text: Kushan dynasty

text: Kujula Kadphises

text: Pataliputra

text: Gangetic plain

text: "Puruṣapura"

text: Gandhara

text: Kapisa

text: Buddhism

text: Silk Road

text: transmission of Mahayana Buddhism

text: Karakoram

text: China

text: Saka calendar era

text: Yuezhi

text: Rabatak inscription

text: Greek script

text: Bactrian

text: Ariana

text: Eastern Iranian language

text: Middle Iranian

text: Vima Kadphises

text: Rabatak inscription

text: Kujula Kadphises

text: Vima Taktu

text: Vima Kadphises

text: Kujula Kadphises

text: Vima Taktu

text: Vima Kadphises

text: Oxus

text: Pakistan

text: Mathura

text: Rabatak inscription

text: Pataliputra

text: Kashmir

text: Baramula

text: Book of the Later Han, "Hou Hanshu"

text: Ban Chao

text: Khotan

text: scorched-earth

text: Kashgar

text: Khotan

text: Yarkand

text: Tarim Basin

text: Xinjiang

text: Tarim Basin

text: Silk Road

text: Indian

text: Greek

text: Iranian

text: Sumer

text: Elamite

text: religious syncretism

text: Bactrian

text: Iranian language

text: scimitar

text: Greek language

text: Hēlios

text: Hephaistos

text: Selene

text: Anemos

text: Ashi Vanghuhi

text: Drvaspa

text: Atar

text: khwarenah

text: Mah

text: Mithra

text: Mazda

text: Aredvi Sura Anahita

text: Vohu Manah

text: Vata

text: Verethragna

text: Buddhist

text: Buddha

text: Shakyamuni Buddha

text: Maitreya

text: Hindu

text: oesho

text: Shiva

text: Avestan

text: Vayu

text: Shiva

text: Kashmir

text: Buddha

text: Gandhara

text: Greco-Buddhist Art

text: Mathura

text: Hindu

text: Kanishka stupa

text: Peshawar

text: Xuanzang

text: Ashvaghosha

text: Shakyamuni Buddha

text: Maitreya

text: dinar

text: aureus

text: obol

text: antaravasaka

text: uttarasanga

text: sanghati

text: usnisha

text: Chakra

text: urna

text: aureola

text: Shakyamuni Buddha

text: Siddharta Gautama

text: antaravasaka

text: uttarasanga

text: Bimaran casket

text: uttariya

text: ushnisha

text: halo

text: Maitreya

text: Abhaya

text: mudra

text: Bodhisattva

text: Gandhara

text: Mathura

text: Art of Mathura

text: Gandhara

text: Yavana era

text: Kanishka casket

text: Kanishka stupa

text: British Museum

text: Mandalay

text: Kharoshthi

text: stupa

text: Brahma

text: Indra

text: cherubs

text: Huvishka

text: Khotan

text: Dunhuang

text: Xuanzang

text: Gandhara

text: Kushan

text: Lokaksema

text: Mahayana

text: Loyang

text: Huvishka

text: Sacred Rock of Hunza

text: Menander I

text: Greco-Buddhism

text: Accessed: 20/12/2010

text: A rough guide to Kushana history.

text: Online Catalogue of Kanishka's Coins

text: Coins of Kanishka

text: Controversy regarding the beginning of the Kanishka Era.

text: Kanishka Buddhist coins

text: Photograph of the Kanishka casket

categories: Indian Buddhists,Kushan Empire,2nd-century Indian monarchs,History of Pakistan

paragraph: Kanishka

paragraph: Kanishka I (), or Kanishka the Great, an emperor of the Kushan dynasty in the second century (c. 127–150 CE), is famous for his military, political, and spiritual achievements. A descendant of Kujula Kadphises, founder of the Kushan empire, Kanishka came to rule an empire in Bactria extending to Pataliputra on the Gangetic plain. The main capital of his empire was located at "Puruṣapura" in Gandhara, with another major capital at Kapisa.

paragraph: His conquests and patronage of Buddhism played an important role in the development of the Silk Road, and in the transmission of Mahayana Buddhism from Gandhara across the Karakoram range to China.

paragraph: Earlier scholars believed that Kanishka ascended the Kushan throne in 78 CE, and that this date was used as the beginning of the Saka calendar era. However, historians no longer regard this date as that of Kanishka's accession. Falk estimates that Kanishka came to the throne in 127 CE.

paragraph: Section::::Genealogy.

paragraph: Kanishka was a Kushan of probable Yuezhi ethnicity. His native language is unknown. The Rabatak inscription uses a Greek script, to write a language described as "Arya" (αρια) – most likely a form of Bactrian native to Ariana, which was an Eastern Iranian language of the Middle Iranian period. However, this was likely adopted by the Kushans to facilitate communication with local subjects. It is not certain, what language the Kushan elite spoke among themselves.

paragraph: Kanishka was the successor of Vima Kadphises, as demonstrated by an impressive genealogy of the Kushan kings, known as the Rabatak inscription. The connection of Kanishka with other Kushan rulers is described in the Rabatak inscription as Kanishka makes the list of the kings who ruled up to his time: Kujula Kadphises as his great-grandfather, Vima Taktu as his grandfather, Vima Kadphises as his father, and himself Kanishka: "for King Kujula Kadphises (his) great grandfather, and for King Vima Taktu (his) grandfather, and for King Vima Kadphises (his) father, and *also for himself, King Kanishka".

paragraph: Section::::Conquests in South and Central Asia.

paragraph: Kanishka's empire was certainly vast. It extended from southern Uzbekistan and Tajikistan, north of the Amu Darya (Oxus) in the north west to Pakistan and Northern India, as far as Mathura in the south east (the Rabatak inscription even claims he held Pataliputra and Sri Champa), and his territory also included Kashmir, where there was a town Kanishkapur (modern day Kanispora), named after him not far from the Baramula Pass and which still contains the base of a large stupa.

paragraph: Knowledge of his hold over Central Asia is less well established. The Book of the Later Han, "Hou Hanshu", states that general Ban Chao fought battles near Khotan with a Kushan army of 70,000 men led by an otherwise unknown Kushan viceroy named Xie (Chinese: 謝) in 90 AD. Ban Chao claimed to be victorious, forcing the Kushans to retreat by use of a scorched-earth policy. The territories of Kashgar, Khotan and Yarkand were Chinese dependencies in the Tarim Basin, modern Xinjiang. Several coins of Kanishka have been found in the Tarim Basin.

paragraph: Controlling both the land (the Silk Road) and sea trade routes between South Asia and Rome seems to have been one of Kanishka's chief imperial goals.

paragraph: Section::::Kanishka's coins.

paragraph: Kanishka's coins portray images of Indian, Greek, Iranian and even Sumero-Elamite divinities, demonstrating the religious syncretism in his beliefs. Kanishka's coins from the beginning of his reign bear legends in Greek language and script and depict Greek divinities. Later coins bear legends in Bactrian, the Iranian language that the Kushans evidently spoke, and Greek divinities were replaced by corresponding Iranian ones. All of Kanishka's coins – even ones with a legend in the Bactrian language – were written in a modified Greek script that had one additional glyph (Ϸ) to represent /š/ ("sh"), as in the word 'Ku"sh"an' and 'Kani"sh"ka'.

paragraph: On his coins, the king is typically depicted as a bearded man in a long coat and trousers gathered at the ankle, with flames emanating from his shoulders. He wears large rounded boots, and is armed with a long sword similar to a scimitar as well as a lance. He is frequently seen to be making a sacrifice on a small altar. The lower half of a lifesize limestone relief of Kanishka similarly attired, with a stiff embroidered surplice beneath his coat and spurs attached to his boots under the light gathered folds of his trousers, survived in the Kabul Museum until it was destroyed by the Taliban.

paragraph: Section::::Kanishka's coins.:Hellenistic phase.

paragraph: A few coins at the beginning of his reign have a legend in the Greek language and script: ΒΑΣΙΛΕΥΣ ΒΑΣΙΛΕΩΝ ΚΑΝΗ"Ϸ"ΚΟΥ, "basileus basileon kaneshkou" "[coin] of Kanishka, king of kings."

paragraph: Greek deities, with Greek names are represented on these early coins:

paragraph: BULLET::::- ΗΛΙΟΣ ("ēlios", Hēlios), ΗΦΑΗΣΤΟΣ ("ēphaēstos", Hephaistos), ΣΑΛΗΝΗ ("salēnē", Selene), ΑΝΗΜΟΣ ("anēmos", Anemos)

paragraph: The inscriptions in Greek are full of spelling and syntactical errors.

paragraph: Section::::Kanishka's coins.:Iranian / Indic phase.

paragraph: Following the transition to the Bactrian language on coins, Iranian and Indic divinities replace the Greek ones:

paragraph: BULLET::::- ΑΡΔΟΧ"Ϸ"Ο ("ardoxsho", Ashi Vanghuhi)

paragraph: BULLET::::- ΛΡΟΟΑΣΠΟ ("lrooaspo", Drvaspa)

paragraph: BULLET::::- ΑΘ"Ϸ"Ο ("adsho", Atar)

paragraph: BULLET::::- ΦΑΡΡΟ ("pharro", personified khwarenah)

paragraph: BULLET::::- ΜΑΟ ("mao", Mah)

paragraph: BULLET::::- ΜΙΘΡΟ, ΜΙΙΡΟ, ΜΙΟΡΟ, ΜΙΥΡΟ ("mithro", "miiro", "mioro", "miuro", variants of Mithra)

paragraph: BULLET::::- ΜΟΖΔΟΟΑΝΟ ("mozdaooano", "Mazda the victorious?")

paragraph: BULLET::::- ΝΑΝΑ, ΝΑΝΑΙΑ, ΝΑΝΑ"Ϸ"ΑΟ (variants of pan-Asiatic "Nana", Sogdian "nny", in a Zoroastrian context Aredvi Sura Anahita)

paragraph: BULLET::::- ΜΑΝΑΟΒΑΓΟ ("manaobago", Vohu Manah )

paragraph: BULLET::::- ΟΑΔΟ ("oado", Vata)

paragraph: BULLET::::- ΟΡΑΛΑΓΝΟ ("orlagno", Verethragna)

paragraph: Only a few Buddhist divinities were used as well:

paragraph: BULLET::::- ΒΟΔΔΟ ("boddo", Buddha),

paragraph: BULLET::::- "Ϸ"ΑΚΑΜΑΝΟ ΒΟΔΔΟ ("shakamano boddho", Shakyamuni Buddha)

paragraph: BULLET::::- ΜΕΤΡΑΓΟ ΒΟΔΔΟ ("metrago boddo", the bodhisattava Maitreya)

paragraph: Only a few Hindu divinities were used as well:

paragraph: BULLET::::- ΟΗ"Ϸ"Ο ("oesho", Shiva). A recent study indicate that "oesho" may be Avestan Vayu conflated with Shiva.

paragraph: Section::::Kanishka and Buddhism.

paragraph: Kanishka's reputation in Buddhist tradition regarded with utmost importance as he not only believed in Buddhism but also encouraged its teachings as well. As a proof of it, he administered the 4th Buddhist Council in Kashmir as the head of the council. It was presided by Vasumitra and Ashwaghosha. Images of the Buddha based on 32 physical signs were made during his time.

paragraph: He encouraged both Gandhara school of Greco-Buddhist Art and the Mathura school of Hindu art (an inescapable religious syncretism pervades Kushana rule). Kanishka personally seems to have embraced both Buddhism and the Persian attributes but he favored Buddhism more as it can be proven by his devotion to the Buddhist teachings and prayer styles depicted in various books related to kushan empire.

paragraph: His greatest contribution to Buddhist architecture was the Kanishka stupa at Peshawar, Pakistan. Archaeologists who rediscovered the base of it in 1908–1909 ascertained that this stupa had a diameter of 286 feet (87 metres). Reports of Chinese pilgrims such as Xuanzang indicate that its height was 600 to 700 (Chinese) "feet" (= roughly 180–210 metres or 591–689 ft.) and was covered with jewels. Certainly this immense multi-storied building ranks among the wonders of the ancient world.

paragraph: Kanishka is said to have been particularly close to the Buddhist scholar Ashvaghosha, who became his religious advisor in his later years.

paragraph: Section::::Kanishka and Buddhism.:Buddhist coinage.

paragraph: The Buddhist coins of Kanishka are comparatively rare (well under one percent of all known coins of Kanishka). Several show Kanishka on the obverse and the Buddha standing on the reverse. A few also show the Shakyamuni Buddha and Maitreya. Like all coins of Kanishka, the design is rather rough and proportions tend to be imprecise; the image of the Buddha is often slightly overdone, with oversize ears and feet spread apart in the same fashion as the Kushan king.

paragraph: Three types of Kanishka's Buddhist coins are known:

paragraph: Section::::Kanishka and Buddhism.:Buddhist coinage.:Standing Buddha.

paragraph: Only six Kushan coins of the Buddha are known in gold (the sixth one is the centerpiece of an ancient piece of jewellery, consisting of a Kanishka Buddha coin decorated with a ring of heart-shaped ruby stones). All these coins were minted in gold under Kanishka I, and are in two different denominations: a dinar of about 8 gm, roughly similar to a Roman aureus, and a quarter dinar of about 2 gm. (about the size of an obol).

