother Gilbert Livingston). After his death, she married Judge Richard Ray Lansing (1789–1855)

paragraph: BULLET::::- Susan Catherine Livingston (1807–1889), who married Abraham Gifford Gurney (1809–c. 1880)

paragraph: BULLET::::- Catherine Breese Livingston (1809–1814), who died young.

paragraph: Livingston died on February 29, 1828 in Poughkeepsie, New York.

paragraph: Section::::Personal life.:Descendants.

paragraph: Through his eldest daughter Catherine, he was the grandfather of U.S. Senator from Illinois Sidney Breese (1800–1878) and Rear Admiral Samuel Livingston Breese (1794–1870), who served in the War of 1812, the Mexican–American War, and the American Civil War.

paragraph: Section::::External links.

paragraph: BULLET::::- Henry Livingston

description: American farmer, revolutionary officer, justice of the peace, and poet

wikidata_label: Henry Livingston, Jr.

wikipedia_title: Henry Livingston Jr.


text:
Polish Army
Imperial Russian Navy
Proszew
Mazovia
Siedlce
Węgrów County
Russian Empire
Partitions of Poland
Polish–Lithuanian Commonwealth
Grodno
Saint Petersburg
Imperial Russian Navy
midshipman
battleship
Nikolay Nyebogatov
Port Arthur
Russo-Japanese War
Battle of Port Arthur
Battle of Tsushima
Order of St. George
Alexey Novikov-Priboy
George Sanford
Katyn massacre
POW
Kyoto
Kronstadt
Danube
October Revolution
Siberia
Blue Army
Polish Army
Riverine Flotilla of the Polish Navy
Wilno
27th Infantry Division
Prusy Army
Stefan Dąb-Biernacki
Chełm
13th
19th
Lublin Army
Hrubieszów
Battle of Tomaszów Lubelski
German 28th Jäger Division
2nd Panzer Division
Red Army
invaded Poland
Soviet Union
Republic of Poland
POW
Putyvl
Kozelsk
Pavlischev Bor
Griazowiec
Katyn massacre
Sikorski-Mayski Agreement
6th Infantry Division
Anders Army
communist Poland
Wales
Chislehurst
Kent
Elmer's End Cemetery
Elmers End
Order of St. George
Order of Polonia Restituta
Cross of Valour
Medal of Independence
generals.dk

categories: Polish exiles,People from Węgrów County,Polish Army officers,Blue Army (Poland) personnel,Polish people of World War II,Polish prisoners of war,Katyn massacre,Polish military personnel of World War II,Recipients of the Order of St. George,Polish prisoners and detainees,Polish generals,Polish emigrants to the United Kingdom,1983 deaths,1883 births,Imperial Russian military personnel

paragraph: Jerzy Wołkowicki

paragraph: Jerzy Rusiło-Wołkowicki (1883–1983) was a General of the Polish Army and officer of the Imperial Russian Navy, awarded one of the highest Russian military orders.

paragraph: Section::::Childhood.

paragraph: Wołkowicki was born on 22 January 1883 in Proszew (a Mazovian village north of Siedlce, in Węgrów County), under Russian Empire occupation lasting since Partitions of Poland. He belonged to higher nobility of Polish–Lithuanian Commonwealth, in 1901 he graduated from a high school in Grodno, and soon afterwards joined the Marine Corps school in Saint Petersburg.

paragraph: Section::::Imperial Russian Army.

paragraph: In 1904 he started service in the Imperial Russian Navy, as a midshipman on the steam-sail battleship "Imperator Nikolai I", which belonged to the squadron of Rear Admiral Nikolay Nyebogatov. Together with other ships, "Imperator Nikolai I" circumnavigated Africa, to help the besieged Port Arthur, during the Russo-Japanese War (see: Battle of Port Arthur).

paragraph: After the Russian defeat in the Battle of Tsushima, Wołkowicki, together with a group of younger officers disagreed with Admiral Nebogatov, who wanted to capitulate. During a meeting, he claimed that they should fight to the end, then blow up the ship and escape. These words spread across the nation, Wołkowicki was later awarded with Order of St. George, and he became a national hero of Russia. His attitude was described by Alexey Novikov-Priboy, a Russian marine writer. Some historians, such as George Sanford speculate that Wołkowicki's fame saved him in 1940, during the Katyn massacre.

paragraph: Captured by the Japanese on 27 May 1905, he was moved to a POW camp in Kyoto, where he stayed until January 1906. After release, Wołkowicki attended Marine School of Artillery in Kronstadt (1907–1908) and Marine School of Engineering in Saint Petersburg (1909–1912). During World War I, he served in the Russian Flotilla on the Danube river as well as in the Black Sea Fleet.