paragraph: The Buddha is represented wearing the monastic robe, the "antaravasaka", the "uttarasanga", and the overcoat "sanghati".

paragraph: The ears are extremely large and long, a symbolic exaggeration possibly rendered necessary by the small size of the coins, but otherwise visible in some later Gandharan statues of the Buddha typically dated to the 3rd–4th century CE ("illustration, left"). He has an abundant topknot covering the usnisha, often highly stylised in a curly or often globular manner, also visible on later Buddha statues of Gandhara.

paragraph: In general, the representation of the Buddha on these coins is already highly symbolic, and quite distinct from the more naturalistic and Hellenistic images seen in early Gandhara sculptures. On several designs a mustache is apparent. The palm of his right hand bears the Chakra mark, and his brow bear the urna. An aureola, formed by one, two or three lines, surrounds him.

paragraph: The full gown worn by the Buddha on the coins, covering both shoulders, suggests a Gandharan model rather than a Mathuran one.

paragraph: Section::::Kanishka and Buddhism.:Buddhist coinage.:"Shakyamuni Buddha".

paragraph: The Shakyamuni Buddha (with the legend "Sakamano Boudo", i.e. Shakamuni Buddha, another name for the historic Buddha Siddharta Gautama), standing to front, with left hand on hip and forming the abhaya mudra with the right hand. All these coins are in copper only, and usually rather worn.

paragraph: The gown of the Shakyamuni Buddha is quite light compared to that on the coins in the name of Buddha, clearly showing the outline of the body, in a nearly transparent way. These are probably the first two layers of monastic clothing the "antaravasaka" and the "uttarasanga". Also, his gown is folded over the left arm (rather than being held in the left hand as above), a feature only otherwise known in the Bimaran casket and suggestive of a scarf-like "uttariya". He has an abundant topknot covering the ushnisha, and a simple or double halo, sometimes radiating, surrounds his head.

paragraph: Section::::Kanishka and Buddhism.:Buddhist coinage.:"Maitreya Buddha".

paragraph: The Bodhisattva Maitreya (with the legend "Metrago Boudo") cross-legged on a throne, holding a water pot, and also forming the Abhaya mudra. These coins are only known in copper and are quite worn out .

paragraph: On the clearest coins, Maitreya seems to be wearing the armbands of an Indian prince, a feature often seen on the statuary of Maitreya. The throne is decorated with small columns, suggesting that the coin representation of Maitreya was directly copied from pre-existing statuary with such well-known features.

paragraph: The qualification of "Buddha" for Maitreya is inaccurate, as he is instead a Bodhisattva (he is the Buddha of the future).

paragraph: The iconography of these three types is very different from that of the other deities depicted in Kanishka's coinage. Whether Kanishka's deities are all shown from the side, the Buddhas only are shown frontally, indicating that they were copied from contemporary frontal representations of the standing and seated Buddhas in statuary. Both representations of the Buddha and Shakyamuni have both shoulders covered by their monastic gown, indicating that the statues used as models were from the Gandhara school of art, rather than Mathura.

paragraph: Section::::Kanishka and Buddhism.:Buddhist statuary under Kanishka.

paragraph: Several Buddhist statues are directly connected to the reign of Kanishka, such as several Bodhisattva statues from the Art of Mathura, while a few other from Gandhara are inscribed with a date in an era which is now thought to be the Yavana era, starting in 186 to 175 BCE.

paragraph: Section::::Kanishka and Buddhism.:Kanishka stupa.

paragraph: The "Kanishka casket" or "Kanishka reliquary", dated to the first year of Kanishka's reign in 127 CE, was discovered in a deposit chamber under Kanishka stupa, during the archaeological excavations in 1908–1909 in Shah-Ji-Ki-Dheri, just outside the present-day Ganj Gate of the old city of Peshawar. It is today at the Peshawar Museum, and a copy is in the British Museum. It is said to have contained three bone fragments of the Buddha, which are now housed in Mandalay, Burma.

paragraph: The casket is dedicated in Kharoshthi. The inscription reads:

paragraph: The text is signed by the maker, a Greek artist named "Agesilas", who oversaw work at Kanishka's stupas (caitya), confirming the direct involvement of Greeks with Buddhist realisations at such a late date: "The servant Agisalaos, the superintendent of works at the vihara of Kanishka in the monastery of Mahasena" ("dasa agisala nava-karmi ana*kaniskasa vihara mahasenasa sangharame").

paragraph: The lid of the casket shows the Buddha on a lotus pedestal, and worshipped by Brahma and Indra. The edge of the lid is decorated by a frieze of flying geese. The body of the casket represents a Kushan monarch, probably Kanishka in person, with the Iranian sun and moon gods on his side. On the sides are two images of a seated Buddha, worshiped by royal figures, can be assumed as Kanishka. A garland, supported by cherubs goes around the scene in typical Hellenistic style.

paragraph: The attribution of the casket to Kanishka has been recently disputed, essentially on stylistic ground (for example the ruler shown on the casket is not bearded, to the contrary of Kanishka). Instead, the casket is often attributed to Kanishka's successor Huvishka.

paragraph: Section::::Kanishka and Buddhism.:Kanishka in Buddhist tradition.

paragraph: In Buddhist tradition, Kanishka is often described as an aggressive, hot tempered, rigid, strict, and a bit harsh kind of King before he got converted to Buddhism of which he was very fond, and after his conversion to Buddhism, he became an openhearted, benevolent, and faithful ruler. As in the Sri-dharma-pitaka-nidana sutra:

paragraph: Additionally, the arrival of Kanishka was reportedly foretold or was predicted by the Buddha, as well as the construction of his stupa:

paragraph: The same story is repeated in a Khotanese scroll found at Dunhuang, which first described how Kanishka would arrive 400 years after the death of the Buddha. The account also describes how Kanishka came to raise his stupa:

paragraph: Chinese pilgrims to India, such as Xuanzang, who travelled there around 630 CE also relays the story:

paragraph: King Kanishka because of his deeds was highly respected, regarded, honored by all the people he ruled and governed and was regarded the greatest king who ever lived because of his kindness, humbleness and sense of equality and self-righteousness among all aspects. Thus such great deeds and character of the king Kanishka made his name immortal and thus he was regarded "THE KING OF KINGS"

paragraph: Section::::Kanishka and Buddhism.:Transmission of Buddhism to China.

paragraph: Buddhist monks from the region of Gandhara played a key role in the development and the transmission of Buddhist ideas in the direction of northern Asia from the middle of the 2nd century CE. The Kushan monk, Lokaksema (c. 178 CE), became the first translator of Mahayana Buddhist scriptures into Chinese and established a translation bureau at the Chinese capital Loyang. Central Asian and East Asian Buddhist monks appear to have maintained strong exchanges for the following centuries.

paragraph: Kanishka was probably succeeded by Huvishka. How and when this came about is still uncertain. It is a fact that there was only one king named Kanishka in the whole Kushan legacy. The inscription on The Sacred Rock of Hunza also shows the signs of Kanishka.

paragraph: Section::::See also.

paragraph: BULLET::::- Menander I

paragraph: BULLET::::- Greco-Buddhism

paragraph: Section::::References.

paragraph: BULLET::::- Chavannes, Édouard. (1906) "Trois Généraux Chinois de la dynastie des Han Orientaux. Pan Tch’ao (32–102 p. C.); – son fils Pan Yong; – Leang K’in (112 p. C.). Chapitre LXXVII du "Heou Han chou"." "T’oung pao" 7, (1906) p. 232 and note 3.

paragraph: BULLET::::- Dobbins, K. Walton. (1971). "The Stūpa and Vihāra of Kanishka I". The Asiatic Society of Bengal Monograph Series, Vol. XVIII. Calcutta.

paragraph: BULLET::::- Falk, Harry (2001): "The yuga of Sphujiddhvaja and the era of the Kuṣâṇas." In: "Silk Road Art and Archaeology" VII, pp. 121–136.

paragraph: BULLET::::- Falk, Harry (2004): "The Kaniṣka era in Gupta records." In: "Silk Road Art and Archaeology" X (2004), pp. 167–176.

paragraph: BULLET::::- Foucher, M. A. 1901. "Notes sur la geographie ancienne du Gandhâra (commentaire à un chapitre de Hiuen-Tsang)." "BEFEO" No. 4, Oct. 1901, pp. 322–369.

paragraph: BULLET::::- Gnoli, Gherardo (2002). "The "Aryan" Language." "JSAI" 26 (2002).

paragraph: BULLET::::- Hargreaves, H. (1910–11): "Excavations at Shāh-jī-kī Dhērī"; "Archaeological Survey of India, 1910–11".

paragraph: BULLET::::- Hill, John E. (2009) "Through the Jade Gate to Rome: A Study of the Silk Routes during the Later Han Dynasty, 1st to 2nd centuries CE". BookSurge, Charleston, South Carolina. .

paragraph: BULLET::::- Kumar, Baldev. 1973. "The Early ". New Delhi, Sterling Publishers.

paragraph: BULLET::::- Sims-Williams, Nicholas and Joe Cribb (1995/6): "A New Bactrian Inscription of Kanishka the Great." "Silk Road Art and Archaeology" 4 (1996), pp. 75–142.

paragraph: BULLET::::- Sims-Williams, Nicholas (1998): "Further notes on the Bactrian inscription of Rabatak, with an Appendix on the names of Kujula Kadphises and Vima Taktu in Chinese." "Proceedings of the Third European Conference of Iranian Studies Part 1: Old and Middle Iranian Studies". Edited by Nicholas Sims-Williams. Wiesbaden. 1998, pp. 79–93.

paragraph: BULLET::::- Sims-Williams, Nicholas. Accessed: 20/12/2010

paragraph: BULLET::::- Spooner, D. B. (1908–9): "Excavations at Shāh-jī-kī Dhērī."; "Archaeological Survey of India, 1908-9".

paragraph: BULLET::::- Wood, Frances (2003). "The Silk Road: Two Thousand Years in the Heart of Asia". University of California Press. Hbk (2003), ; pbk. (2004)

paragraph: Section::::External links.

paragraph: BULLET::::- A rough guide to Kushana history.

paragraph: BULLET::::- Online Catalogue of Kanishka's Coins

paragraph: BULLET::::- Coins of Kanishka

paragraph: BULLET::::- Controversy regarding the beginning of the Kanishka Era.

paragraph: BULLET::::- Kanishka Buddhist coins

paragraph: BULLET::::- Photograph of the Kanishka casket

description: emperor of the Kushan dynasty (127–151)

wikidata_label: Kanishka

wikipedia_title: Kanishka


text: Johann Sebastian Bach

text: Maria Barbara Bach

text: poverty

text: Weimar

text: Maria Barbara Bach

text: Johann Sebastian Bach

text: Klavierbüchlein für Wilhelm Friedemann Bach

text: French Suites

text: The Well-Tempered Clavier

text: six Trio Sonatas for organ

text: Merseburg

text: Johann Gottlieb Graun

text: Leipzig

text: Thomasschule

text: Leipzig University

text: University of Halle

text: Dresden

text: St. Sophia's Church

text: Dresden

text: Johann Gottlieb Goldberg

text: Goldberg Variations

text: Peter Williams

text: Hermann Carl von Keyserlingk

text: Liebfrauenkirche

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text: Braunschweig

text: Berlin

text: Anna Amalia

text: Frederick the Great

text: Sarah Itzig Levy

text: CPE Bach

text: cantata

text: fugue

text: polonaise

text: fantasia

text: clavier

text: contrapuntal

text: Johann Nikolaus Forkel

text: Carl Philipp Emanuel Bach

text: Johann Georg Nacke

text: Felix Mendelssohn

text: Carl Friedrich Christian Fasch

text: Carl Friedrich Zelter

text: Felix Mendelssohn

text: Sing-Akademie zu Berlin

text: Wilhelm Friedrich Ernst Bach

text: Traugott Müller

text: Gustaf Gründgens

text: Leny Marenbach

text: Johannes Riemann

text: Albert Emil Brachvogel

text: Allein Gott in der Höh sei Ehr

text: Trio Sonata in A minor (F 49)

text: BWV 1070

text: BWV Anh. 168

text: Wolfgang Amadeus Mozart

text: K.

text: The Well-Tempered Clavier

text: Johann Sebastian Bach

text: F minor

text: BWV 527

text: BWV 526

text: The New Grove Dictionary

text: WF Bach - the neglected son

text: Daniel Hensel

categories: 1710 births,German Lutherans,Leipzig University alumni,German classical composers,German male composers,People educated at the St. Thomas School, Leipzig,18th-century classical composers,1784 deaths,Bach family,People from Weimar,People from Saxe-Weimar,German Baroque composers

paragraph: Wilhelm Friedemann Bach

paragraph: Wilhelm Friedemann Bach (22 November 1710 – 1 July 1784), the second child and eldest son of Johann Sebastian Bach and Maria Barbara Bach, was a German composer and performer. Despite his acknowledged genius as an organist, improviser and composer, his income and employment were unstable and he died in poverty.

paragraph: Section::::Biography.

paragraph: Wilhelm Friedemann (hereafter Friedemann) was born in Weimar, where his father was employed as organist and chamber musician to the Duke of Saxe-Weimar. In July 1720, when Friedemann was nine, his mother Maria Barbara Bach died suddenly; Johann Sebastian Bach remarried in December 1721. J. S. Bach supervised Friedemann's musical education and career with great attention. The graded course of keyboard studies and composition that J. S. Bach provided is documented in the "Clavier-Büchlein vor Wilhelm Friedemann Bach" (modern spelling: "Klavierbüchlein für Wilhelm Friedemann Bach"), with entries by both father and son. This education also included (parts of) the French Suites, (Two-Part) Inventions, (Three-Part) Sinfonias (popularly known as "Inventions"), the first volume of "The Well-Tempered Clavier", and the six Trio Sonatas for organ. At the age of 16 he went to Merseburg to learn the violin with his teacher Johann Gottlieb Graun.

paragraph: In addition to his musical training, Friedemann received formal schooling beginning in Weimar. When J.S. Bach took the post of Cantor of the St. Thomas Church in Leipzig (in 1723), he enrolled Friedemann in the associated Thomasschule. (J.S. Bach—who had himself been orphaned at the age of 10—said that he took the position in Leipzig partly because of the educational opportunities it afforded his children). On graduating in 1729, Friedemann enrolled as a law student in Leipzig University, a renowned institution at the time, but later moved on to study law and mathematics at the University of Halle.

paragraph: He maintained a lifelong interest in mathematics, and continued to study it privately during his first job in Dresden.

paragraph: Friedemann was appointed in 1733 to the position of organist of the St. Sophia's Church at Dresden. In competing for the post he played a new version of his father's Prelude and Fugue in G Major, BWV 541. The judge described Friedemann as clearly superior to the other two candidates. He remained a renowned organist throughout his life. Among his many pupils in Dresden was Johann Gottlieb Goldberg, the keyboardist whose name is erroneously enshrined in the popular nickname given to J. S. Bach's 1742 publication, "Aria with Diverse Variations"—that is, "The Goldberg Variations." The scholar Peter Williams has discredited the story which links the work to Goldberg stating that J. S. Bach wrote the work for the Russian Ambassador Count Hermann Carl von Keyserlingk, who would ask his employee, Goldberg, to play variations for him to ward off insomnia. Williams instead has argued that J.S. Bach wrote the variations to provide a display piece for Friedemann.

paragraph: In 1746 Friedemann became organist of the Liebfrauenkirche at Halle.

paragraph: In 1751, Friedemann married Dorothea Elisabeth Georgi (1721–1791), who was 11 years his junior and who outlived him by seven years. Dorothea was the daughter of a tax collector. The landed estates she inherited caused the family to be placed in a high tax bracket by Halle authorities, who were raising taxes to meet the revenue demands of the Seven Years' War. To raise cash for these payments, she sold part of her property in 1770. The couple produced two sons and a daughter, Friederica Sophia (born in 1757), who was the only one of their offspring to live past infancy. The descendents of Friederica Sophia eventually migrated to Oklahoma.

paragraph: Friedemann was deeply unhappy in Halle almost from the beginning of his tenure. In 1749 he was involved in a conflict with the Cantor of the Liebfrauenkirche, Gottfried Mittag, who had misappropriated funds that were due to Friedemann. In 1750 the church authorities reprimanded Friedemann for overstaying a leave of absence (he was in Leipzig settling his father's estate). In 1753 he made his first documented attempt to find another post, and thereafter made several others. All these attempts failed. Bach had at least two pupils, Friedrich Wilhelm Rust and Johann Samuel Petri.

paragraph: In 1762, he negotiated for the post of "Kapellmeister" to the court of Darmstadt; although he protracted the negotiations for reasons that are opaque to historians and did not actively take the post, he nevertheless was appointed "Hofkapellmeister of Hessen-Darmstadt," a title he used in the dedication of his Harpsichord Concerto in E minor.

paragraph: In June 1764, Friedemann left the job in Halle without any employment secured elsewhere. His financial situation deteriorated so much that in 1768 he re-applied for his old job in Halle, without success. He thereafter supported himself by teaching. After leaving Halle in 1770, he lived for several years (1771–1774) in Braunschweig where he applied in vain for the post of an organist at the St. Catherine's church. Then he moved to Berlin, where he initially was welcomed by the princess Anna Amalia (the sister of Frederick the Great). Later, no longer in favor at court, he gave harpsichord lessons to Sarah Itzig Levy, the daughter of a prominent Jewish family in Berlin and an avid collector of Bach and other early 18th century music, who was also a "patron" of Friedemann's brother CPE Bach. Friedemann died in Berlin.

paragraph: Earlier biographers have concluded that his "wayward" and difficult personality reduced his ability to gain and hold secure employment, but the scholar David Schulenberg writes (in the "Oxford Composer Companion: J.S. Bach," ed. Malcolm Boyd, 1999) that "he may also have been affected by changing social conditions that made it difficult for a self-possessed virtuoso to succeed in a church- or court-related position" (p. 39). Schulenberg adds, "he was evidently less willing than most younger contemporaries to compose fashionable, readily accessible music".

paragraph: Friedemann Bach was renowned for his improvisatory skills. It is speculated that when in Leipzig his father's accomplishments set so high a bar that he focused on improvisation rather than composition. Evidence adduced for this speculation includes the fact that his compositional output increased in Dresden and Halle.

paragraph: Friedemann's compositions include many church cantatas and instrumental works, of which the most notable are the fugues, polonaises and fantasias for clavier, and the duets for two flutes. He incorporated more elements of the contrapuntal style learned from his father than any of his three composer brothers, but his use of the style has an individualistic and improvisatory edge which endeared his work to musicians of the late 19th century, when there was something of a revival of his reputation.

paragraph: Friedemann's students included Johann Nikolaus Forkel, who in 1802 published the first biography of Johann Sebastian Bach; Friedemann, as well as his younger brother Carl Philipp Emanuel Bach, were major informants for Forkel. Friedemann has in earlier biographies been called a poor custodian of his father's musical manuscripts, many of which he inherited; however, more recent scholars are uncertain how many were lost. It is known that Friedemann sold some of his father's collection to raise cash to pay debts (including a large sale in 1759 to Johann Georg Nacke). Also, his daughter took some of the Sebastian Bach manuscripts with her when she moved to America, and these were passed on to her descendants, who inadvertently destroyed many of them. Others were passed on through his only known Berlin pupil, Sarah Itzig Levy, great-aunt of Felix Mendelssohn. Some of his scores were collected by Carl Friedrich Christian Fasch and his pupil Carl Friedrich Zelter, the teacher of Felix Mendelssohn and through them these materials were placed in the library of the Sing-Akademie zu Berlin, which Fasch founded in 1791 and of which Zelter took charge in 1800.

paragraph: Friedemann is known occasionally to have claimed credit for music written by his father, but this was in keeping with common musical practices in the era.

paragraph: Wilhelm Friedemann Bach is not to be confused with Wilhelm Friedrich Ernst Bach, his nephew, also a composer.

paragraph: Section::::Film.

paragraph: "Friedemann Bach" is a 1941 German historical drama film directed by Traugott Müller and starring Gustaf Gründgens, Leny Marenbach and Johannes Riemann. The film depicts the life of Johann Sebastian Bach's son Wilhelm Friedemann Bach. It is based on Albert Emil Brachvogel's novel "Friedemann Bach." Wilhelm Friedemann Bach is shown as a gifted son trying to escape his father's shadow.

paragraph: Section::::List of works.

paragraph: "BR" denotes ""Bach-Repertorium""; "F." denotes "Falck catalogue number".

paragraph: Section::::List of works.:Keyboard works.

paragraph: BR A1 \ Keyboard Sonata in C major (F 200)

paragraph: BR A2 \ Keyboard Sonata in C major (F 1)

paragraph: BR A3 \ Keyboard Sonata in C major (F 2)

paragraph: BR A4 \ Keyboard Sonata in D major (F 3)

paragraph: BR A5 \ Keyboard Sonata in D major (F 4)

paragraph: BR A6 \ Sonata for 2 harpsichord in D major (F 11) (lost)

paragraph: BR A7 \ Keyboard Sonata in E flat major (F 5)

paragraph: BR A8 \ Keyboard Sonata in E flat major (F 201)

paragraph: BR A9 \ Keyboard Sonata in E minor (F 204) (lost)

paragraph: BR A10 \ Keyboard Sonata in F major (F 202)

paragraph: BR A11 \ Keyboard Sonata in F major (F 6)

paragraph: BR A12 \ Sonata for 2 harpsichords in F major (F 10)

paragraph: BR A13 \ Concerto for harpsichord solo in G major (F 40)

paragraph: BR A14 \ Keyboard Sonata in G major (F 7)

paragraph: BR A15 \ Keyboard Sonata in A major (F 8)

paragraph: BR A16 \ Keyboard Sonata in B flat major (F 9)

paragraph: BR A17 \ Fantasia for harpsichord in C major (F 14)

paragraph: BR A18 \ Fantasia for harpsichord in C minor (F 15)

paragraph: BR A19 \ Fantasia for harpsichord in C minor (F 16)

paragraph: BR A20 \ Fantasia for harpsichord in D major (F 17)

paragraph: BR A21 \ Fantasia for harpsichord in D minor (F 18)

paragraph: BR A22 \ Fantasia for harpsichord in D minor (F 19)

paragraph: BR A23 \ Fantasia for harpsichord in E minor (F 20)

paragraph: BR A24 \ Fantasia for harpsichord in E minor (F 21)

paragraph: BR A25 \ Fantasia for harpsichord in G major (F 22)

paragraph: BR A26 \ Fantasia for harpsichord in A minor (F 23)

paragraph: BR A 27-38 \ Twelve Polonaises (F 12)

paragraph: BR A39 \ Harpsichord Suite in G minor (F 24)

paragraph: BR A 40-41 \ 2 German Dances for harpsichord in G minor (F 205)

paragraph: BR A 42-43 \ 2 Menuets for harpsichord

paragraph: BR A 44-47 \ 4 Preludes for harpsichord (F 206)

paragraph: BR A 48-49 \ 2 pieces for harpsichord (F 25)

paragraph: BR A50 \ Menuetto for harpsichord in F major (F 208)

paragraph: BR A51 \ L'imitation de la chasse for harpsichord in C major (F 26)

paragraph: BR A52 \ La Reveille for harpsichord in C major (F 27)

paragraph: BR A53 \ Gigue for harpsichord in G major (F 28)

paragraph: BR A54 \ Prelude for harpsichord in C minor (F 29)

paragraph: BR A55 \ Scherzo for harpsichord in D minor

paragraph: BR A56 \ March for harpsichord in E flat major (F 30)

paragraph: BR A57 \ March for harpsichord in F major

paragraph: BR A58 \ Polonaise for keyboard in C major (F 13)

paragraph: BR A59 \ Ouverture for harpsichord in E major

paragraph: BR A60 \ Andante for harpsichord in E minor (F 209)

paragraph: BR A61 \ Allegro non troppo for harpsichord in G major (F 203) (lost)

paragraph: BR A62 \ Un poco allegro for harpsichord in C major

paragraph: BR A 63-80 \ 18 pieces for clock-organ (F 207)

paragraph: BR A 81-88 \ Eight fugues for harpsichord (F 31)

paragraph: BR A89 \ Fugue for organ in C minor (F 32)

paragraph: BR A90 \ Fugue for organ in F major (F 33)

paragraph: BR A91 \ Fugue (triple) for organ in F major (F 36)

paragraph: BR A92 \ Fugue for organ in G minor (F 37)

paragraph: BR A 93-99 \ 7 Chorale preludes for organ (F 38)

paragraph: BR A100 \ Trio on "Allein Gott in der Höh sei Ehr" for organ (F 38) (lost)

paragraph: BR A101-104 \ 4 Chorale preludes for organ (lost)

paragraph: BWV 534 \ Prelude and Fugue in F minor (once attr. to J.S.Bach)

paragraph: Section::::List of works.:Chamber music.

paragraph: BR B 1 \ Flute Duetto in E minor (F 54)

paragraph: BR B 2 \ Flute Duetto in E flat major (F 55)

paragraph: BR B 3 \ Flute Duetto in E flat major (F 56)

paragraph: BR B 4 \ Flute Duetto in F major (F 57)

paragraph: BR B 5 \ Flute Duetto in F minor (F 58)

paragraph: BR B 6 \ Flute Duetto in G major (F 59)

paragraph: BR B 7 \ Viola Duetto in C major (F 60)

paragraph: BR B 8 \ Viola Duetto in G major (F 61)

paragraph: BR B 9 \ Viola Duetto in G minor (F 62)

paragraph: BR B10 \ Flute Sonata in F major (F 51) (lost)

paragraph: BR B11 \ Flute Sonata in A minor (F 52) (lost)

paragraph: BR B12 \ Flute Sonata in D major (F 53) (lost)

paragraph: BR B13 \ Trio Sonata in D major (F 47)

paragraph: BR B14 \ Trio Sonata in D major (F 48)

paragraph: BR B15 \ Trio Sonata in A minor (F 49)

paragraph: BR B16 \ Trio Sonata in B flat major (F 50)

paragraph: BR B17 \ Sonata for flute, violin and continuo in F major

paragraph: BR B18 \ Flute Sonata in F major

paragraph: Section::::List of works.:Orchestral works.