paragraph: Section::::Polish Army in the interbellum.

paragraph: In 1917, after the October Revolution, Wołkowicki left the Russian Navy and, travelling across Siberia and Far East, he reached France. In April 1918 he joined the Polish Army in France (also known as Blue Army), becoming commander of a battalion of the 3rd Regiment of Polish Rifles. In the spring of 1919 Wołkowicki returned to Poland, together with the army.

paragraph: As his skills and experience were highly appreciated, General (since 1 January 1927) Wołkowicki held several posts in the Polish Army in the interbellum. Among others, he was the commander of the Riverine Flotilla of the Polish Navy, commander of the Wilno Rifles Regiment, director of the Organizational Office of Marine Department of Ministry of Military Affairs, commander of the 27th Infantry Division and General for special cases with Minister of Military Affairs (1932–1938).

paragraph: Section::::Polish September Campaign.

paragraph: In 1938 Wołkowicki retired, but in August 1939, as the international situation deteriorated, he was recalled up to active service, becoming a member of the headquarters of the Prusy Army. On 10 September 1939, General Stefan Dąb-Biernacki named Wołkowicki commandant of the Chełm garrison. His task was to organise the defence of the area with a number of Polish units, which were retreating east. Wołkowicki created an Infantry Division out of the remains of two Polish divisions – the 13th and 19th – and became its commander.

paragraph: On 17 September Wołkowicki's division became part of Lublin Army and it moved from Chełm to the area of Hrubieszów. Soon afterwards, the unit took part in the Battle of Tomaszów Lubelski, fighting the German 28th Jäger Division and 2nd Panzer Division. After the defeat, Wołkowicki, together with some 300 soldiers, tried to escape to the east, but on 28 September was caught by Red Army troops that had invaded Poland on 17 September.

paragraph: Section::::Soviet captivity.

paragraph: Although Soviet Union and Republic of Poland were not in a state of war, General Wołkowicki and other Polish officers were imprisoned in a POW camp in Putyvl. In November 1939 he was moved to a camp in Kozelsk. He was known for his generosity, as he would share his meals with younger officers. Between April and June 1940 he was kept in a camp at Pavlischev Bor, then in Griazowiec. For unknown reasons, he was not executed in the Katyn massacre; it is however probable that the Russians spared him because of his past.

paragraph: In August 1941, after signing of the Sikorski-Mayski Agreement, the General was released. On 27 August 1941, he was named deputy commander of the 6th Infantry Division of Polish Armed Forces in the USSR (see: Anders Army) and together with the Army, he left the Soviet Union in the summer of 1942. Because of his age, he did not take part in any hostilities. After the war he chose not to return to communist Poland and settled in a house of Polish officers in Wales, later moving to Chislehurst (in Kent), where he died on 7 January 1983. General Jerzy Wolkowicki was buried on Elmer's End Cemetery in Elmers End, south east London.

paragraph: Section::::Legacy and awards.

paragraph: BULLET::::- Order of St. George

paragraph: BULLET::::- Order of Polonia Restituta Commander's Cross (3rd Class)

paragraph: BULLET::::- Cross of Valour, four times

paragraph: BULLET::::- Medal of Independence

paragraph: BULLET::::- Krzyż Zasługi Wojsk Litwy Środkowej

paragraph: Section::::References.

paragraph: BULLET::::- generals.dk

paragraph: Section::::Sources.

paragraph: BULLET::::- Henryk P. Kosk, Generalicja polska, t. 2, Egros, Pruszków 2001, ,

paragraph: BULLET::::- Tadeusz Kryska-Karski i Stanislaw Zurakowski, Generalowie Polski Niepodleglej, Warszawa 1991, s. 184,

paragraph: BULLET::::- Piotr Stawecki, Slownik biograficzny generalow Wojska Polskiego 1918–1939, Warszawa 1994, , ss. 353–354,

paragraph: BULLET::::- Zdzislaw Nicman, Generalowie II Rzeczypospolitej, Jerzy Wolowicki, Polska Zbrojna,

paragraph: BULLET::::- Wladyslaw Bartosz, Gen. bryg. Jerzy Wolkowicki 1883–1983 w 10 rocznice Smierci, Polska Zbrojna 1993,

paragraph: BULLET::::- Waldemar Strzalkowski, Zyciorysy dowódców jednostek polskich w wojnie obronnej 1939 r., Wolkowicki Jerzy (1883–1983) w: Jurga Tadeusz, Obrona Polski 1939, Instytut Wydawniczy PAX, Warszawa 1990, wyd. I, , ss. 835–836.

description: Polish army general

wikidata_label: Jerzy Wołkowicki

wikipedia_title: Jerzy Wołkowicki