paragraph: BR C1 \ Symphony in C major (F 63)

paragraph: BR C2 \ Symphony in F major (F 67)

paragraph: BR C3 \ Symphony in G major (F 68) (lost)

paragraph: BR C4 \ Symphony in G major (F 69) (lost)

paragraph: BR C5 \ Symphony in B flat major (F 71) (lost)

paragraph: BR C6 \ Symphony in A major (F 70) (fragment)

paragraph: BR C7 \ Symphony in D minor (F 65)

paragraph: BR C8 \ Symphony in D major (F 64)

paragraph: BR C9 \ Harpsichord Concerto in D major (F 41)

paragraph: BR C10 \ Harpsichord Concerto in E flat major (F 42)

paragraph: BR C11 \ Concerto for 2 harpsichords in E flat major (F 46)

paragraph: BR C12 \ Harpsichord Concerto in E minor (F 43)

paragraph: BR C13 \ Harpsichord Concerto in F major (F 44)

paragraph: BR C14 \ Harpsichord Concerto in A minor (F 45)

paragraph: BR C15 \ Concerto for flute in D major

paragraph: BR C17 \ Harpsichord Concerto in G minor (F deest)

paragraph: Concerto for harpsichord and winds in F minor

paragraph: Orchestral Suite in G Minor (BWV 1070) (possibly spurious)

paragraph: Section::::List of works.:Liturgical works.

paragraph: BULLET::::- BR E1 – Mass in G minor (F 100, BWV Anh. 168)

paragraph: BULLET::::- BR E2 – Missa in D minor (F 98)

paragraph: BULLET::::- BR E3 – Heilig ist Gott in D major (F 78a)

paragraph: BULLET::::- BR E4 – Agnus Dei in D minor

paragraph: BULLET::::- BR E5 – Amen (F 99)

paragraph: BULLET::::- BR E6 – Halleluja (F 99)

paragraph: BULLET::::- BR E7 – Lobet Gott, unsern Herrn in D major (F 78b)

paragraph: Section::::List of works.:Sacred cantatas.

paragraph: BR F 1 \ Lasset uns ablegen die Werke der Finsternis (F 80)

paragraph: BR F 2 \ O Wunder ! wer kann dieses fassen? (F 92)

paragraph: BR F 3 \ Ach, daß du den Himmel zerrissest (F 93)

paragraph: BR F 4 \ Ehre sei Gott in der Höhe (F 250)

paragraph: BR F 5 \ Der Herr zu deiner Rechten (F 73)

paragraph: BR F 6 \ Wir sind Gottes Werk (F 74)

paragraph: BR F 7 \ Wie schön leuchtet der Morgenstern (F 82)

paragraph: BR F 8 \ Cantata for Palm Sunday (lost)

paragraph: BR F 9 \ Erzittert und fallet (F 83)

paragraph: BR F 10 \ Auf, Christen, posaunt

paragraph: BR F 11 \ Gott fähret auf mit Jauchzen (F 75)

paragraph: BR F 12 \ Wo geht die Lebensreise hin? (F 91)

paragraph: BR F 13 \ Wer mich liebet, der wird mein Wort halten (F 72)

paragraph: BR F 14 \ Dies ist der Tag (F 85)

paragraph: BR F 15 \ Ertönt, ihr seligen Völker (F 88)

paragraph: BR F 16 \ Ach, daß du den Himmel zerrissest

paragraph: BR F 17 \ Es ist eine Stimme eines Predigers in der Wüste (F 89)

paragraph: BR F 18 \ Der Herr wird mit Gerechtigkeit (F 81)

paragraph: BR F 19 \ Ach Gott vom Himmel, sieh darein (F 96)

paragraph: BR F 20 \ Introduzzione delle predicazione del Catechismo (F 76)

paragraph: BR F 21 \ Wie ruhig ist doch meine Seele (F 77) (lost)

paragraph: BR F 22 \ Der Höchste erhöret das Flehen der Armen (F 86)

paragraph: BR F 23 \ Verhängnis, dein Wüten entkräftet die Armen (F 87)

paragraph: BR F 24 \ Auf, Christen, posaunt (F 95)

paragraph: BR F 25 \ Dienet dem Herrn mit Freuden (F 84)

paragraph: BR F 26 \ Der Trost gehöret nur für Kinder

paragraph: BR F 27 \ Zerbrecht, zerreist, ihr schnöden Banden (F 94)

paragraph: BR F 28 \ Laß dein Wehen in mir spielen

paragraph: BR F 29 \ Gnade finden (F 79) (fragment)

paragraph: Section::::List of works.:Secular cantata and opera.

paragraph: BR G1 \ O Himmel, schöne (F 90)

paragraph: BR G2 \ Lausus und Lydie (F 106) (lost)

paragraph: Section::::List of works.:Song.

paragraph: BR H1 \ Cantilena nuptiarum consolatoria (F 97)

paragraph: Section::::List of works.:Miscellaneous works.

paragraph: BR I1 \ Canons and Studies for organ (F 39)

paragraph: BR I2–5 \ 4 Triple Canons for organ (F 212)

paragraph: BR I6 \ Fugal exposition for organ in C major (F 35)

paragraph: BR I7 \ Fugue exposition on B-A-C-H for organ (F 210)

paragraph: BR I8 \ Abhandlung vom harmonischen Dreiklang (lost)

paragraph: Section::::List of works.:Other works in Falck catalogue.

paragraph: F 34 \ Fugue for organ in B flat major

paragraph: F 211 \ 3 Fugues for organ

paragraph: Fnv8 \ Keyboard Sonata in A minor

paragraph: Section::::Use by later composers.

paragraph: BULLET::::- In Wolfgang Amadeus Mozart's set of six Prelude and Fugues for string trio, K. 404a, contains five fugues transcribed from "The Well-Tempered Clavier" by Johann Sebastian Bach while the sixth fugue in F minor, is a transcription of one of the Eight Fugues (Falck 31) of Wilhelm Friedemann Bach. The preludes in K. 404a are Mozart's own, except for 4 (from BWV 527) and 5 (second movement from BWV 526).

paragraph: Section::::References.

paragraph: BULLET::::- Applegate, Celia, "Bach in Berlin: Nation and Culture in Mendelssohn's Revival of the St. Mathew Passion", Cornell University Press, Ithaca and London, 2005,

paragraph: BULLET::::- The New Grove Dictionary served as a source for revision.

paragraph: BULLET::::- Schulenberg, David: entry on Wilhelm Friedemann Bach in "The Oxford Composer Companion: J.S.Bach" (ed. Malcolm Boyd, 1999: )

paragraph: BULLET::::- The harpsichord concertos of Wilhelm Friedemann Bach

paragraph: Section::::Further reading.

paragraph: BULLET::::- Borysenko, Elena. "The Cantatas of Wilhelm Friedemann Bach." Thesis (Ph.D.) Eastman School of Music, University of Rochester, 1981. In 2 volumes. ("Vol. II ... consists primarily of selected movements from the cantatas of W.F. Bach, followed by translations of the texts of these movements and a critical commentary.")

paragraph: BULLET::::- Falck, Martin. "Wilhelm Friedemann Bach; Sein Leben und seine Werke, mit thematischem Verzeichnis seiner Kompositionen und zwei Bildern". Leipzig: C. F. Kahnt, 1919.

paragraph: BULLET::::- Helm, Eugene. "Wilhelm Friedemann Bach", in Christoph Wolff et al., "The New Grove Bach Family." NY: Norton, 1983 (), pp. 238–50.

paragraph: BULLET::::- Kahmann, Ulrich. "Wilhelm Friedemann Bach. Der unterschätzte Sohn". Bielefeld: Aisthesis, 2010.

paragraph: BULLET::::- WF Bach - the neglected son Biography, major works and recommended recordings. "Gramophone", April 2010

paragraph: BULLET::::- Schulenberg, David. "The Music of Wilhelm Friedemann Bach". Rochester: University of Rochester Press, 2010.

paragraph: BULLET::::- Daniel Hensel: "Wilhelm Friedemann Bach. Epigone oder Originalgenie, verquere Erscheinung oder großer Komponist?"; Stuttgart: ibidem, April 2011,

paragraph: Section::::External links.

paragraph: BULLET::::- Concertos, harpsichords (2), orchestra, F. 46, E major, arranged for two pianos (from the Sibley Music Library Digital Score Collection)

description: German composer, organist, harpsichordist

wikidata_label: Wilhelm Friedemann Bach

wikipedia_title: Wilhelm Friedemann Bach


text: Argentina

text: World Touring Car Championship

text: Engstler Motorsport

text: Neuquén

text: WKA

text: Parilla

text: Formula BMW

text: Master Junior Formula

text: Emilio de Villota

text: Circuit Ricardo Tormo

text: Valencia

text: George Katsinis

text: Formula Renault 1.6 Argentina

text: Top Race V6

text: Ford Mondeo

text: TC Pista

text: Autódromo Juan y Oscar Gálvez

text: World Touring Car Championship

text: Pasquale Di Sabatino

text: Engstler Motorsport

text: Race of Argentina

text: Autódromo Termas de Río Hondo

text: BMW 320 TC

categories: Argentine racing drivers,Formula Renault Argentina drivers,Formula BMW drivers,1990 births,TC 2000 Championship drivers,People from Neuquén,Living people

paragraph: Camilo Echevarría

paragraph: Camilo Echevarría (born 31 December 1990) is a racing driver from Argentina. Echevarría made his debut in the World Touring Car Championship in 2014 for Engstler Motorsport.

paragraph: Section::::Career.

paragraph: Section::::Career.:Karting.

paragraph: Born in Neuquén, Echevarría drove in the 60cc class between 1999 and 2001, winning the regional championship in both 1999 and 2000. In 2000, Echevarría made his debut in the WKA Manufacturers' Cup. In 2001 Echevarría won the national 60cc championship in a Parilla powered kart. After his success, Echevarría graduated into the 100cc and 125cc classes; he was runner up in the national championship for 125cc karts in 2003 and 2005.

paragraph: Section::::Career.:Formula racing.

paragraph: Echevarría made his debut in competitive auto racing in 2007. He drove in the Spanish Formula BMW, the Master Junior Formula. He was selected by the Real Federación Española de Automovilismo and Emilio de Villota out of a group of 145 drivers to race in the class. Echevarría competed in three races, in which he scored one podium finish. In 2008, Echevarría competed in the Formula BMW Talent Cup at Circuit Ricardo Tormo, near Valencia, where he beat George Katsinis for the victory and achieved a new lap record for the Formula BMW class. The following season Echevarría competed in six races in Formula Renault 1.6 Argentina.

paragraph: Section::::Career.:Touring car racing.

paragraph: In 2009, Echevarría also made his debut in the Top Race V6 Junior class. He won two out of thirteen races in a Ford Mondeo, and ended up third in the championship. After this success he graduated into the TC Pista championship, the second highest touring car class in Argentina. During the season he scored two podium finishes at Autódromo Juan y Oscar Gálvez. Echevarría continued to grow into the TC Pista series, as in 2011, he won his first race in the class and scored a total of five podium finishes to end up third in the standings. He continued to win races in the TC Pista series in 2012 and 2013.

paragraph: In 2014, Echevarría made his debut in the World Touring Car Championship, replacing Pasquale Di Sabatino at Engstler Motorsport for the Race of Argentina at Autódromo Termas de Río Hondo, as Di Sabatino was only scheduled to drive at the European events. He drove a BMW 320 TC for the team. Echevarria finished seventeenth in race one, equating to third in the TC2 class. During race two Echevarria finished sixteenth overall, second in TC2.

description: Argentine racing driver

wikidata_label: Camilo Echevarría

wikipedia_title: Camilo Echevarría


text:
track and field
pole vault
Welsh record
2014 Commonwealth Games
British champion
2011 Summer Universiade
2012 European Athletics Championships
2010 Commonwealth Games
Football Association of Wales
Chester
gymnastics
Liverpool Harriers
triple jump
long jump
junior
Cardiff University
physiotherapy
Cardiff
Welsh team
2010 Commonwealth Games
Loughborough
Scott Simpson
UK Athletics Indoor Championships
British Athletics Championships
Universiade
Shenzhen
2012 London Olympics
Birchfield Harriers
Perche Élite Tour
Holly Bleasdale
2012 European Athletics Championships
British Athletics Championships
IAAF Diamond League
London Anniversary Games
Zoe Brown
Wales
2014 Commonwealth Games
Glasgow Grand Prix
Glasgow
Pole vault
Long jump
Triple jump

categories: Sportspeople from Chester,Welsh pole vaulters,Athletes (track and field) at the 2018 Commonwealth Games,Living people,British female pole vaulters,1986 births,Welsh female athletes,Athletes (track and field) at the 2010 Commonwealth Games,Commonwealth Games silver medallists for Wales,Alumni of Cardiff University,Athletes (track and field) at the 2014 Commonwealth Games

paragraph: Sally Peake

paragraph: Sally Peake (born 8 February 1986) is a British track and field athlete who specialises in the pole vault. She has a personal best of for the event, which is a Welsh record. She was the silver medallist in the pole vault at the 2014 Commonwealth Games.

paragraph: Peake is a two-time British champion (2013 and 2014). She has represented Great Britain at the 2011 Summer Universiade and the 2012 European Athletics Championships, as well as having competed for Wales at the 2010 Commonwealth Games.

paragraph: In addition to her pole vaulting career, she is a physiotherapist for the Football Association of Wales.

paragraph: Section::::Career.

paragraph: Born in Chester, Peake initially competed in gymnastics but gave up the sport in favour of track and field as she grew older. She joined Liverpool Harriers and focused on triple jump and long jump during her early years at the club. She was the 2005 Welsh junior champion in the triple jump and then won the 2006 Welsh indoor title in a personal best of . She struggled to progress in the events and took up pole vaulting at the end of 2008. In 2007, she graduated from Cardiff University with a first-class honours science degree and continued to specialise in physiotherapy. The 2009 season marked her first full year of pole vault competition and she set a best of . She cleared four metres for the first time in June 2010, reaching a height of in Cardiff. This gained her selection for the Welsh team for the 2010 Commonwealth Games and at the event in New Delhi she placed ninth with a mark of . she has a personal best of 4.40m in pole vault

paragraph: In 2011, she moved to Loughborough to be closer to her coach Scott Simpson. That year she placed third at the UK Athletics Indoor Championships and won the Welsh outdoor title with a vault of . She narrowly missed the podium with a fourth-place finish at the British Athletics Championships. Peake matched that finish on her international debut at the Universiade in Shenzhen, clearing a new best of in the final. With her sights on a place at the 2012 London Olympics, she signed up with Birchfield Harriers andcontinued to improve the following year, achieving a height of on the Perche Élite Tour in February. She retained her Welsh title and was runner-up at the British Olympic trials (behind Holly Bleasdale), but did not achieve the qualifying "A" standard, which was set at four and a half metres. Her senior debut at the 2012 European Athletics Championships followed and she competed in the qualifying only.

paragraph: The peak of her 2013 season was a win at the British Athletics Championships where—in the absence of Bleasdale—she won with a height of . She also competed at her first IAAF Diamond League event, vaulting at the London Anniversary Games and placing eighth. She did not compete internationally that year. She placed third at the 2014 British Indoor Championships before going on to win the British outdoor title for a second year running. She was beaten by Northern Ireland's Zoe Brown at the Welsh Open Championships, but was still selected for Wales at the 2014 Commonwealth Games. Immediately prior to the competition, she set an outdoor best of at the Glasgow Grand Prix test event. At the Commonwealth Games in Glasgow she won her first international medal, clearing in very wet conditions to take the silver medal for Wales.

paragraph: Section::::Personal bests.

paragraph: BULLET::::- Pole vault – (2014)

paragraph: BULLET::::- Pole vault indoor – (2012)

paragraph: BULLET::::- Long jump – (2008)

paragraph: BULLET::::- Triple jump – (2008)

paragraph: BULLET::::- Triple jump indoor – (2008)

description: British pole vaulter

wikidata_label: Sally Peake

wikipedia_title: Sally Peake


text: Italian

text: director

text: actor

text: neorealist

text: Sciuscià

text: Bicycle Thieves

text: Yesterday, Today and Tomorrow

text: Il giardino dei Finzi Contini

text: Academy Award for Best Foreign Language Film

text: Academy of Motion Picture Arts and Sciences

text: Turner Classic Movies

text: Oscar for Best Supporting Actor

text: Charles Vidor

text: Ernest Hemingway

text: A Farewell to Arms

text: Sora, Lazio

text: theatre

text: actor

text: Tatiana Pavlova

text: Giuditta Rissone

text: Sergio Tofano

text: comedies

text: Beaumarchais

text: Luchino Visconti

text: Cesare Zavattini

text: neorealistic age

text: Sciuscià

text: Bicycle Thieves

text: The Four Just Men

text: Giuditta Rissone

text: Maria Mercader

text: Ramon Mercader

text: Leon Trotsky

text: Christian

text: lung cancer

text: Neuilly-sur-Seine

text: Roman Catholic

text: Berlin International Film Festival

text: Miracolo a Milano

text: Cannes Film Festival

text: Palme D'Or

text: Umberto D.

text: Stazione Termini

text: L'oro di Napoli

text: Il Tetto

text: Anna di Brooklyn

text: Berlin International Film Festival

text: La Ciociara

text: Matrimonio all'italiana

text: Moscow International Film Festival

text: Il Giardino dei Finzi-Contini

text: Berlin International Film Festival

text: Golden Bear

text: Nastro d'Argento for Best Director

text: Sciuscià

text: Academy Award 1947

text: Honorary Award to the Italian production

text: Sciuscià

text: Academy Award 1949

text: Bicycle Thieves

text: BAFTA

text: British Academy Award

text: Bicycle Thieves

text: Academy Award 1965

text: Ieri, oggi, domani

text: Academy Award 1972

text: Il giardino dei Finzi-Contini

text: Il processo Clemenceau

text: Alfredo De Antoni

text: La bellezza del mondo

text: Mario Almirante

text: La compagnia dei matti

text: Mario Almirante

text: La vecchia signora

text: Amleto Palermi

text: Gli uomini, che mascalzoni!

text: Mario Camerini

text: Due cuori felici

text: Baldassarre Negroni

text: Paprika

text: Carl Boese

text: Lisetta

text: Carl Boese

text: La canzone del sole

text: Max Neufeld

text: Un cattivo soggetto

text: Carlo Ludovico Bragaglia

text: La segretaria per tutti

text: Amleto Palermi

text: Tempo massimo

text: Mario Mattoli

text: Il signore desidera?

text: Gennaro Righelli

text: Darò un milione

text: Mario Camerini

text: Amo te sola

text: Mario Mattoli

text: Non ti conosco più

text: Nunzio Malasomma

text: Lohengrin

text: Nunzio Malasomma

text: L'uomo che sorride

text: Mario Mattoli

text: Il signor Max

text: Mario Camerini

text: Ma non è una cosa seria

text: Mario Camerini

text: Naples of Olden Times

text: Amleto Palermi

text: La mazurka di papà

text: Oreste Biancoli

text: Il Trionfo dell'amore

text: Mario Mattoli

text: L'orologio a cucù

text: Camillo Mastrocinque

text: Departure

text: Amleto Palermi

text: They've Kidnapped a Man

text: Gennaro Righelli

text: Ai vostri ordini, signora!

text: Mario Mattoli

text: Naples That Never Die

text: Questi ragazzi

text: Mario Mattoli

text: Castles in the Air

text: Augusto Genina

text: Department Store

text: Mario Camerini

text: It Always Ends That Way

text: Enrique Telémaco Susini

text: Manon Lescaut

text: Carmine Gallone

text: Two on a Vacation

text: Carlo Ludovico Bragaglia

text: Red Roses

text: Giuseppe Amato

text: The Two Mothers

text: Amleto Palermi

text: The Sinner

text: Amleto Palermi

text: Maddalena, Zero for Conduct

text: The Adventuress from the Floor Above

text: Raffaello Matarazzo

text: Teresa Venerdì

text: Se io fossi onesto

text: Carlo Ludovico Bragaglia

text: Un garibaldino al convento

text: La guardia del corpo

text: Carlo Ludovico Bragaglia

text: Non sono superstizioso... ma!

text: Carlo Ludovico Bragaglia

text: I nostri sogni

text: Vittorio Cottafavi

text: Nessuno torna indietro

text: Alessandro Blasetti

text: L'ippocampo

text: Gian Paolo Rosmino

text: Lo sbaglio di essere vivo

text: Carlo Ludovico Bragaglia

text: Roma città libera

text: Marcello Pagliero

text: Abbasso la ricchezza!

text: Gennaro Righelli

text: Natale al campo 119

text: Pietro Francisci

text: Sperduti nel buio

text: Camillo Mastrocinque

text: Lo Sconosciuto di San Marino

text: Michal Waszynski

text: Vittorio Cottafavi

text: Cuore

text: Duilio Coletti

text: Il mondo vuole così

text: Giorgio Bianchi

text: Domani è troppo tardi

text: Léonide Moguy

text: Cameriera bella presenza offresi...

text: Giorgio Pàstina

text: Mamma mia, che impressione!

text: Buongiorno, elefante!

text: Gianni Franciolini

text: Gli uomini non guardano il cielo

text: In Olden Days

text: Alessandro Blasetti

text: The Earrings of Madame de...

text: Max Ophüls

text: Villa Borghese

text: Gianni Franciolini

text: Pane, amore e fantasia

text: Luigi Comencini

text: Il matrimonio

text: Antonio Petrucci

text: Cento anni d'amore

text: Lionello De Felice

text: Gran Varietà

text: Domenico Paolella

text: A Slice of Life

text: Il letto

text: Gianni Franciolini

text: Vergine moderna

text: Marcello Pagliero

text: Allegro squadrone

text: Paolo Moffa

text: Pane, amore e gelosia

text: Luigi Comencini

text: L'oro di Napoli

text: Peccato che sia una canaglia

text: Alessandro Blasetti

text: Il segno di Venere

text: Dino Risi

text: Gli ultimi cinque minuti

text: Giuseppe Amato

text: La bella mugnaia

text: Mario Camerini

text: Racconti romani

text: Gianni Franciolini

text: Pane, amore e...

text: Dino Risi

text: Lucky to Be a Woman

text: Il bigamo

text: Luciano Emmer

text: I giorni più belli

text: Mario Mattoli

text: Mio figlio Nerone

text: Steno

text: Tempo di villeggiatura

text: Antonio Racioppi

text: The Monte Carlo Story

text: Samuel Taylor

text: Giulio Macchi

text: Noi siamo le colonne

text: Luigi Filippo D'Amico

text: Padri e figli

text: Mario Monicelli

text: I colpevoli

text: Turi Vasile

text: Souvenir d'Italie

text: Antonio Pietrangeli

text: Count Max

text: Giorgio Bianchi

text: Casinò de Paris

text: André Hunebelle

text: La donna che venne dal mare

text: Francesco De Robertis

text: Il medico e lo stregone

text: Mario Monicelli

text: A Farewell to Arms

text: Charles Vidor

text: Vacanze a Ischia

text: Mario Camerini

text: Totò, Vittorio e la dottoressa

text: Camillo Mastrocinque

text: Amore e chiacchiere

text: Alessandro Blasetti

text: Domenica è sempre domenica

text: Camillo Mastrocinque

text: Anna of Brooklyn

text: Reginald Denham

text: Carlo Lastricati

text: Wolfgang Staudte

text: Ballerina e buon Dio

text: Antonio Leonviola

text: Gli zitelloni

text: Giorgio Bianchi

text: Pane, amore e Andalusia

text: Javier Setó

text: La ragazza di Piazza San Pietro

text: Piero Costa

text: La prima notte

text: Alberto Cavalcanti

text: Il nemico di mia moglie

text: Gianni Puccini

text: Uomini e nobiluomini

text: Giorgio Bianchi

text: Vacanze d'inverno

text: Camillo Mastrocinque

text: Il mondo dei miracoli

text: Luigi Capuano

text: Il moralista

text: Giorgio Bianchi

text: Il generale della Rovere

text: Roberto Rossellini

text: Ferdinando I, re di Napoli

text: Gianni Franciolini

text: Nel blu dipinto di blu

text: Piero Tellini

text: Policarpo, ufficiale di scrittura

text: Mario Soldati

text: Gastone

text: Mario Bonnard

text: The Angel Wore Red

text: Nunnally Johnson

text: Mario Russo

text: Austerlitz

text: Abel Gance

text: It Started in Naples

text: Melville Shavelson

text: Le tre eccetera del colonnello

text: Claude Boissol

text: Le pillole di Ercole

text: Luciano Salce

text: The Millionairess

text: Anthony Asquith

text: Il vigile

text: Luigi Zampa

text: Un amore a Roma

text: Dino Risi

text: Gli attendenti

text: Giorgio Bianchi

text: L'onorata società

text: Riccardo Pazzaglia

text: Vive Henri IV, vive l'amour

text: Claude Autant-Lara

text: The Last Judgment

text: The Wonders of Aladdin

text: Mario Bava

text: Henry Levin

text: Gli incensurati

text: Francesco Giaculli

text: I due marescialli

text: Sergio Corbucci

text: La Fayette

text: Jean Dréville

text: Eva

text: Joseph Losey

text: Guidarino Guidi

text: The Amorous Adventures of Moll Flanders

text: Terence Young

text: Io, io, io... e gli altri

text: Alessandro Blasetti

text: Un italiano in America

text: Alberto Sordi

text: After the Fox

text: Gli altri, gli altri e noi

text: Maurizio Arena

text: The Biggest Bundle of Them All

text: Ken Annakin

text: Denys de la Patellière

text: The Shoes of the Fisherman

text: Michael Anderson

text: If It's Tuesday, This Must Be Belgium

text: Mel Stuart

text: The Thirteen Chairs

text: Nicolas Gessner

text: Luciano Lucignani

text: Cose di Cosa Nostra

text: Steno

text: Io non-vedo, tu non-parli, lui non-sente

text: Mario Camerini

text: Trastevere

text: Fausto Tozzi

text: Siamo tutti in libertà provvisoria

text: Manlio Scarpelli

text: Ettore lo fusto

text: Enzo G. Castellari

text: Snow Job

text: George Englund

text: L'odeur des fauves

text: Richard Balducci

text: Le avventure di Pinocchio

text: Luigi Comencini

text: The Small Miracle

text: Jeannot Szwarc

text: Storia de fratelli e de cortelli

text: Mario Amendola

text: Il delitto Matteotti

text: Florestano Vancini

text: Viaggia, ragazza, viaggia, hai la musica nelle vene

text: Pasquale Squitieri

text: Blood for Dracula

text: Paul Morrissey

text: Antonio Margheriti

text: C'eravamo tanto amati

text: Ettore Scola

text: Manuel De Sica

text: L'eroe

text: Manuel De Sica

text: Fontana di Trevi

text: Carlo Campogalliani

text: La bonne soupe

text: Robert Thomas

text: The Four Just Men

text: Sapphire Films

text: Vittorio De Sica director bio for "The Garden of the Finzi-Continis"

text: Vittorio De Sica Review

categories: 1974 deaths,1901 births,20th-century Italian male actors,Italian comedians,Italian male silent film actors,Italian-language film directors,People of Lazian descent,Italian film directors,People from Sora, Lazio,Italian male film actors,Directors of Best Foreign Language Film Academy Award winners,Italian Roman Catholics,Nastro d'Argento winners,David di Donatello winners,Directors of Palme d'Or winners

paragraph: Vittorio De Sica

paragraph: Vittorio De Sica (; 7 July 1901 – 13 November 1974) was an Italian director and actor, a leading figure in the neorealist movement.

paragraph: Four of the films he directed won Academy Awards: "Sciuscià" and "Bicycle Thieves" (honorary), while "Yesterday, Today and Tomorrow" and "Il giardino dei Finzi Contini" won the Academy Award for Best Foreign Language Film. Indeed, the great critical success of "Sciuscià" (the first foreign film to be so recognized by the Academy of Motion Picture Arts and Sciences) and "Bicycle Thieves" helped establish the permanent Best Foreign Film Award. These two films are considered part of the canon of classic cinema. "Bicycle Thieves" was cited by Turner Classic Movies as one of the 15 most influential films in cinema history.

paragraph: De Sica was also nominated for the 1957 Oscar for Best Supporting Actor for playing Major Rinaldi in American director Charles Vidor's 1957 adaptation of Ernest Hemingway's "A Farewell to Arms", a movie that was panned by critics and proved a box office flop. De Sica's acting was considered the highlight of the film.

paragraph: Section::::Life and career.

paragraph: Born into poverty in Sora, Lazio (1901), he began his career as a theatre actor in the early 1920s and joined Tatiana Pavlova's theatre company in 1923. In 1933 he founded his own company with his wife Giuditta Rissone and Sergio Tofano. The company performed mostly light comedies, but they also staged plays by Beaumarchais and worked with famous directors like Luchino Visconti.

paragraph: His meeting with Cesare Zavattini was a very important event: together they created some of the most celebrated films of the neorealistic age, like "Sciuscià" ("Shoeshine") and "Bicycle Thieves" (released as "The Bicycle Thief" in America), both of which De Sica directed.

paragraph: De Sica appeared in the British television series "The Four Just Men" (1959).

paragraph: Section::::Private life.

paragraph: His passion for gambling was well known. Because of it, he often lost large sums of money and accepted work that might not otherwise have interested him. He never kept his gambling a secret from anyone; in fact, he projected it on characters in his own movies, like "Count Max" (which he acted in but did not direct) and "The Gold of Naples", as well as in "General Della Rovere", a film directed by Rossellini in which De Sica played the title role.

paragraph: In 1937 Vittorio De Sica married the actress Giuditta Rissone, who gave birth to their daughter, Emi. In 1942, on the set of "Un garibaldino al convento", he met Spanish actress Maria Mercader (sister of Ramon Mercader, Leon Trotsky's assassin), with whom he started a relationship. After divorcing Rissone in France in 1954, he married Mercader in 1959 in Mexico, but this union was not considered valid under Italian law. In 1968 he obtained French citizenship and married Mercader in Paris. Meanwhile, he had already had two sons with her: Manuel, in 1949, a musician, and Christian, in 1951, who would follow his father's path as an actor and director.

paragraph: Although divorced, De Sica never parted from his first family. He led a double family life, with double celebrations on holidays. It is said that, at Christmas and on New Year's Eve, he used to put back the clocks by two hours in Mercader's house so that he could make a toast at midnight with both families. His first wife agreed to keep up the facade of a marriage so as not to leave her daughter without a father.

paragraph: Vittorio De Sica died at 73 after a surgery due to lung cancer at the Neuilly-sur-Seine hospital in Paris. He was a Roman Catholic.

paragraph: Section::::Awards and nominations.

paragraph: Vittorio De Sica was given the Interfilm Grand Prix in 1971 by the Berlin International Film Festival.

paragraph: BULLET::::- "Miracolo a Milano"

paragraph: BULLET::::- Cannes Film Festival Palme D'Or Winner

paragraph: BULLET::::- "Umberto D."

paragraph: BULLET::::- Cannes Film Festival Official Selection

paragraph: BULLET::::- "Stazione Termini"

paragraph: BULLET::::- "L'oro di Napoli"

paragraph: BULLET::::- "Il Tetto"

paragraph: BULLET::::- Cannes Film Festival OCIC Award Winner

paragraph: BULLET::::- "Anna di Brooklyn"

paragraph: BULLET::::- Berlin International Film Festival Official Selection

paragraph: BULLET::::- "La Ciociara"

paragraph: BULLET::::- "Matrimonio all'italiana"

paragraph: BULLET::::- Moscow International Film Festival Official Selection

paragraph: BULLET::::- "Il Giardino dei Finzi-Contini"

paragraph: BULLET::::- Berlin International Film Festival Golden Bear Winner

paragraph: BULLET::::- Berlin International Film Festival Interfilm Award Winner – Otto Dibelius Film Award

paragraph: BULLET::::- Nastro d'Argento for Best Director 1946 for "Sciuscià"

paragraph: BULLET::::- Academy Award 1947 Honorary Award to the Italian production for "Sciuscià (Shoeshine), 1946"

paragraph: BULLET::::- Academy Award 1949 Special Foreign Language Film Award for "Bicycle Thieves"

paragraph: BULLET::::- BAFTA (British Academy Award) 1950 Best film "Bicycle Thieves"

paragraph: BULLET::::- Academy Award 1965 Best Foreign Language film for "Ieri, oggi, domani (Yesterday, Today and Tomorrow)"

paragraph: BULLET::::- Academy Award 1972 Best Foreign Language film for "Il giardino dei Finzi-Contini"

paragraph: Section::::Filmography.

paragraph: Section::::Filmography.:Filmography as actor.

paragraph: BULLET::::- "Il processo Clemenceau" (1917, by Alfredo De Antoni) as Pierre Clémenceau bambino

paragraph: BULLET::::- "La bellezza del mondo" (1927, by Mario Almirante)

paragraph: BULLET::::- "La compagnia dei matti" (1928, by Mario Almirante) as Prof. Rosolillo

paragraph: BULLET::::- "La vecchia signora" (1932, by Amleto Palermi) as Il fine dicitore

paragraph: BULLET::::- "Gli uomini, che mascalzoni!" (1932, by Mario Camerini) as Bruno

paragraph: BULLET::::- "Due cuori felici" (1932, by Baldassarre Negroni) as Mister Brown

paragraph: BULLET::::- "Paprika" (1933, by Carl Boese)

paragraph: BULLET::::- "Pasa el amor" (1933, by Adolf Trotz)

paragraph: BULLET::::- "Lisetta" (1934, by Carl Boese) as Fritz Peters

paragraph: BULLET::::- "La canzone del sole" (1934, by Max Neufeld (he stars too the German version titles "Das lied der sonne")) as Dr. Giuseppe Paladino

paragraph: BULLET::::- "Un cattivo soggetto" (1933, by Carlo Ludovico Bragaglia) as Willy

paragraph: BULLET::::- "La segretaria per tutti" (1933, by Amleto Palermi) as Un gagà

paragraph: BULLET::::- "Tempo massimo" (1934, by Mario Mattoli) as Il professore Giacomo Banti

paragraph: BULLET::::- "Il signore desidera?" (1934, by Gennaro Righelli) as Martino

paragraph: BULLET::::- "The Song of the Sun" (1934, by Max Neufeld) as Paladino, il avvocato

paragraph: BULLET::::- "Darò un milione" (1935, by Mario Camerini) as Gold

paragraph: BULLET::::- "Amo te sola" (1936, by Mario Mattoli) as Prof. Giovanni Agano

paragraph: BULLET::::- "Non ti conosco più" (1936, by Nunzio Malasomma) as Il dottore Alberto Spinelli

paragraph: BULLET::::- "Lohengrin" (1936, by Nunzio Malasomma) as Alfredo

paragraph: BULLET::::- "L'uomo che sorride" (1937, by Mario Mattoli) as Pio Fardella

paragraph: BULLET::::- "Il signor Max" (1937, by Mario Camerini) as Gianni / Max Varaldo

paragraph: BULLET::::- "Ma non è una cosa seria" (1937, by Mario Camerini) as Memmo Speranza

paragraph: BULLET::::- "Naples of Olden Times" (1938, by Amleto Palermi) as Mario Esposito

paragraph: BULLET::::- "La mazurka di papà" (1938, by Oreste Biancoli) as Stefano San Mauro / Il figlio di San Mauro

paragraph: BULLET::::- "Il Trionfo dell'amore" (1938, by Mario Mattoli) as Vincenzo

paragraph: BULLET::::- "L'orologio a cucù" (1938, by Camillo Mastrocinque) as Il capitano Ducci

paragraph: BULLET::::- "Departure" (1938, by Amleto Palermi) as Paolo Veronda

paragraph: BULLET::::- "They've Kidnapped a Man" (1938, by Gennaro Righelli) as L'attore cinematografico

paragraph: BULLET::::- "Ai vostri ordini, signora!" (1939, by Mario Mattoli) as Pietro Haguet

paragraph: BULLET::::- "Naples That Never Die" (1939, by Amleto Palermi)

paragraph: BULLET::::- "Questi ragazzi" (1939, by Mario Mattoli) as Vincenzo

paragraph: BULLET::::- "Castles in the Air" (1939, by Augusto Genina (He stars too the German version "Ins blaue leben")) as Riccardo Pietramola

paragraph: BULLET::::- "Department Store" (1939, by Mario Camerini) as Bruno Zacchi

paragraph: BULLET::::- "It Always Ends That Way" (1939, by Enrique Telémaco Susini) as Alberto Miller

paragraph: BULLET::::- "Manon Lescaut" (1940, by Carmine Gallone) as Renato Des Grieux

paragraph: BULLET::::- "Two on a Vacation" (1940, by Carlo Ludovico Bragaglia) as Il conte Corrado Valli

paragraph: BULLET::::- "Red Roses" (1940, by Giuseppe Amato and Vittorio De Sica) as Alberto Verani

paragraph: BULLET::::- "The Two Mothers" (1940, by Amleto Palermi) as Salvatore

paragraph: BULLET::::- "The Sinner" (1940, by Amleto Palermi) as Pietro Bandelli

paragraph: BULLET::::- "Maddalena, Zero for Conduct" (1940, by Vittorio De Sica) as Alfredo Hartman

paragraph: BULLET::::- "The Adventuress from the Floor Above" (1941, by Raffaello Matarazzo (script too, not credited)) as Fabrizio Marchini

paragraph: BULLET::::- "Teresa Venerdì" (1941, by Vittorio De Sica) as Dott. Pietro Vignali

paragraph: BULLET::::- "Se io fossi onesto" (1942, by Carlo Ludovico Bragaglia (script too)) as Pietro Kovach

paragraph: BULLET::::- "Un garibaldino al convento" (1942, by Vittorio De Sica) as Nino Bixio (uncredited)

paragraph: BULLET::::- "La guardia del corpo" (1942, by Carlo Ludovico Bragaglia (script too)) as Riccardo, L'investigatore privato

paragraph: BULLET::::- "Non sono superstizioso... ma!" (1943, by Carlo Ludovico Bragaglia (script too)) as Il barone Roberto

paragraph: BULLET::::- "I nostri sogni" (1943, by Vittorio Cottafavi (script too)) as Leo

paragraph: BULLET::::- "Nessuno torna indietro" (1945, by Alessandro Blasetti) as Maurizio

paragraph: BULLET::::- "L'ippocampo" (1945, by Gian Paolo Rosmino (script too, and assistant to director, not credited)) as Pio Sandi

paragraph: BULLET::::- "Vivere ancora" (1945, by Nino Giannini)

paragraph: BULLET::::- "Lo sbaglio di essere vivo" (1945, by Carlo Ludovico Bragaglia) as Adriano Lari

paragraph: BULLET::::- "Roma città libera" (1946, by Marcello Pagliero) as Il signore distinto

paragraph: BULLET::::- "Abbasso la ricchezza!" (1946, by Gennaro Righelli (story and script too)) as Il conte Ghirani

paragraph: BULLET::::- "Natale al campo 119" (1947, regia di Pietro Francisci (script too and supervision director, not credited)) as Don Vicenzino

paragraph: BULLET::::- "Sperduti nel buio" (1947, by Camillo Mastrocinque) as Nunzio

paragraph: BULLET::::- "Lo Sconosciuto di San Marino" (1948, by Michal Waszynski and Vittorio Cottafavi) as Leo, l'ateo

paragraph: BULLET::::- "Cuore" (1948, by Duilio Coletti (producer and script too)) as Professor Perboni

paragraph: BULLET::::- "Il mondo vuole così" (1949, by Giorgio Bianchi) as Paolo Morelli

paragraph: BULLET::::- "Domani è troppo tardi" (1949, by Léonide Moguy (consulting director too, not credited)) as Il professor Landi

paragraph: BULLET::::- "Cameriera bella presenza offresi..." (1951, by Giorgio Pàstina) as Leonardo Leonardi

paragraph: BULLET::::- "Mamma mia, che impressione!" (1951, by Roberto Savarese)

paragraph: BULLET::::- "Buongiorno, elefante!" (1952, by Gianni Franciolini (producer too)) as Carlo Caretti

paragraph: BULLET::::- "Gli uomini non guardano il cielo" (1952, by Umberto Scarpelli)

paragraph: BULLET::::- "In Olden Days" (1952, by Alessandro Blasetti) as L'Avvocato Difensore (segment "Il processo di Frine")

paragraph: BULLET::::- "The Earrings of Madame de..." (1953, by Max Ophüls) as Baron Fabrizio Donati

paragraph: BULLET::::- "Villa Borghese" (1953, by Gianni Franciolini) as L'avvocato Arturo Cavazzuti (segment: Incidente a Villa Borghese)

paragraph: BULLET::::- "Pane, amore e fantasia" (1953, by Luigi Comencini) as Maresciallo Carotenuto

paragraph: BULLET::::- "Il matrimonio" (1954, by Antonio Petrucci) as Gregory Stefanovich Smirnov

paragraph: BULLET::::- "Cento anni d'amore" (1954, by Lionello De Felice) as Duke Giovanni del Bagno aka Signor Pallini (segment "Pendolin")

paragraph: BULLET::::- "Gran Varietà" (1954, by Domenico Paolella) as Veneziani - il fine dicitore (segment "Il censore")

paragraph: BULLET::::- "A Slice of Life" (1954, by Alessandro Blasetti et Paul Paviot) as Il conte Ferdinando (segment "Don Corradino")

paragraph: BULLET::::- "Il letto" (1954, by Gianni Franciolini) as Roberto (segment "Divorce, Le")

paragraph: BULLET::::- "Vergine moderna" (1954, by Marcello Pagliero) as Antonio Valli

paragraph: BULLET::::- "Allegro squadrone" (1954, by Paolo Moffa) as Il generale

paragraph: BULLET::::- "Pane, amore e gelosia" (1954, by Luigi Comencini) as Maresciallo Carotenuto

paragraph: BULLET::::- "L'oro di Napoli" (1954, by Vittorio De Sica) as Il conte Prospero B. (segment "I giocatori") (uncredited)

paragraph: BULLET::::- "Peccato che sia una canaglia" (1954, by Alessandro Blasetti) as Vittorio Stroppiani

paragraph: BULLET::::- "Il segno di Venere" (1955, by Dino Risi) as Alessio Spano

paragraph: BULLET::::- "Gli ultimi cinque minuti" (1955, by Giuseppe Amato) as Carlo Reani

paragraph: BULLET::::- "La bella mugnaia" (1955, by Mario Camerini) as Don Teofilo - governatore

paragraph: BULLET::::- "Racconti romani" (1955, by Gianni Franciolini) as Avvocato Mazzoni Baralla

paragraph: BULLET::::- "Pane, amore e..." (1955, by Dino Risi) as Comandante Carotenuto

paragraph: BULLET::::- "Lucky to Be a Woman" (1955, by Alessandro Blasetti) as Minor Role (uncredited)

paragraph: BULLET::::- "Il bigamo" (1956, by Luciano Emmer) as L'onorevole Principe / Attorney Principe

paragraph: BULLET::::- "I giorni più belli" (1956, by Mario Mattoli)

paragraph: BULLET::::- "Mio figlio Nerone" (1956, by Steno) as Seneca

paragraph: BULLET::::- "Tempo di villeggiatura" (1956, by Antonio Racioppi) as Aristide Rossi

paragraph: BULLET::::- "The Monte Carlo Story" (1956, by Samuel Taylor and Giulio Macchi (director's assistant too)) as Count Dino della Fiaba

paragraph: BULLET::::- "Noi siamo le colonne" (1956, by Luigi Filippo D'Amico) as Alfredo Celimontani

paragraph: BULLET::::- "Padri e figli" (1957, by Mario Monicelli) as Vincenzo Corallo

paragraph: BULLET::::- "I colpevoli" (1957, by Turi Vasile) as Giorgio

paragraph: BULLET::::- "Souvenir d'Italie" (1957, by Antonio Pietrangeli) as The Count

paragraph: BULLET::::- "Count Max" (1957, by Giorgio Bianchi) as Conte Max Orsini Varaldo

paragraph: BULLET::::- "Casinò de Paris" (1957, by André Hunebelle) as Alexandre Gordy

paragraph: BULLET::::- "La donna che venne dal mare" (1957, by Francesco De Robertis (1957) as Console Bordogin

paragraph: BULLET::::- "Il medico e lo stregone" (1957, by Mario Monicelli) as Antonio Locoratolo

paragraph: BULLET::::- "A Farewell to Arms" (1957, directed by Charles Vidor (Oscar nomination for Best Supporting Actor) as Major Alessandro Rinaldi

paragraph: BULLET::::- "Vacanze a Ischia" (1957, by Mario Camerini) as Ingegner Occhipinti

paragraph: BULLET::::- "Totò, Vittorio e la dottoressa" (1957, by Camillo Mastrocinque) as Marchese De Vitti

paragraph: BULLET::::- "Amore e chiacchiere" (1958, by Alessandro Blasetti) as Avvocato Bonelli

paragraph: BULLET::::- "Domenica è sempre domenica" (1958, by Camillo Mastrocinque) as Comandante Castaldi

paragraph: BULLET::::- "Anna of Brooklyn" (1958, by Reginald Denham and Carlo Lastricati (director's assistant too)) as Don Luigi

paragraph: BULLET::::- "" (1958, by Wolfgang Staudte) as Il comandante Ernesto De Rossi

paragraph: BULLET::::- "Ballerina e buon Dio" (1958, by Antonio Leonviola) as God

paragraph: BULLET::::- "Gli zitelloni" (1958, by Giorgio Bianchi) as Il professore

paragraph: BULLET::::- "Pane, amore e Andalusia" (1958, by Javier Setó (director's assistant too)) as Maresciallo Carotenuto

paragraph: BULLET::::- "La ragazza di Piazza San Pietro" (1958, by Piero Costa) as Armando Conforti

paragraph: BULLET::::- "La prima notte" (1959, by Alberto Cavalcanti) as Alfredo

paragraph: BULLET::::- "Il nemico di mia moglie" (1959, by Gianni Puccini) as Ottavio Terenzi, padre di Marco

paragraph: BULLET::::- "Uomini e nobiluomini" (1959, by Giorgio Bianchi) as Marchese Nicola Peccori Macinelli di Afragola

paragraph: BULLET::::- "Vacanze d'inverno" (1959, by Camillo Mastrocinque) as Maurice

paragraph: BULLET::::- "Il mondo dei miracoli" (1959, by Luigi Capuano) as Director Pietro Giordani

paragraph: BULLET::::- "Il moralista" (1959, by Giorgio Bianchi) as The O. I. M. P. President

paragraph: BULLET::::- "Il generale della Rovere" (1959, by Roberto Rossellini) as Bardone AKA 'Grimaldi'

paragraph: BULLET::::- "Ferdinando I, re di Napoli" (1959, by Gianni Franciolini) as Salvatore Caputo

paragraph: BULLET::::- "Nel blu dipinto di blu" (1959, by Piero Tellini) as Spartaco

paragraph: BULLET::::- "Policarpo, ufficiale di scrittura" (1959, by Mario Soldati)

paragraph: BULLET::::- "Gastone" (1960, by Mario Bonnard) as The prince

paragraph: BULLET::::- "The Angel Wore Red" (1960, by Nunnally Johnson and Mario Russo) as Gen. Clave

paragraph: BULLET::::- "Austerlitz" (1960, by Abel Gance) as Pope Pius VII

paragraph: BULLET::::- "It Started in Naples" (1960, by Melville Shavelson) as Mario Vitale

paragraph: BULLET::::- "Le tre eccetera del colonnello" (1960, by Claude Boissol) as Colonel Belalcazar

paragraph: BULLET::::- "Le pillole di Ercole" (1960, by Luciano Salce) as Piero Cuocolo

paragraph: BULLET::::- "The Millionairess" (1960, by Anthony Asquith) as Joe

paragraph: BULLET::::- "Il vigile" (1960, by Luigi Zampa) as Il sindaco

paragraph: BULLET::::- "Un amore a Roma" (1960, by Dino Risi) as Director

paragraph: BULLET::::- "Gli attendenti" (1961, by Giorgio Bianchi) as Attore di Fumetti

paragraph: BULLET::::- "L'onorata società" (1961, by Riccardo Pazzaglia) as Salvatore, the 'Capintesta'

paragraph: BULLET::::- "Vive Henri IV, vive l'amour" (1961, by Claude Autant-Lara) as L'ambassadeur d'Espagne

paragraph: BULLET::::- "The Last Judgment" (1961, director) as Defense lawyer

paragraph: BULLET::::- "The Wonders of Aladdin" (1961, by Mario Bava and Henry Levin) as Genie

paragraph: BULLET::::- "Gli incensurati" (1961, by Francesco Giaculli) as Colonnello Filippo Bitossi

paragraph: BULLET::::- "I due marescialli" (1961, by Sergio Corbucci) as Maresciallo Vittorio Cottone

paragraph: BULLET::::- "La Fayette" (1962, by Jean Dréville) as Bancroft

paragraph: BULLET::::- "Eva" (1962, by Joseph Losey and Guidarino Guidi) (uncredited)

paragraph: BULLET::::- "The Amorous Adventures of Moll Flanders" (1965, by Terence Young) as The Count

paragraph: BULLET::::- "Io, io, io... e gli altri" (1966, by Alessandro Blasetti) as Commendator Trepossi

paragraph: BULLET::::- "Un italiano in America" (1967, by Alberto Sordi) as Giuseppe's Father

paragraph: BULLET::::- "After the Fox" (1966, director) as Himself (uncredited)

paragraph: BULLET::::- "Gli altri, gli altri e noi" (1967, by Maurizio Arena)

paragraph: BULLET::::- "The Biggest Bundle of Them All" (1968, by Ken Annakin) as Cesare Celli

paragraph: BULLET::::- "" (1968, by Denys de la Patellière) as Le comte de Bièvre - le père de Caroline

paragraph: BULLET::::- "The Shoes of the Fisherman" (1968, by Michael Anderson) as Cardinal Rinaldi

paragraph: BULLET::::- "If It's Tuesday, This Must Be Belgium" (1969, by Mel Stuart) as Shoemaker

paragraph: BULLET::::- "The Thirteen Chairs" (1969, by Nicolas Gessner and Luciano Lucignani) as Carlo De Seta - The Commendatore

paragraph: BULLET::::- "Cose di Cosa Nostra" (1970, by Steno) as Don Michele

paragraph: BULLET::::- "Io non-vedo, tu non-parli, lui non-sente" (1971, by Mario Camerini) as Player in Venice casino

paragraph: BULLET::::- "Trastevere" (1971, by Fausto Tozzi) as Enrico Formichi

paragraph: BULLET::::- "Siamo tutti in libertà provvisoria" (1972, by Manlio Scarpelli) as Giuseppe Mancini 'Pulcinella'

paragraph: BULLET::::- "Ettore lo fusto" (1972, by Enzo G. Castellari) as Giove

paragraph: BULLET::::- "Snow Job" (1972, by George Englund) as Enrico Dolphi

paragraph: BULLET::::- "L'odeur des fauves" (1972, by Richard Balducci) as Milord

paragraph: BULLET::::- "Le avventure di Pinocchio" (1972, by Luigi Comencini (both Film and TV versions)) as Il giudice

paragraph: BULLET::::- "The Small Miracle" (1973, TV Movie, by Jeannot Szwarc) as Father Damico

paragraph: BULLET::::- "Storia de fratelli e de cortelli" (1973, by Mario Amendola) as Maresciallo Cenciarelli

paragraph: BULLET::::- "Il delitto Matteotti" (1973, by Florestano Vancini) as Mauro Del Giudice

paragraph: BULLET::::- "Viaggia, ragazza, viaggia, hai la musica nelle vene" (1973, by Pasquale Squitieri)

paragraph: BULLET::::- "Blood for Dracula" (1974, by Paul Morrissey and Antonio Margheriti) as Il Marchese Di Fiore

paragraph: BULLET::::- "C'eravamo tanto amati" (1974, by Ettore Scola) as Himself

paragraph: BULLET::::- "Intorno" (1974, Short, by Manuel De Sica)

paragraph: BULLET::::- "L'eroe" (1976, TV Movie, by Manuel De Sica) (final film role)

paragraph: Note: on many sources, "Fontana di Trevi" by Carlo Campogalliani (1960) and "La bonne soupe" by Robert Thomas (1964) are included but de Sica does not appear in those films.

paragraph: Section::::Filmography.:Television appearances as actor.

paragraph: BULLET::::- "The Four Just Men", by Sapphire Films (1959) (10 of the 39 episodes made)

paragraph: Section::::External links.

paragraph: BULLET::::- Vittorio De Sica director bio for "The Garden of the Finzi-Continis" Sony Pictures Entertainment website, retrieved 8 April 2006

paragraph: BULLET::::- Vittorio De Sica Review Wall Street Journal article, retrieved 9 March 2013

description: Italian film director

wikidata_label: Vittorio De Sica

wikipedia_title: Vittorio De Sica


text:
Nördlingen
Nördlingen
Augsburg
Munich
Friedrich Campe
Nuremberg
Napoleonic Wars
German War of Liberation
Greek War of Independence
Luther
Diet of Worms
Children's games
cartoonist
Hep-Hep riots
Frankfurt
Friedrich Voltz
Ludwig Gustav Voltz

categories: German male painters,1784 births,German people of the Napoleonic Wars,People from Nördlingen,German cartoonists,1858 deaths,19th-century German painters

paragraph: Johann Michael Voltz

paragraph: Johann Michael Voltz (16 October 1784 in Nördlingen – 17 April 1858 in Nördlingen) was a German painter, graphic artist and political cartoonist.

paragraph: Section::::Biography.

paragraph: Voltz's father was a schoolteacher. Voltz studied with the engraver and art dealer Friedrich Weber in Augsburg. His drawings and graphic prints brought him to the attention of the court painter Schmidt.

paragraph: After completing his education he was employed by the academic bookstore Herzberg in Augsburg, where he created popular prints. After staying at Munich in 1808, Voltz joined in 1809 the business of picture book publisher Friedrich Campe in Nuremberg, for which he worked until his death.

paragraph: In total, Voltz 'oeuvre includes about 5000 drawings and etchings, which he created for Campe and other art publishers (Augsburg: F. Ebner, Herzberg, Jenisch & Stage, trolleys, William, Zauna; Nuremberg: Abel-Klinger, Raspe, Renner, Schrag, etc. ).

paragraph: Voltz focused on illustrations of battles and other historical events. He depicted events of his own time - the Napoleonic Wars since 1805, the German War of Liberation against Napoleon, and later the Greek War of Independence, as well as from earlier history such as "Luther at the Diet of Worms". In 1828 he made a series of drawings on Children's games (see linked Wikimedia Commons page).

paragraph: Voltz was also known as a prominent German political cartoonists of the early 19th Century. His cartoons, directed against Napoleon Bonaparte, are still reproduced in present-day history books. His depiction of the 1819 antisemitic Hep-Hep riots

paragraph: in Frankfurt is often reproduced in articles and books about these riots and about antisemitism in general.

paragraph: Voltz was the father of the animal and landscape painter Friedrich Voltz and the painter Prof. Ludwig Gustav Voltz (1825–1911).

alias:
j. von voltz
Johann Michael Volz
j. m. Voltz
johann michael volk
johann michael voltz
j. m. voltz

description: painter and cartoonist

wikidata_label: Johann Michael Voltz

wikipedia_title: Johann Michael Voltz


text:
ice hockey
goaltender
Färjestad BK
Swedish Hockey League
IK Oskarshamn
HockeyAllsvenskan
Mariestad BoIS
Malmö Redhawks
AIK IF
SHL
IK Oskarshamn
HockeyAllsvenskan
Skellefteå AIK
Honken Trophy
Spartak Moscow
Kontinental Hockey League
World Championship

categories: HC Spartak Moscow players,1984 births,People from Kalmar,AIK IF players,Malmö Redhawks players,Almtuna IS players,IK Oskarshamn players,Skellefteå AIK players,Swedish ice hockey players,Living people

paragraph: Markus Svensson

paragraph: Markus "Mackan" Svensson (born July 9, 1984) is a Swedish professional ice hockey goaltender, currently under contract with Färjestad BK of the Swedish Hockey League (SHL).

paragraph: Section::::Playing career.

paragraph: Svensson started his career in the youth ranks of Kalmar HC and moved to IK Oskarshamn in 2001, where he stayed for three years and made his debut in the HockeyAllsvenskan.

paragraph: After a two-year stint at Mariestad BoIS (2004 -2006), he returned to Oskarshamn and became a regular on the club’s HockeyAllsvenskan squad, before transferring to the Malmö Redhawks in 2008.

paragraph: After signing with AIK IF in 2011, he logged his first minutes in Sweden’s top-flight SHL and was temporarily loaned to IK Oskarshamn of the Swedish HockeyAllsvenskan (Swe-1) during the 2011–12 season. He was snapped up by SHL side Skellefteå AIK in 2012. Svensson contributed to winning the 2013 and 2014 Swedish national championship and also reached the finals with Skellefteå in 2015 and 2016. In the 2015-16 season, he was the recipient of the Honken Trophy, given to the SHL Goaltender of the Year.

paragraph: He left Skellefteå after four years, signing with Spartak Moscow of the Kontinental Hockey League (KHL) in May 2016. After two seasons with Spartak, Svensson returned to Sweden, agreeing a two-year deal with Färjestad BK of the SHL on May 2, 2018.

paragraph: Section::::International play.

paragraph: Svensson made his debut with the Swedish national team in February 2015 and landed a spot on Sweden's roster for the World Championship the same year.

description: Swedish ice hockey goaltender

wikidata_label: Markus Svensson

wikipedia_title: Markus Svensson


text:
Margrave
Jacob
Duke
Charles II
Margaret of the Palatinate
Jacob
Charles I, Margrave of Baden-Baden
Pforzheim
Bernard II, Margrave of Baden-Baden
Moncalieri
John
Ehrenbreitstein
Archbishop of Trier
George
Moyen
Bishop of Metz
Markus
Margarete
Ansbach
Albert III, Margrave of Brandenburg
Matilde
Trier

categories: Margravines of Baden,1407 births,House of Zähringen,15th-century German people,1439 deaths,Duchesses of Lorraine

paragraph: Catherine of Lorraine, Margravine of Baden-Baden

paragraph: Catherine of Lorraine (1407 – 1 March 1439) was Margravine of Baden-Baden by marriage to Margrave Jacob of Baden-Baden.

paragraph: She was the daughter of Duke Charles II of Lorraine and the countess Margaret of the Palatinate.

paragraph: She married on 25 July 1422 with Margrave Jacob of Baden-Baden. they had the following children:

paragraph: BULLET::::1. Charles I, Margrave of Baden-Baden (d. 24 February 1475, Pforzheim).

paragraph: BULLET::::2. Bernard II, Margrave of Baden-Baden (later beatified) (1428–12 July 1458, Moncalieri).

paragraph: BULLET::::3. John (1430–9 February 1503, Ehrenbreitstein), Archbishop of Trier.

paragraph: BULLET::::4. George (1433–11 February 1484, Moyen), Bishop of Metz.

paragraph: BULLET::::5. Markus (1434–1 September 1478), abbot in Liège.

paragraph: BULLET::::6. Margarete (1431–24 October 1457, Ansbach), married 1446 to Albert III, Margrave of Brandenburg.

paragraph: BULLET::::7. Matilde (d. 1485), Abbess of Trier.

description: Duchess of Lorraine by birth, and by marriage Margravine of Baden


text:
Swedish
ice hockey
goaltender
Brynäs IF
Swedish Hockey League
Frölunda HC
Karlskrona HK
2016–17
HK Poprad
Slovak Extraliga
IF Björklöven
HockeyAllsvenskan

categories: Karlskrona HK players,Frölunda HC players,1987 births,HK Poprad players,IF Björklöven players,Brynäs IF players,Almtuna IS players,IK Oskarshamn players,Swedish ice hockey players,Living people

paragraph: Linus Fernström

paragraph: Linus Fernström (born April 10, 1987) is a Swedish professional ice hockey goaltender who currently plays for Brynäs IF in the Swedish Hockey League (SHL). He has formerly played with Frölunda HC and Karlskrona HK in the SHL. He split the 2016–17 season between HK Poprad of the Slovak Extraliga and IF Björklöven in the HockeyAllsvenskan (Allsv) before joining Brynäs IF.

description: Swedish ice hockey goaltender

wikidata_label: Linus Fernström

wikipedia_title: Linus Fernström


text:
Eric I
Albert III
John IV
Sigismund of Bavaria
Margaretha
Frederick I
Elisabeth
Ernest
Albert IV
nun
Munich
Frederick III

categories: 1474 deaths,1414 births,Duchesses of Bavaria,15th-century German people,Women of medieval Germany,House of Welf

paragraph: Anna of Brunswick-Grubenhagen-Einbeck

paragraph: Anna of Brunswick-Grubenhagen-Einbeck (1414 – 4 April 1474) was a daughter of Duke Eric I of Brunswick-Grubenhagen and his wife, Elisabeth of Brunswick-Göttingen.

paragraph: Anna's first marriage was with Duke Albert III of Bavaria. They had the following children:

paragraph: BULLET::::- John IV (1437–1463), Duke of Bavaria

paragraph: BULLET::::- Ernest (1438–1460)

paragraph: BULLET::::- Sigismund of Bavaria (1439–1501)

paragraph: BULLET::::- Albert (1440–1445)

paragraph: BULLET::::- Margaretha (1442–1479), married in 1463 with Marquess Frederick I of Mantua (1441–1484)

paragraph: BULLET::::- Elisabeth (1443–1484), married in 1460 with Elector Ernest of Saxony (1441–1486)

paragraph: BULLET::::- Albert IV (1447–1508)

paragraph: BULLET::::- Christopher (1449–1483)

paragraph: BULLET::::- Wolfgang (1451–1514)

paragraph: BULLET::::- Barbara, a nun in Munich

paragraph: After Albert's death, she married Duke Frederick III of Brunswick-Calenberg-Göttingen. This marriage remained childless.

description: daughter of Duke Eric I of Brunswick-Grubenhagen and wife of Duke Albert III of Bavaria

wikidata_label: Anna of Brunswick-Grubenhagen-Einbeck

wikipedia_title: Anna of Brunswick-Grubenhagen-Einbeck


text:
Intra
Lake Maggiore
Gubbio
potter
Italian
Renaissance
lusterware
majolica
Europe
Mastro Giorgio

categories: 15th-century births,1553 deaths,Italian artists,Italian potters

paragraph: Giorgio Andreoli

paragraph: Giorgio Andreoli (between 1465 and 14701553), named also Mastro Giorgio Andreoli or Mastro Giorgio, was born in Intra, on Lake Maggiore, and died in Gubbio, where he spent most of his life, in 1555. He is considered to be one of the most important potters of the Italian Renaissance. He is famous as inventor of a particular kind of lusterware ("lustro"), using red and gold especially.

paragraph: In 1498 he became a citizen of Gubbio and in 1518 invented his remarkable lustre, the chief characteristics of which are its beautiful gold and carmine colors. Good examples of his majolica may be found in the local museums of Gubbio, Urbino, Arezzo, and elsewhere in Italy, and also in the principal museums of decorative art in Europe, such as Berlin, Vienna, Paris, and South Kensington.

paragraph: Not all works fired with his lustre were designed by him, for potters of the neighboring cities brought their work to him to be fired. He was assisted in his work by his brothers Salimbene and Giovanni, and after his death it was continued by his son Vincenzo.

paragraph: Section::::External links.

paragraph: BULLET::::- Mastro Giorgio

alias:
Giorgio da Gubbio Andreoli
Giorgio Andreoli of Gubbio
Maestro Giorgio Andreoli
Giorgio di Pietro Andreoli
Giorgio da Gubbio
Mastro Giorgio
Mastro Giorgio da Gubbio
Mastro Giorgio Andreoli
Maestro Giorgio da Gubbio

description: Italian artist

wikidata_label: Giorgio Andreoli

wikipedia_title: Giorgio Andreoli


text:
La Vall d'Uixó
Valencia
Spain
motorcycle
road racer
Catalunya
Brno
Qatar
Le Mans
French Grand Prix
traction control
alexdebon.com

categories: People from La Vall d'Uixó,Valencian sportspeople,1976 births,250cc World Championship riders,Spanish motorcycle racers,Living people

paragraph: Alex Debón

paragraph: Alex Debón Latorre (born 1 March 1976 in La Vall d'Uixó, Valencia, Spain) is a former professional motorcycle road racer, who last competed in the Moto2 World Championship.

paragraph: He began racing internationally in 2000 after a handful of wildcard rides, but after several years of middling results he became Aprilia's test and reserve rider in 2006. He was promoted to a regular race ride for 2008, after some strong wildcard showings including Catalunya in 2006 and Brno in 2007.

paragraph: Debón opened the season with a pole position in Qatar, leading on the final lap before dropping to fourth. He took his first GP win on 18 May 2008 at Le Mans in the French Grand Prix. Having qualified on pole, he correctly chose dry tyres in changeable conditions, and pulled away to a huge lead - resulting in speculation that his bike may contain traction control, in preparation for Aprilia's planned MotoGP class bike. It was the 112th GP start of his career.

paragraph: For 2010 he raced for Ajo Motorsport in Moto2, with a chassis by FTR Moto. He finished second in the first race in Qatar. At Assen, he crashed heavily in qualifying, breaking his collarbone having set the third-quickest time in the session. During the season, Debón announced his intention to retire at the end of the season, and will be replaced by Kevin Coghlan for the season.

paragraph: Section::::External links.

paragraph: BULLET::::- alexdebon.com Official website

description: Spanish motorcycle racer

wikidata_label: Alex Debón

wikipedia_title: Alex Debón